#c side yaoi

[beikerfaker]

vocalists going band for band

[jeetlebeetle]

Vox is lucky Valentino leaves all those spare costumes lying around

[myrosrava]

Beika sees what's under the ocean for the first time

[cattotasticsmirk]

Bass yaoi beikkan

[deathernoia]

beika and kikura !! tbh i want to draw the c side guys in general more often

[its-squidding-time]

Happy pride

[the-somwthing]

ppl will go on about Scott’s horrible treatment of Jimmy or even Pearl but I’m out here ranting and raving about his horrible treatment of Joel and nobody cares because I also say they’re gay 😔

[csideyaoi]

PEOPLE WHO REALLY KNOW C.SIDE WOULD KNOW THEY SAY FAGGOT. RECLAIMABLE OR NOT.

[thealogie]

most of the time i think neil gaiman is intractable in not being normal about a/c (derogatory) but then he posts like a girl mutual doing a yin-yang red string of fate web weaving and i remember he is fighting the war on a/c on the side of a/c now. he vexes and fascinates me. he's like what if a tumblrina is a big author with multiple media deals who got beamed with distilled old man yaoi manifestation online by mean gays and irl by two guys in their 50s parading their insane connection in front of him for days on end it got him engaging in light rpf.

He’s like if a girl mutual and an evil old straight man had to live inside one body. Incidentally that’s a great premise for a Neil Gaiman novel

[somepsychopomp]

Winter's Night

AKA frosty old man yaoi

I've been thinking a LOT about the newest Fionna and Cake episodes... i'm not sorry

AU where the Candy Queen never shows up and the F&C gang hang out in the winter kingdom for a while longer.

Excerpt:

He didn't know why, but Simon approached his double as he played away on the piano. Then again, in the Winter King's world, wasn't he the double?

"Yes?" the King asked, not even turning around. Simon paused, his bare feet seemingly stuck upon the frozen floor.

"I..." Simon came to the terrible realization that he didn't know what to say. Or why he'd even come here, following the other Simon's music, "I couldn't sleep."

+++

It'd been a day since they arrived in the Winter King's world. Or two now, given that it was the very early hours of a new day. The sky outside the vast halls of the castle were dark and misty, the moon tucked away in a blanket of pale clouds.

Simon let his fingertips glide over the chilly windows, the pads of his fingers catching on not even the slightest bump or rough patch of ice. Everything in the castle, everything in the entire kingdom, was so perfect.

And this left him restless. More so than the strange scarab man that'd been following them, who was still thankfully trapped in a chunk of ice. If the Winter King's estimates were correct, the duplicate crown would be completed within just seven days of the process beginning. And then Simon would be pulled back into a dizzying, eternal labyrinth of madness.

Not eternal, he reminded himself. He promised to show you how to tame it.

To tame the crown. Simon had tried so many times to do just that only to fail in his own world. Even with the proof right before his eyes, he didn't know how in God's name he was ever going to become like the other Simon.

Which was why he was here, being chased through the silent halls by his thoughts. Somewhere in the haze of memories that belonged to the Ice King, Simon remembered being restless. With all that magic, the Ice King was far more energetic than he ever was. And maybe it'd rubbed off on him.

As he turned a corner, Simon paused at what he thought was the sound of wind. Or maybe not wind, but a whistle? No, wrong again.

it was the high notes of a piano coming from far away.

Finding himself no longer entrenched in his thoughts, Simon made his way toward the sound, unsurprised to find his doppelgänger tapping away at a cerulean piano.

The Winter King was out of the suit he wore during the day, instead dressed in loose robes in brilliant hues of pale white and sapphire. Seems like Simon wasn’t the only one who couldn’t sleep.

He lingered in the entryway to the throne room. The other had his back to Simon, playing a soft but cheerful tune. He didn't yet know he had an audience and was instead playing a concert for himself. Exhaling, Simon closed his eyes and searched for anything familiar in the Winter King's music: a scrap from one of the songs he and Marceline used to make up when she was little, the melody to the Cheers opening, those old Broadway tunes Betty used to hum while she read.

Nothing. He opened his eyes.

He didn't know why, but Simon approached his double as he played away on the piano. Then again, in the Winter King's world, wasn't he the double?

"Yes?" the King asked, not even turning around. Simon paused, his bare feet seemingly stuck upon the frozen floor. 

"I..." Simon came to the terrible realization that he didn't know what to say. Or why he'd even come here, following the other Simon's music, "I couldn't sleep."

Before he could apologize and leave, WK, as Fionna had taken to calling him, turned and smiled over his shoulder. He sat to one side of the piano bench, a clear invitation. Feeling as if he couldn't excuse himself at this point, Simon took the offer and sat beside him.

"Oh, dear," the Winter King said, looking down, "Your poor feet!"

"Huh?" Simon followed his gaze. Yes, his feet were looking a bit discolored. They'd taken on an ashen hue and as he flexed his toes, Simon was a bit surprised to find them quite numb.

"What happened to your complimentary slippers?" Winter King asked. He clapped his hands and those two girls, the Ice Scouts, came out of nowhere with a fresh set of plush, white slippers. Simon could hardly utter thanks before they jet off to leave them alone.

Nevertheless, he slipped them on. He, along with the others, had been given very large guest rooms in the castle well stocked with warm, winter clothes. But when Simon climbed out of bed, sick with his thoughts, he'd taken a white robe and nothing more.

He fought the urge to laugh at himself. "Truth be told, I sometimes forget that the cold can hurt me."

He spoke as if this were still a recent development. But the last ten or so years as Simon were nothing compared to the thousand spent as Ice King.

A hand fell upon his shoulder. The other Simon at least didn't stare at him with pity. Just that sort of self-assured confidence that was, admittedly, entirely earned. 

“Well, not to fret! Soon you won’t have to worry a thing about the cold.”

The Winter King laughed at his own words, his hand becoming a firm, reassuring touch on Simon’s shoulder. 

Kingly, his mind supplied, Yes, that was the only way to describe this exact blend of pride and poise. Simon suppressed the sudden shiver that tickled his spine. 

“Tell me, do you play?” Winter King asked, gesturing to the piano. 

“Oh, I… do.” Simon said. He’d let his musical interests fall to the wayside in recent years, but yes. 

Winter King sat up straighter as he clapped his hands. “Then how about a duet?” 

And who was Simon to deny his kindly host?

He rolled his shoulders and began a slow song. The keys were a little lighter than he’d expected, the sound a bit shaper, making his first few notes louder than he would have liked. But neither said anything as his playing even out.

And soon a second set of hands joined him on the keys.

“It’s been a while since I’ve had a partner,” Winter King said, taking Simon’s hesitant song and breathing some more life into it. His fingers danced across the piano with far more confidence, taking what Simon started and making it much more his own. 

It was a beautiful song though, as was everything the Winter King touched. And it far out paced Simon’s rusty skills. He paused once he felt that he could no longer keep up. 

“You play very well,” he said, smiling politely. Hands hovering over the keys. 

Winter King beamed. “And you simply flatter me.”

He tapped Simon on the nose, making him blink in surprise. The Winter King edged closer, shrinking the space between them until their knees bumped and their thighs touched. Simon moved on instinct to give them both more space but found himself already at the edge of the bench. 

