#fandom meta-discourse

[fanlore-wiki]

Meta Monday: Your favorite fic author is probably over 30.

In 2017, Tumblr user Xochiquetzl posted an essay in response to discourse about adults in fandom, discussing ageism in fandom and explaining why “your favourite fic author is probably over 30”.

The essay seemed to strike a chord with fans and inspired many to share their own positive stories about their experiences with older fans and the fanworks they created.

Are you curious about this essay? Read more on Fanlore!

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[madlori]

On Tommy Kinard

"It's not that I don't like Buck and Tommy, it's just happening so fast, he's underdeveloped!"

*clears throat*

Here is a recap of what we know about Tommy. And this is just off the top of my head, I didn't rewatch anything.

He was closeted at the 118 before and found the atmosphere repressive. He (probably) acted like a dick to fit in. When presented with the chance to make things better, he took it, and developed positive relationships with Hen, Chim and Bobby.

He was in the army and trained there as a pilot.

He knows Muay Thai and has a set up in his house.

He likes to work on cars and has a lift at his house (where TF does he live is my question - he has some nerve being agog at Buck's loft if he has a muay thai gym and a car lift)

He is down for violating departmental policy at the drop of a hat (has done so on at least two occasions) to help a friend and has no problems fucking with the fire chief.

He is a nerd. He likes pub trivia and has incorrect Star Wars opinions, and can keep up with Chim in the movie-quoting department.

His favorite movie is "Love, Actually" and he likes craft beer and monster trucks.

He came out when he transferred to Harbor and felt comfortable enough to stop lying about who he was.

He follows MMA and has friends in Vegas who like him well enough to hook him up to a frankly insane degree.

He'll risk his own life and engage in helicopter skulduggery to save people he doesn't know...I mean, apart from doing that for a living.

He'll take time out of his day to give a tour to the cute boy who called him up and offer to give that boy flying lessons (a significant time investment) which was probably maybe about more one on one time with said boy.

He yearns for the belonging and found family that the 118 became after his departure and probably befriended Eddie hoping to earn a plate at the cookout, aside from just clicking with him.

He likes Eddie and Chris a lot and they like him. Chimney also likes him.

He was attracted to Buck right away and was emotionally aware enough to pick up on Buck's jealous feelings over Eddie and his friendship, even if he was surprised that it was him Buck wanted to get to know.

He respects and values Buck and Eddie's friendship and wanted to make sure Buck knew that.

He's brave enough to shoot his shot by planting one on a dude.

He's a lil bitchy but also generous and ready to throw in with this insane guy who's inviting him to a family wedding after 0.5 dates.

He showed up to a bachelor party when he was on call because Buck asked him to, then showed up in turnouts after fighting a fire for like 12 hours yadda yadda we all know this part.

He has got it BAD for one Evan Buckley, who he only calls "Evan" which according to LFJR is a conscious decision by the writers, which fascinates me.

He was willing to take a chance with a man just discovering his sexuality BUT wasn't willing to put himself through that if the man in question wasn't ready for it. When Buck showed him that he was, he was all in.

He does NOT take his coffee like that.

Oh and

He's a beast.

This is VASTLY more information than we knew about ANY of Buck's previous girlfriends with the possible exception of Abby. Even Taylor did not get this much development over 20 episodes (things we knew about her: she was an ambitious and ethically flexible reporter, did not eat fudge, had a dad in jail, and sometimes jogged for exercise, she was capable of being nice and did love Buck, I believe). And as for it being fast? Sometimes it just be like that? A relationship doesn't have to have year(s) of buildup. Sometimes people do just meet, like each other, and start dating, in fact in the real world that's usually what happens. It's in TV Land that you have to have eighteen seasons of UST before pulling the trigger. Most of the time in reality people just vibe off each other and decide to go out and THEN they learn about each other.

And they've got a great start. You'd think they'd barely spoken by how a few naysayers are talking about it - the loft scene was like a solid five minutes of very open conversation, the Cringe Date seemed to have gone well and again, open and honest (if cringey) conversation before Cockblocker Eddie showed up, and the coffee meetup was again....open and honest conversation. They're not gonna show us long scenes of them exchanging firefighting stories and workout preferences (I mean, I'd watch that, but it's not what the show is about).

In conclusion, anyone saying he's poorly developed or the relationship is "out of nowhere" either is being willfully obtuse or has ridiculously unrealistic expectations for relationships and/or what constitutes character development.

As for whether they have chemistry, that's a matter of subjective opinion. Given that a TON of people watched that harbor tour scene (even when it was posted as a sneak peek) and started going "wait...what's going on here...are they flirting??" might be a clue. People were talking about Bi!Buck maybe happening with Tommy based solely off that clip of the harbor tour and what they were seeing between them. And imho that loft scene was crackling. But we all see things through the lenses of our biases, myself included.

Got that off my chest, whew.

[yourleastfavoriteplaguerat]

thinking about fandom and wicked and how having three different iterations of a story impact one another in the current fandom climate. because on one hand, fan creators have, for as long as i can remember, been fucking with elphaba’s gender expression and/or identity. i think it comes along with the whole ‘being born different from your peers/being born in a body that others you/ostracization for something you can’t control’ narrative she has going on. you can always identify with and relate with elphaba if you’ve ever felt outcasted in some way. and the gender fuckery goes a step further if you look at the book and the whole ‘elphaba was born with both genitals’ thing because there’s A Lot that could be unpacked there. so while it’s not like, a fandom headcanon or widespread trend or anything, people do and have been ascribing varying levels of femininity and androgyny and masculinity to elphaba

but then again. the masculinization of black women is a real and damaging stereotype/bias. and in that case hackles can be (rightfully, imo) raised if fan content depicts cynthia erivo’s elphaba in a non-feminine way. because her particular elphaba is fairly feminine and there is like, an actual precedent of misogynoir both irl and in fandom spaces.

i don’t really know what to make of it. i’ve always thought that since elphaba’s story is so widely relatable that it would make sense for any actor of a stigmatized group to play her (be it jewish like idina or black like cynthia) but it never occurred to me to think about how a new (explicitly black) iteration of the character would impact previously established fandom practice as wicked becomes even more mainstream and a whole new audience joins the fandom. would the solution be to use idina’s elphaba in fan content that wants to mess with elphaba’s gender expression? i feel like that would introduce a whole new set of problems if someone was also using ariana’s glinda or writing a fic taking from the movie

[antimony-medusa]

But what do you MEAN this fic where blorbo gets mind controlled might be kinky?

So I am kind of famous for saying that this fandom has a lot of untagged kinks and I get people in my notes pretty regularly going YES I"M BEGGING YOU TAG IT or YOU"RE DERANGED THIS IS PLATONIC, etc. Lots of strong emotions. But I also get people who are going uh, I knew something was going on, but I couldn't really identify it