Winter King studied him with that ever-cheerful expression. “You seem tense, my Simon.”

“Ah, well…” he adjusted his glasses. “A lot on my mind, I suppose.”

Without missing a beat, “And if I could help with that as well?”

Simon blinked and without warning, found them so very close together. The Winter King was leaning over him, making use of his superior height to bear upon him with an eager smile. But it was just so sudden, so much that it left him reeling. 

“I’m terribly sorry,” Simon said, standing, “But you’ve already done so much for me, for us, that–”

A hand reached out and grabbed his wrist. Simon did finally shiver, a little jolt going up his arm. 

Winter King rose, still holding Simon’s wrist. At his full height, he was the picture of grace, yet the hairs on the back of Simon’s neck stood on end. Winter King took Simon’s wrist in both hands, raising it, and…

And pressed a kiss to the back of his hand. 

His breath caught in his throat. Even the Winter King’s lips were as cold as ice. 

A stray memory resurfaced in his mind, of something Cake said when they first arrived. 

“Kiss each other!”

Which he would’ve brushed off as nonsense if it weren’t for what the Winter King said in response. 

“Don’t think it hasn’t occurred to me.”

But the inhabitants of Ooo, of most variants of Ooo, were all just a bit silly and strange, weren't they? Simon thought that surely the Winter King meant nothing by it.

Until now. 

“It’s been quite a long while…” Winter King began, “Since I’ve had a partner.”

He met Simon’s gaze with unflinching sincerity.

Meanwhile, Simon’s brain was being tossed back and forth between denial and shock. And perhaps a third emotion which he couldn’t yet describe. 

He cleared his throat and tried to find his voice. Simon said, “N-now look at who’s flattering who.”

But his meek attempt at humor fell flat. Winter King acted as if he hadn’t even heard it, still holding Simon’s hand. He even wrapped an arm around Simon’s waist, palm pressed against the small of his back. Despite his night clothes and the robe, he still faintly felt that icy touch. 

The Winter King said, “My Simon, tell me. How long have you felt so lonely?”

And he shuddered at that. It wasn’t as if he’d disclosed his own sour past to the Winter King. At least, not in full detail. He hadn’t brought up his sad life as a living relic on display, or the use of magic creatures as batteries for his spells. 

Or just how empty the world felt. How empty he felt. 

“How did you-”

“I can see it plainly,” Winter King said, “I can see it on your face. I see it because I once felt it myself, before I built this wonderful world of mine.”

Again, the space between them was slowly closing. Simon’s body was still ringed by the arm keeping him in place. 

Winter King asked softly, “Who better to be at your side than I? And you at mine? Why don’t I assuage that ache you feel?”

And Simon could have said a million things in response. 

You don’t want me, I’m just an old man. 

I don't feel the same way. 

But Betty–

I can’t. 

Don’t. 

No. 

Please…

Simon said not a word as another frigid hand took his chin and tilted his head back. He merely shut his eyes and let the breath be stolen from his lungs. The Winter King smelled of pine and frost.

He tried not to shiver. And he also tried not to think of Betty. 

That was rather easy. Betty had been human and warm. 

And everything about the Winter King was cold. Cold, but clean and polished and beautiful. Not only that, but willing and wanting. 

When the Winter King pulled away, lips parted and eyes partly lidded, he hummed in delight and seemed not the least bit interested in stopping. His cheerful demeanor was gone now, his hold on Simon’s waist growing tighter. 

And Simon finally identified that third emotion he felt, a kind of fearful longing. In his world, he had grown to hate snow and ice, even rejecting it in his drinks. But he couldn’t deny how familiar it was. 

And try as he might, he couldn’t run from how a part of him still ached for it. 

So he relented, leaning into Winter King’s touch with silent acceptance. 

He said nothing and put up no resistance as the Winter King pressed him against the piano, a wave of discordant notes filling the throne room as he leaned his body into Simon’s and held him and felt him and took from him. 

The cold, once again, was such a great and terrible thing.

[beikerfaker]

the c-side boys

some Headcanons i have:

>Uotora meets beika first;kikura joins after they realise they are needing a Guitarist [uotoras idea]

>Kikura and beika have a Sibling dynamic where they are aggressive with One another but Friendly way

>you mess with One of them you mess With all of them [insult to one Is an insult to the Group, yes they Dramatic]

>they All three dislike the Other bands because too Light or 'not cool as them' [they make fun of them]

>Very spiteful. all three.Spite.

>not seen As very Good people in inkopolis because they are aggressive. even when they are being good[inkopolis are judgey; its culture shock]

>Kikura left originally because a Dispute with Beika ;stayed in touch with Uotora

>uotora always stayed By beikas side and they Both hype eachother up[even when their band wasn't successful]

>Uotoras the only one with a License, but they all still drive the van regardless

>they All use forms of Slang more compared to other Splatbands/are More aggressive to another

>it makes them look Immature at professional meetings At times. People stare [they Dont care]

>all Three originate from the Projects/The block housing

>took 5-6 Years before they made it Big. started as Small shit gigs In pubs or Restraunt

>they all Live together now They have the money for it

[mammalsofaction]

Missing You

Rating: T

Relationships: Heinz Doofenshmirtz/Perry the Platypus, Balthazar Cavendish/Vinnie Dakota

Add tags: Takes place between Escape and Milo in Space, Perryshmirtz centric, human Perry the Platypus, post break up arc, post confessional and apology, making up and making out in an open plan room with pre teens in them, everything is good and going right and will go absolutely horrendously wrong in a couple of moments, if you ignore the fact that they're all looking for a pre-teen abducted by aliens you can pretend this is fluff, OLD MAN YAOI!!!!!!!!!!, simp Perry, I was only meant to hurt you in the right way 🥺

"How did you know we were here, anyway?"

Perry had not exactly been hiding, but he feels found anyway, his smile involuntary as a kid who finds himself caught in game of tag in a school playground. Heinz approaches him carefully, arms tucked behind his back like he's keeping himself in check, so Perry stills himself, remembering that it isn't quite his place to reach out now, not anymore.

Carl, he signs--the C sign blending into the leader sign, pinching the tips of his left hand with the curl of his right. Heinz let out a little Ah, noise, and his eyes downcast. Like he's disappointed.

There is silence between them, as it rarely ever is, and rarer still the awkwardness in the air as they think of all the words they should be saying, that should be said, and how to say them. Perry consoles himself with the fact that Heinz had at least yet to leave, but he leaves a gap between them like a gulf Perry isn't sure how to bridge.

It isn't often that Heinz Doofenshmirtz is ever lost for words, so Perry--as he always does--meets him in the middle.

Did you get my card? He asked, because he needed to know. Because he'd worried about it endlessly since he'd sent it, because it had kept him awake at night, thinking if it was too much, or too little.

But Heinz smiles by the mention of it, baby blue eyes sparkling under the alien fluroscence, and all at once it was worth it.

"That you sent through Vanessa?" Heinz chuckles, confirming. "Foul of you, Perry the Platypus, using my daughter to send our messages back and forth like some sort of owl postman. She's got better things to do with her time, you know."

He did know. Vanessa had consented anyway, had in fact been loudly enthusiastic with the idea once she found out about their current disagreement, and had loudly scolded Perry for being a 'Dumbass idiot who shouldn't be keeping things to himself when they've all established the fact that communication was what kept this relationship from falling apart despite literally both of your entire careers.'

Having only sent the one card had been an act of restraint. On his worst nights, Perry had imagined breaking into the Murphy residence on the other side of town and crawling on his knees for forgiveness, but even after all this time, he was still too afraid of showing his belly even to the people he loved.

I did, you know, he tells him, because he couldn't let himself be vulnerable then, and the next best time was now. Miss you.

"Yeah," Heinz said. "I-uh. I missed you too. Probably Vinnie could tell. The kids, too."

Vinnie, huh? Perry teased, to hide the sudden heartache, and that all too familiar snarl of jealousy. Didn't realize you guys were on a first name basis.

Heinz gives him a look like he could tell, anyway. Perry pulls at his collar, blushing.

Sorry, he signs.

Heinz sighs. "It's whatever. We were just two lonely guys looking to distract ourselves from our missing other halves, I suppose."

Perry chooses to latch on to the latter half of that sentence. I'm your other half?

Heinz stares at him, his hands, then back into his eyes. "You're kidding, right?"

I didn't think, Perry's hands flutter, and fails him. I thought you'd, I thought I'd really,

But then it didn't matter what he couldn't say, because Heinz bridges the gulf himself, and Perry feels the kiss, before he'd even caught his move, and even after all this time their lips fit together like puzzle pieces, and Perry falls forward like a broken stone wall.

Missing you, he had written on the card, because it had been the most accurate plead he could think of. You were missing from me.

It's deep, but brief, on account of being met with a chorus of loud protests and jeers from their unwilling audience, and Zack Underwood yelling loudly, and pointedly, that this spaceship was open plan, people, come on. Perry pulls away first, chuckling and feeling lighter than he has for months, while Heinz rolled his eyes. He does not, at least, take his hand away now that it has settled into Perry's hip, and he feels so happy he could die. He buries his face into Heinz's shoulder as he scolds the children for interrupting an adult conversation, while Melissa Chase comments lightly that, technically, the bathroom was closed off.

"Bathroom for adult conversations, got it." Dakota quips, and Cavendish hits him over the head without even looking up from where he's handling the ship's hull control.

"I'm 14!" Underwood shrieks in an impressive high tone as Perry begins to laugh. Poor stranded boy in space aside, he thinks things are really starting to look up.

[ineffable-opinions]

Seme/uke - long response

A decolonial and subaltern take on three posts on seme/uke dynamics that aims to contextualize them while questioning ethnocentrism. I welcome alternative perspectives, corrections and criticisms.

Post #1: Seme/uke dynamics in Be Loved in House...  

@absolutebl responding to @echos-of-ivy

Seme – Uke

About two or more characters in a ship/pairing:

seme 攻め: top (the pitcher) (from origin - attack) also referred to as 左 (left)、タチ (tachi)、トップ (top)

uke 受け: bottom (the catcher) (from origin – receive / accept) also referred to as 右 (right)、ネコ(neko/cat)、ボトム (bottom)

riba リバ: verse (doesn't mind being either a top or a bottom) (from origin - reversible)

seme and uke are sourced from martial arts lingo: seme (martial arts), uke (martial arts) & is related to nanshoku tradition (depictied in ukiyo-e style painting below) of androphilia rather than western norms of queerness. Such differences in culture in queerness is seldom appreciated.

Spring Pastimes. Miyagawa Isshō, c. 1750

Sometimes, androphilic men use seme/uke/riba instead of the following terms which are popular in their queer community:

tachi タチ 凸 - top

neko ネコ 凹 - bottom

riba リバ 回 – verse

Other BL producing countries also have similar terms for seme/uke/riba. And those countries also have terms for top/bottom/verse/side in their queer communities.

For example,

In Chinese BL (danmei), seme/uke/riba -> gong (攻)/shou (受)/hu gong (互攻)[1]

In Chinese tongzhi community -

top: gong (攻) or 1 or 上 or 凸

bottom: shou (受) or  0 or 下 or 凹

verse:  bu fen (不分)or 0.5 or 10

side: 不10 or 纯爱[2]

四爱 (fourth love) is the Chinese term for heterosexual relationship wherein the woman tops. When fictionalized, such romances are referred to as GB (girl boy) romance as opposed to BG (boy girl) and the heroine is referred to as female gong 女攻め.

In Thai BL, seme/uke/riba -> me (เมะ)/ ke (เคะ)/ se (เซะ) & their queer community have these terms.

Evolution

When the work does not involve sexual acts, seme/uke/riba is assigned based on speculation (‘what if’) in line with audiences’ preference. There are a bunch of stuff that are employed to determine the dynamics but owing to variation in taste, audience don’t always agree with each other. Since seme/uke/riba archetypes rose to that status with the yaoi (doujin) boom with development of comiket, etc. tanbi, June, original shonen ai and other such types of BL don’t follow these archetypes. Live action which follows, to an extent, the latter tradition, such as Boys Love (2006), also don’t have uke/seme/riba archetypes, instead follows the archetypes that was popularized by tanbi literary movement. Tanbi literary movement was queer in more ways than one. It preceded/birthed BL (Mori Mari) and influenced it.

As no culture is passive recipient [pun intended], different glocalizations of seme/uke/riba dynamics exhibit different features, both within and outside Asia (eg. original English-language BL publication).

IRL

While being top/bottom/verse/side pertains to sexual preference/choices and acts or lack thereof, it is not devoid of other implications. Here are some interplay between these preferences/choices and the implications to consider:

Are these preference/choices innate or socially formed? Or both? Or neither?

What does it mean to be top/bottom/verse/side – within and outside the queer community?

Performance of masculinity, femininity, neither. Which masculinity/femininity? Is that masculinity/femininity performance – marginalized, soft, protest, hegemonic or amalgamated?

How local and global queer cultures influence it?

Is it some kind of conformation/attempt to fit in? If yes, what kind and why?

How are those choices impacted by history (including that of colonialism), legal/political implication (e.g.: pink certificate in Türkiye), local forms of patriarchy & heterosexism, class, nationality, race, skin color, caste, age, employment (including sex work) or lack thereof, physical location & avenues of exploration, abilities and disabilities, access to internet & other infrastructure, education (including sex education), health conditions and access to medical care, etc.

How do they form expectations regarding oneself and others?

While it can be argued that there shouldn’t be any other implication associated with such preference/choices, one can not simply wish them away as it is more often than not linked to certain social realities.

BL as well as gei comi are genres of fiction, telling tales of male androphilia – these are reproductions of imagination entwined with realities, reflecting desires, fantasies and biases plenty.

Conflation

I disagree that uke/seme/riba archetypes are conflated “casually” with bottom/top/verse in narratives and discussions around them. There is a difference that P’AbsoluteBL probably isn’t aware of:

Uke is the bottom in a ship. A character could be uke in a ship, seme or riba in another. For a character to be a ‘bottom’, he has to be sou uke or total/complete uke. It means no matter who he is paired with he will always be the uke.

Alternatively, a sou uke is a character that makes all other characters become seme for him and go after him.

Similarly, a character could be called ‘top’ when that character is a sou seme or total/complete seme. Unless a character is established as a sou seme or sou uke in the narrative, there is always a possibility that those characters are verse. While most BL involves set ships, it is not rare to find characters who are uke in one relationship becoming seme or riba in another. Sometimes, after a time skip, transmigration, reincarnation, etc. BL characters end up switching within a ship.

In Live Action

While there is plenty of riba ships in other BL media, live action has had very few.

These couples were riba in the novel:

Bai Luoyin and Gu Hai – Addicted – The censorship struck right after the couple had their first coitus interfemoris (based on the chronology in the novel).

Lu Feng and Cheng Yichen - A Round Trip to Love

Lan Yu and Chen Handong - Lan Yu

Dom/sub

While the P’AbsoluteBL is allowed to do whatever, I don’t think correlating dom/sub with seme/uke is a good idea in the context of BL because:

BL has a separate speculative fiction subgenre called dom-sub-verse (Dom/Subユニバース) which have its own conventions. It is one of the many subgenres that took inspiration from omegaverse and has grown parallel to it. It takes dominance and submission from the kink community and explores them as innate/biological traits.

It involves characters who are identified as Dom(ドム), Sub(サブ), Switch(スウィッチ), and Usual/Normal/Neutral(ユージュアル/ノーマル/ニュートラル). Along with the standard elements of BDSM in fiction such as safeword, sub space, sub drop and aftercare, it also involves additional elements such as kneel(ニール), glare(グレア) and collar (カラー). There are commands コマンド (命令) that Dom gives to Sub. Sometimes elements borrowed from omegaverse such as heats/ruts, suppressants and professional Dom also appear in this sub-genre.

Dom×Sub ship: Dom is the seme & Sub is the uke.

eg. Hizamazuite Ai Wo Tou 『跪いて愛を問���』 & Rhetoric 『レトリック』 by 山田ノノノ Mijuku Na Boku Ha Shihai Wo Kou 『未熟な僕は支配を乞う 1』 by音海ちさ

Sub×Dom ship: Sub is the seme & Dom is the uke.

Jouzu Ni Dekita Ne Watasesan 『上手にできたね、渡瀬さん』 by 野萩あき Shoshinsha Dom Ha Hameraretai 『初心者Domはハメられたい』 by やんちゃ Gohoubi Ni Kubiwa Wo Kudasai (ご褒美に首輪をください) by Naruse Kano

Dom×Switch ship: Dom is the seme & Switch is the uke.

Sono Meirei De Ore Wo Abaite 『その命令で俺を暴いて』 by 小夏うみ れ愛の声で暴いて by 泉門くき いでおすわりしてみせて by 由元千子

Switch×Switch ship: One of the switches is the seme and the other the uke. 

強情なSwitchの躾け方 by ことぶき

Dom×Dom ship: One of the dom is the seme and the other the uke.

コマンドミー、プリーズ by 町田とまと サディスティックに暴かれたい by 星崎レオ (uke is a Dom, seme’s identity is not made clear) Kyousei Switch 『強制Switch』 by 彩田あまた

Like most BL genres, it is yet to make its way into live-action BL.

There are plenty of BDSM themed BL as well as training (調教) style BL where seme/riba/uke can be switch or sub or dom.

Problematizing the Problem

Hence, the argument that conflation of seme/uke with top/bottom is “a PROBLEM” is ironic. The main reason given for that argument is that “het consumers [would] conflate (egregiously & incorrectly) top with male/masculine and bottom with female/feminine.” Here are some things that I think is relevant to think about that:

Why would ‘het people’ or any people for that matter think in terms of male-female / masculine-feminine binaries? Do they think in those binaries only and not other binaries such as wen(文)-wu(武)? Why think in binaries and dichotomies at all? Don’t they not think in terms of multiplicity of genders/gender expressions such as various kinds of masculinities and femininities) based off on their local contexts? 

Do queer people not make such/similar conflations? (Hint: they do.)

Is it a problem? While this seems to be the popular notion, plenty of scholars from across the globe has dismantled it.

What exactly do P’AbsoluteBL think ‘het people’ conflate riba characters with? Feminine-feminine? Masculine-masculine? Neither? Both? Something else?

There are different conceptions of masculinities within a culture which get reflected in cultural goods, including BL, from there. Here are some really old depictions:

Qing dynasty Chinese Water and Land Ritual painting depicting a divine civil official and thunder god in military regalia. [Wen - wu]

Paintings of Padmapani and Vajrapani on either side of the Buddha, from cave 1 of the Ajanta Caves.

Moreover, if the problem is hinging on a particular understanding of seme/uke: the one in which seme is not feminine or uke is not masculine enough. If latter is the issue, it can be fixed by sticking to BL media with otokomae uke or macho uke. If former is the issue, there’s more than enough works with maiden seme and josou seme. If one is yet to encounter any such works, one is not looking far enough.

Masculinities in BL

Here are three central characters from Finder series embodies different types of masculinities – a lot of it is presentation, physical attributes, age, power and social standing. Akihito is a young and vivacious uke who happens to be short and sinewy. Asami Ryuichi is a supadari seme: a guy who is tall, well educated, high earning, with good looks. In addition, he cooks and cleans and cares when he wants to. Fei Long is tall, beautiful and cunning and can be regarded as a riba character. But can any of these characters considered not masculine by regular standards?  Isn’t Akihito masculine enough for his age? And if we are to compare Asami, we are sure to find him lacking but then give him time to grow. They have a dozen years between them. Moreover, can average men stand comparison with a super darling? But then in the grand setup of patriarchy, isn’t power concentrated in the hands of the older men who dominates even the super darlings, both in real world and fictional ones.

Ayase Yukiya & Kanou Somuku from No Money

Consider the case of Ayase, would you call him a “feminine” uke? Probably yes. He is small in stature - petite and cute. He is definitely very small in comparison to his seme Kanou. They probably have one of the most exaggerated size differences and an extreme case of the traditional pairing.

The traditional pairing comes from the customary practice of androphilia in pre-modern Japan. It involves relationship between a wakashu and a nenja or from the tradition of nanshoku. The former is not considered a man by the period’s standards and is considered a third gender by some scholars. The latter is considered as a mentor and lover for the former. While the traditional faded with ‘modernization’, tanbi literary movement (among others) kept alive remnants of it through the writings of the likes of Yukio Mishima.

Note that the youth on the left is wearing a kimono whose style (furisode) and color was considered appropriate for adolescents of both sexes but not adult men, which along with the partially shaved pate denotes the boy's wakashū age status while the exposed bare feet indicates the purely sexual demeanor.

The traditional pairing has clearly inspired Japanese mangaka both BL artists and others. Look at the wakashu in customary androgynous clothing, younger, fairer and even smaller than the nenja, with relatively less experience being embraced by nenja who is in customary male clothing.

Check out more shunga about nanshoku to see visual ancestor of “yaoi”. The visual legacy continued with the likes of Go Mishima. The queers did it first.

From the series "Mishima Go Book of Young Man" - Japan - 1972 (Showa 47)

Ayase in No Money fits into the wakashu ideal. Moreover, the creators of this manga explicitly differentiated between feminine uke with wakashu uke by juxtaposing Ayase with Someya who embodies traditional femininity.

Someya and Honda from Henshin Dekinai

Putting it into perspective, it is noticeable that many a BL involves similar pairing. A lot of criticism BL faces is when it sticks to nanshoku dynamics. Interestingly, critics who can’t imagine genders beyond masculine and feminine, fail to tell apart “feminine” characteristics from wakashu characteristics. But there is no dearth of such dynamics getting subverted in numerous ways in BL:

ship with younger, lower class, petite, androgynous or any combination of customary wakashu characteristics in seme/riba.

ship with all parties being of similar age, class, physical attributes, experience, etc.

Emancipation

Shouldn’t typical uke archetype be seen as an example of subversion of the main character masculinity that dominates media landscape? Shouldn’t they be exalted for being what they are? Uke archetype that allows all genders to project onto and gain pleasure from, is that any less than a marvel in itself?

Pursuer & Pursued

In order to analyses if there is a shift in seme-uke dynamic, the P’AbsoluteBL employs the following to categories who is active:

who is pursuing whom

who makes the first call in terms of declarations and physical touch

who seems to be more in charge of the relationship

In BL, these are never reserved for seme/uke/riba. Who takes on which role depends on the narrative. BL rarely have fixed pursuer-pursued. All parties involved in a ship take on active role in different circumstances.

Take, for example, the original edition of Ossan’s Love, Hasegawa Yukiya employs certain indirect tactics to pursuing Soichi Haruta such as cooking, cleaning and caring for him. (These are tasks that seme/riba/uke usually engage in lighter BLs to gain and retain the attention/affection of the one they are pursuing.) Hasegawa also engages in activities they do together as a means to grow closer. Once he learns of his love rival, he switches up the tactic. He pursues more directly and aggressively. Soichi rejects him. He withdraws and returns to the original tactic but without attempts to grow closer. Soichi feels the loss and tries to get close to Hasegawa but is brushed off. He does not back down. Instead, he takes on a more aggressive route of pursuit - making amends and chasing after Hasegawa.

What P’AbsoluteBL implies with “I think BLIHID’s main couple has a REALLY weak seme/uke dynamic from the get go” is made abundantly clear in with “ShiLei does a lot of active pursuit, also he’s very self actualized.” Here, using pursuer/pursued would have sufficed. Instead, P’AbsoluteBL chose to disappropriate established terms ‘seme/uke’ and imbibed them with implications of “active pursuit” as well as ��self-actualization” [regarding queer identity] that seme/uke/riba doesn’t carry originally. Most of it based on biases built on equating all BL to one type of BL: the one with traditional pairing that follows royal road progression.

What P’AbsoluteBL actively avoids discussing is that Beloved in House is basically following the super popular ‘domineering president’ plot based on a BG romance.

Live Action Struggles

P’AbsoluteBL mentions an imagined ‘struggles around seme/uke’ in live-action BL. I think the actual issue plaguing live action BL is the struggle to balance business and other interests while being able to do justice to the diversity within BL as a media genre.

source: (chil-chil.net)

In the chart:

ほのぼの – heartwarming – Example: Restart After Come Back Home

コメディ – comedy – Cherry Magic

ダーク – dark – Sing in Love

シリアス – serious – Cornered Mouse Dream of Cheese

キュン – exciting (kyun) – Mr. Unlucky Has No Choice but to Kiss

Japan has trouble in diversifying its live-action in terms of sub-genres and treatment/mood. Even Thailand, despite the amount it produces have trouble offering variety. Riba couple, maiden seme, yarachin characters, yandere X yandere ship, etc. are either very rare or non-existent in live action BL. Moreover, live action BL is seldom explicit and are mostly in the speculative territory with seme/uke/riba dynamics, making it all the harder to diversify.

Tbh, what fascinated me the most is the “I kind of automatically cringed” part of the question. I would love to know what brought about that reaction. I am sure that it would help shed some light on discourse surrounding BL in general.

Post #2: Blushing Maiden Trope & Seme/Uke

Discussion (intended and in italics) between an anon, @heretherebedork & P’AbsoluteBL on actions and reactions during physical relationships.

The discussion centers around “the character placed into the stereotypically feminine role” being repulsed/reluctant/hesitant when it comes to physical relationships. It is directly attributed to “purity culture in BLs”.

BL have a complicated relationship with “purity” or being “clean”. Tanbi roots of BL hinged on sexuality and obsession with beauty to the point of decadence. Shonen ai (original meaning) works also had characters who are usually promiscuous for one reason or the other, never forming very deep relationship (at least not enough to stick to monogamous unions for long) yet endlessly entangled with other characters, often baffling non-queer characters in those works.

from Song of the Wind and Trees

*

[Inviting readers to hazard a guess: who is the seme and who is the uke. Answer at the end of this post.]

*

But how explicit the depiction of physical relationships has varied in BL with time and space. Japanese BL with the self-published BL (aniparo / yaoi – original meaning) boom saw very explicit depictions side by side with the commercial BL which have barely any explicit content or those which take a closed-door approach. Now Japanese BL have a wide range in terms of explicit content and have grown to incorporate elements from other genres including gei comi. Korean BL is similarly doing well. It is not uncommon to have chapters or parts of chapter in manhwa and novels dedicated to the celebration of physical relationships. Thai BL also have no dearth of explicit content, especially in web publishing. Chinese BL in its early days had lots of explicit content, especially in self-publishing. But as censors started taking notice and cracking down, authors and platforms clamped down. Most BL were purged of any & all explicit content. Some of it migrated to Taiwanese platforms, AO3 & other foreign hosts. Now all danmei published is “pure love” devoid of even allusion to depiction of any physical relationship beyond above neck action.

When it comes to BL live action, things are a little different. In Japan and to an extend abroad, there has always been overlap between audience of BL and audience of Japanese GVs and pink eiga. Moreover, early live-action Japanese BL was probably aimed exclusively at hardcore BL fans. They were way more explicit on average and did not always involve physical relationship between the main ship. Same seems true about early live-action Chinese BL. A Round Trip to Love Part 2 (2016) even had bondage and SM scenes which wasn’t there in the novel; but then it didn’t have the hard-earned happy ending the novel had either. But now, even dangai with “socialist brotherhood” (社会主义兄弟情) can’t be aired. Meanwhile, Japan’s average BL today lacks much explicit content. This isn’t to say that it doesn’t drop an occasional Sei no Gekiyaku (2020) once in a blue moon. Here are my speculations to why more of those doesn’t get made.

There is another reason for “purity culture” in BL.

Sathaporn Panichraksapong, an MD of GMMTV, a major producer of BL series, claimed that audience members who are mainly heterosexual women look for romantic relationships among the characters rather than sexual relationships.

We know that our audience are [sic] women. Women want to see only two boys having romantic moments together. They don't want to see sex. Sexual relationships in BL are for a gay audience. That's why in SOTUS the Series we have only two kissing scenes. With only these, audiences were already screaming. This is enough for them. (Interview with Sathaporn, GMMTV, 10 Aug. 2017)

Jirattikorn, Amporn. "Heterosexual Reading vs. Queering Thai Boys' Love Dramas among Chinese and Filipino Audiences." (2023).

As Jirattikorn goes on to highlight, this [wrong] perception about the audience (“women”) have changed ever since.

While early BL series tend to portray pure love without showing many sexual relationships, later BL series started to show more sex scenes between the two male lead characters.

Jirattikorn (2023)

“It’s always the character being pursued, who is typically in his first relationship, who Never Thinks Of Sex. They’re often very sweet and innocent and wide-eyed.”

While heretherebedork attributes it to “purity culture”, it can be argued that this has to do with what audience wanted:

I like the way they portray love in Thai BL. It is a kind of puppy love. BL of other nations, like Chinese BL, are darker. In Thai BL, two male characters often start off friends, then develop feelings for each other. It is very light, very sweet. (Krissy, f, 27, Philippines)

Jirattikorn (2023)

and what media houses thought they wanted, as evidenced by Jirattikorn’s interviews with BL fans. This is not to dismiss struggles with purity culture which is often a very slow part of decolonialization.

P’AbsoluteBL goes further to the argument that “purity” is associated with seme/uke dynamics in BL and maps it to typical het pairing (BG):

The stronger the seme/uke dynamic (the more heterosexually dysmorphic and less actually gay) the more likely this trope will manifest. Simply put: the man (because he is hooah a MANLY MAN DUDE) wants sex but the woman (delicate pure flower of cleanliness and joy) does not. And if she does want it she is a DIRTY, worthless, whore - so she MUST protest sex (GASP) at every single turn. (Seme is acting the male and uke the female in these kinds of narratives.) *please sense my sarcasm dumb interwebs, mm’kay?*  

It’s true that the argument seems persuasive but is it right? Probably not. Seme, uke and riba characters can be divided into strong/weak categories based on their characterization - with the strong ones being those who pursue, take initiative, most likely to initiate intimacy at least for their first time, etc. and weak ones being those at the receiving end of pursuits and initiatives. Pairing a strong one with a weak one is probably more traditional –

strong riba x weak riba like in Addicted (at least before time skip)

strong seme x weak uke like in Old Fashioned Cupcake

weak seme x strong uke like in Saezurutori Wa Habatakanai (at least before time skip; pavam Doumeki)

compared to those with both parties being strong (which leads to delectable friction and sparks flying when done right) or both being weak (which leads to audience wondering: will either of them do something? No? Very well!).

BL’s sex negativity

Seme gets overwhelmed by his lust for uke, acts aggressively and has to be shut down or warned off. 

Not only seme, uke and riba characters does this too. P’AbsoluteBL attributes “getting overwhelmed by lust” and “acting aggressively” to seme when it can be attributed to both uke (襲い受け) and riba as well. Other than acting aggressively, characters may employ seduction (eg. Xia Shang Zhou in You Are Mine (2023) - tried and failed & Charlie in Pit Babe (2023) - successful) and/or manipulation (Color Recipe by Harada).

Seme won’t take no for an answer because his needs are too great and his needs take precedence (he’s “the man” after all) and the uke is just TOO CUTE how could anyone resist? (After all the seme is only gay for this one guy because he is so cute. Everything, therefor, is the uke and his cutenesses’ fault.) 

Moreover, P’AbsoluteBL is probably not aware of kawai seme who employ their cuteness to get uke to lower the guard and to seduce. Cuteness is clearly not a uke prerogative.

Like the sailor-costume wearing seme on the cover, cuteness is sometimes invoked through conventionally women’s clothing, cosplaying (maid, sailor, nurse), etc.

If the seme makes the choice to have sex for the uke, then the uke is not at fault and is still technically innocent. Only if an uke wants it, is he actually impure (or actually gay). In H4 when they both comfort and sex shame the bottom after the rape sequence, this is the narrative’s mentality. (A man who does not want sex is assumed to be able to fight another man off.)   Oh and ALSO, the seme must read the uke’s mind and know what the uke really wants.

I don’t even know what went into this argument. There is an entire subgenre: 調教 BL (training / conditioning) that is focused on pleasure training. If a character (seme/uke/riba) wants sex in a narrative, it usually only means that their partner is on the right track. Moreover, when a character wants, actively seeks and are denied intimacy for manipulation reasons, then their partner is made out to be cruel (either 鬼畜 or ゲス・クズ).

In other words, if the uke is interested in sex, he’s made impure by this interest.  Sex of any kind is an act of desperation and indicates lack of control and therefor diminishes both parties but particularly the uke, therefor the uke shouldn’t have to take responsibility of wanting sex, so the decision must be made by the seme for both of them. He is being a “good seme” by doing this. The uke, therefore MUST appear reluctant to have sex, or he is not a good/pure/virtuous person.

Honestly, I haven’t come across BL which gives off this kind of message. However, two-faced scummy characters (seme/uke/riba) get to employ hypocrisy, which includes slut-shaming, to humiliate characters they are shipped with but then such narratives are built to illicit hatred (for scummy characters) and angst and often punished with:

(a) unhappy ending for the couple

(b) breaking up of the ship

(c) groveling which may or may not end in redemption of the scum

(d) switching within ship – uke turns into riba/seme or seme turns into riba/uke – or shift in power dynamics (rich character becomes relatively poorer, junior from school becomes senior/superior in workplace).

A lot of readers find such dramatic plots satisfying and hence it is a successful subgenre.

*

Can you guess the seme in these 20 BL manga? Try this quiz on renta.

*

Post #3: How do they determine who will be archetype seme/uke?

Discussion regarding seme/uke determination in BL: @elynn0723 & P'AbsoluteBL (intended and in italics).

I think your confusion is partly nested in the fact that seme/uke is not about who fucks who, not really. Certainly not anymore. Seme/uke are narrative archetypes not physical acts.

Disappropritation. Discussed above.

I should say for the record that personality is NOT sexual preference. 

P’AbsoluteBL goes onto give examples (all of which are fictionalized in different genres – GB, BL, etc.) but probably due to being limited by lack of exposure, goes onto ask, “How weird that anyone would think queers do this.” Queers do this. If one is willing to look beyond LGBTQIA+ form of queerness (which is born and brought up in America), one can see queer possibilities. For example, Kothi-Panthi queerness in India/South Asia. It is probably a good idea to pay attention to it when generalizing queerness given how big India/South Asia’s (queer) population is. There are very many similar forms of queerness in other parts of Global South. In many cultures, sexuality doesn’t inform identity but sexual preference does.

[ Aside: Kothi-Panthi model of queerness

This model doesn’t work for whole of India – region (India is so big and heavily populated - different sexual cultures and practices); linguistics (different terms in different region, same terms different meanings in different region, decline of Farsi (used in queer spaces in Delhi) and other queer argot/cant and their replacement with American English internet slang); class & caste (LGBTQIA+ being self-identification of mostly urban/rurban, upper class, English educated v/self- identification common among the sex workers, working class and other lower classes in rural as well as urban spaces who are excluded from consumerist queerness);

NGOfication of queer movement & action; global queering and neoliberal take over leading to americanization –– intermixing & “gay” (and other terms) being used differently by different classes.]

How do they determine who will be archetype seme/uke?

P’AbsoluteBL points to narrative roles - who is “after” the relationship more, and then goes onto claim “the heroine is the main character, the love interest is her love interest. It’s decided for them because it’s a romance novel.” I don’t know if this helps explaining either seme/uke/riba archetypes in BL or pursued/pursuer. Aren’t there romances where hero pursues heroine and the other way around? Aren’t there romances where both party pursue each other?

Even if we assume that androphilic female audience is projecting the sexual mores & expectations imposed on them onto male characters, then by the very act aren’t they subverting those expectations.

How do they determine who tops?

P’AbsoluteBL provides the following schema:

seme = active pursuer

since active pursuer is “the male role”

he should do the penetrating

which has to be done

P’AbsoluteBL also gives a term for this association: heterosexual dysmorphia - "the idea that any couple must fit into predetermined binary gender roles". This is probably coming from a place of ignorance since the example given is confined to musings about sexism concerning the upper class in Global North. Also, at least in the ambit of Kothi-Panthi sexuality, fitting into masculine top-feminine bottom dynamic doesn’t place them into any predetermined binary gender roles. Instead, it only places them in the fluid space of multi-genders: can/are seamlessly float(ing) between being kinnar/hijra/ali and being “cis-men”.

If one is to ask the question: “Which one of you is The Girl?” to a kothi-panthi couple, the kothi would tell you without hesitation: “I am The Girl.” Might even asked you in turn, “Couldn’t you tell?”

Kothi [is the word used by] effeminate men who desire to be penetrated by "real" men whom they call ‘panthi’.

Queer Movements by Paromita Chakravarti & Aniruddha Dutta

Seme/uke/riba archetypes are imbibed with different traits and different spin on personalities that a seasoned BL sommelier might be able to spot easily but would confuse those who are less familiar with all that the genre has to offer. The following excerpt from an analysis by @ranchthoughts reflects the most popular idea about seme/uke dynamics.

Most BL shows can be read through a lens of seme/uke dynamics, which originated in yaoi. The seme is the “pursuer” character and the uke is the “pursued”. There are certain physical (height, skin colour, etc.), social (age, wealth, social capital, etc.), and personality (active vs. passive, extroverted vs. introverted, flirtier vs. shyer) markers which are typically associated with either the seme or the uke. For example, semes tend to be taller, wealthier, older, flirtier, tanner, more active, and have a higher social status, while ukes tend to be shorter, poorer, younger, shyer, paler, and have a lower social status. “Seme” and “uke” roles are also sometimes conflated with masculinity and femininity (semes are “masculine” and ukes are “feminine”) and sexual preferences (semes are dominant and tops and ukes are submissive and bottoms). There are also tropes associated with either the seme or the uke, like ukes typically give cheek kisses and semes forehead kisses. Thus, things like height, age, wealth, personality, presumed sexual preference, and the role they take in tropes can index the character’s status as a seme or a uke, and in turn the character’s identity as a seme or uke in the narrative (pursuer vs. pursued) indexes a character’s personality, sexual preferences, etc., however unrealistic and simplistic that is in real life. In a BL, we would expect the seme (pursuer) and uke (pursued) characters to exhibit most, if not all, of the associated seme or uke traits and roles in tropes, though this is not always true (and some BLs have little to no seme/uke dynamics at all).

There are two interesting things about such an understanding of seme/uke dynamics:

It closely resembles nenja/wakashu dynamics (and its cousins) in the customary and mostly age-stratified androphilia in pre-modern Japan.

Live action BL, at least the ones that were current and popular, stuck mainly to a single type of dynamic: pairing of one seme of a particular kind (スパダリ – super darling) with one uke of a particular kind (ヘタレ – milquetoast). There are barely any riba couple. It is painting picture of BL in monochromes. So much so that Bad Buddy and My School President were seen as some path breaking feat and a break away from “yaoi” tropes by live action audience, rather than seeing them having just another (or less familiar) set of yaoi / BL tropes.

What P’AbsoluteBL identifies as “heterosexual dysmorphia” in “yaoi” is basically what BL inherited from Japan’s pre-modern androphilia including “femininity” in uke from chiago, wakashu and androgynous Kabuki actors and (hyper)masculinity in seme from nenja and others who enacted “the male role”. BL did not passively receive any of these. And for moe, artists and audience alike, subverted it all.

This is true for all tropes that are attributed to seme/uke.

Height difference – Earliest BLs had petite bishonen pairings. Yaoi introduced height differences – all of them: tall seme x short uke short seme x tall uke (this is probably the most sexualized height difference) tall seme x tall uke (with little to no difference) both/all short riba CP/ship both/all tall riba CP/ship tall riba x short riba short riba x tall riba

Cuteness – Used to establish how irresistible a character (seme/uke/riba) is irrespective of their attitudes and behavior are. Oft part of seme’s seduction tactic, especially when uke has a weakness for cute things. Even when cuteness is not one of the seme’s attributes, it is invoked either actively by serving kawai in speech or through actions including cosplay; or passively like in the following example where a typical super darling seme, Asami Ryuichi from Finder unintentionally triggers moe in Takaba Akihito (his uke) by cuddling a baby.

Uke’s cuteness is exploited to establish a sou uke (an uke every other character turns seme for) or subvert the same like in No Money where one of the epitomes of bishonen cuteness, Ayase (uke), who manages to enthrall others however isn’t a sou uke as one might expect and thus subverts the wakashu trope. Moreover, Kanou (seme) wasn’t initially drawn to Ayase due to his cuteness but due to Ayase’s kindness that lifted him out of the abyss of despair, when Kanou was at his weakest.

3. Bulk – BL have main characters (seme/uke/riba) with varying bulk and body types. There is far less diversity when it comes to Live Action BL.

4. Blushing maiden/virginal innocent trope – applies to all sorts of BL characters.

Edit: Conclusion

1. Surprisingly, ethnocentrism and loud echo of colonial masculinity in particular seem to permeate the discourse surrounding BL.

2. I really wish live action BL would have as much diversity as other BL media. Why is it so slow to diversify? Is it because of business interests? Is sticking to super darling X milquetoast pairing with royal road progression a sensible business decision? Or is sexism promoting wrong impressions of what audience want?

3. How come the Japanese terms "seme" & "uke" are used a lot but not "riba"? Where did live action BL audience learn these terms?

***

Yaoi = [how P'AbsoluteBL uses it] synonym for ボーイズ ラブ (boys love) manga.

            = [popular use in anglophone BL manga fandom] BL manga with explicit content; as opposed to shonen ai.

            = [original meaning] derivative works, which were mostly plot-what-plot type, that are self-published (doujinshi)

Answer to a question posted above: Gilbert Cocteau – uke in Song of the Wind and Trees

Below is the seme: Serge Battour

from Song of the Wind and Trees

Earliest BL manga had very pretty seme/uke/riba characters (if we are to call them so) and were not too preoccupied with "manliness" or a single type of "masculinity". But, they were surely obsessed with bishonen.

-

[1] 互攻 is also used to indicate POV switching between gong and shou in fiction.

[2] 纯爱 is also used to indicates asexual androphilia.

CP/pairing - involves 2 characters. Ship - involves 2 or more characters.

Inviting @waitmyturtles and @lurkingshan to share your thoughts if any (since I have noticed you guys use the terms "seme" & "uke" as well). Hope you guys don't mind the mention.

[onepiece-polls]

One Piece Crack Ship War - Round 2 Side C

Propaganda under the cut.

Gassmoke:

Two gay evil scientists. Need I say more? They definitely fell in love during their MADS days. Look at this picture and tell me it doesn't like like a wedding.

No two assholes have deserved each other more.

They got married 💜💛

Kureha x Garp: who knows how crazy someone would be if Dragon's parents were Kureha and Garp? It feels like they have some complementary vibes. He's a crazy marine with some extreme views on family. She's a crazy doctor lady with reluctant mom status.

[toxic-yaoi-tournament]

And The Toxic Yaoi Tournament Begins!

I put in any pairing that got more than one independent nomination, with the exception of two that were only submitted once that I pulled in to plug the gaps, and Garai/Michio, my pollrunner's choice.

All the matchups on the left side will have their polls posted tomorrow, while the matchups on the right will have their matchups posted the day after tomorrow. All matchups will last for one week. Seeding was done based on how many works the pairing was tagged in on Archive of our Own.

Left Side (September 19th-September 26th):

Hannigram (Hannibal) vs. Garai/Michio (Tezuka's MW)

Louistat (Interview With The Vampire) vs. Nandermo (What We Do In The Shadows)

Bingqiu (Scum Villain's Self-Saving System) vs. Rudolf/Der Tod (Elisabeth das Musical)

Krisnix (Ace Attorney) vs. Lawlight (Death Note)

Right Side: (September 20th-September 27th)

Narusasu (Naruto) vs. Yoshiki/"Hikaru" (The Summer Hikaru Died)

Suzululu (Code Geass) vs. Xuexiao (Mo Dao Zu Shi)

Shuake (Persona 5) vs. A-ya/C-ta (Shuuen no Shiori Project)

Oh Sangwoo/Yoon Bum (Killing Stalking) vs. Vegaspete (Kinnporsche)

[messenger-of-stupidity]

Roll for Persuasion

I'm back with more Shaw Mates group chats. And it's still literally nothing but crack. Enjoy!

CW: GN Listener characters (any gendered terms are purely used for the meme and should not be taken seriously), Cursing, Crack, Kind of suggestive because Angel can't stop

<< Previous -- Redacted Masterlist -- Next >>

Summary: Angel needs to be jailed, Baabe is an accomplice, Sweetheart has a masterplan, and Sam is barely surviving in this.

Taglist: @wib-was-here @4letteraroace @moon0o

Angel: i learned smthn togay

Baabe: to gay or not to gay that is the question.

Sweetheart: Is this an actually valuable lesson or do I need to call the morgue to prepare for your body to come in

Angel: ...

Angel: n e wayz

Angel: i learned that daveys bag is in fact not waterproof

Sweetheart: Oh my god what did you do

Baabe: howd you find out?

Angel: i spilled water in it

Baabe: water in his valentino white bag?! WAGAOUWAH

Angel: mm doesnt hit the same

Baabe: no it really doesnt.

Sweetheart: Youre fucked

Angel: ah ha ha chad lip bite

Sam: Put it in the dryer?

Angel: ...

Angel: oh

Baabe: i just banged my ankle.

Angel: oh my god why did u do that

Baabe: IM GONNA CHOKE YOU! IT WASNT ON PURPOSE

Angel: ehrfiuerhfr i just dont know why youd want to fuck your ankle

Baabe: i banged it against a cabinet corner! i bruised it. it hurt. i did not fuck my ankle whats wrong with you?

Angel: must be the lack of oxygen

Sweetheart: I just went through the drivethru like twelve times and left each time because i didnt want to talk to people

Baabe: omg thats so asher coded of you.

Sam: I promise it will be okay. You'll even get food.

Angel: you were comin and goin

Angel: kum and go

Angel: ejaculate and evacuate

Baabe: i hope you know that jesus sleeps in your hair every night.

Sweetheart: Peanut butter is an ointment fight me

Baabe: i want proof.

Sweetheart: Its thick and can be used as a protective coating

Angel: you know what else is thick and can be used as a protective coating

Angel: daveys

Sam: That's enough internet for Angel.

Sam: Lirc?

Sweetheart: If I remember correctly

Sam: What's that?

Baabe: acronym for iirc.

Sam: What's iirc?

Angel: if i remember correctly

Sam: Remember what?

Sweetheart: I am fearing for my life

Sam: Why?

Sweetheart: Im home alone and theres a single slice of cheese on the counter

Sweetheart: Just lying there

Sam: Oh dear?

Sweetheart: I DIDNT PUT THAT THERE AND AGGRO SURE AS HELL DIDNT

Angel: were in your walls

Baabe: feed us the cheese

Baabe: we crave it

Angel: c h e e s e

Angel: what uni did yall go to

Baabe: stanford. worst years of my life

Sweetheart: DAMN

Sam: Same as Sweetheart.

Sam: What about you, Angel?

Angel: i went to ugh

Sam: I don't recognize that acronym.

Baabe: AHHAHAHHAHAHA

Angel: university of giving head

Sam: Goodbye.

Angel: CATSUP BLAST

Sweetheart: This is why we need to destroy capitalism

Baabe: CATSUP BLAST

Sam: What the hell is Catsup Blast?

Angel:

Baabe:

Sweetheart: Unrelated but Im seeing a lot of 6 x Gabriel stuff

Baabe: not surprised.

Sam: Is this that "old man yaoi" Angel keeps talking about?

Angel: KAHFDSGHHJ

Sweetheart: Sometimes self care is watch an hour and a half video about the JFK assassination

Baabe: you might benefit from some therapy.

Sweetheart: Homestuck is for true warriors. Those who have been heartbroken so many time they dont know how to feel or see anymore. Homestuck is for those who have experienced true pain yet still push through knowing no matter how much they face Homestuck is by their side supporting them. Homestuck is the reason for so many differences in the world and is the reason outcasts and popular kids have one thing in common. Homestuck is for those who dont feel emotions as theyve lost the ability to feel them years ago when that flame died out because of childhood issues and now the only thing they have left to bring them the tiniest bit of inspiration is Homestuck. Homestuck is for kids that have no where to turn to, teens who are on the brink of killing off their family, and for adults who have lost complete control of their lives. Homestuck is badass. Homestuck has caused many wars and won all of them, Homestuck has no barriers and does not abide to any man nor woman nor god, homestuck is above god itself. Homestuck doesnt even have a concept of god inside its intellectual brain because it knows its the reason for every good, bad, and neutral thing to happen to mankind and thats what matters. Homestuck could be legally clarified as a bible. Homestuck is for the fainthearted and isnt for the sensitive types or the crybabies. Its for true motherfuckers who know where they are in life and what the fuck theyre doing with themselves. Of course you think its cringe but maybe youre just projecting onto the homestuck because you have never felt such power or control over your own life and need to belittle those who have something greater than power. They have homestuck. Homestuck fans are the type to find your exact location and multiple different closed off social medias because you dont have the same opinion as them. I suggest next time you know your place and keep your mouth shut. Homestuck isnt cringe and isnt for weak nerds like you

Baabe: fuck you im not reading all that.

Angel: all i asked was if you wanted pesto on your pasta or marinara omg calm down

Sam: What is Homestuck?

Baabe: i havent cleaned my kitchen for a month blegh

Sweetheart: If it isnt gross I think youre fine but if it is then clean your damn kitchen

Angel: HOLY SHIT a month??

Baabe: yeah theres twelve of them.

Angel: *leans on expensive buffalo* heyyy

Angel: *bugatti

Baabe: nope youve sealed your fate.

Sweetheart: Im gonna cook your buffalo.

Angel: LEVAE HERBERT ALONE

Sam: I'm done.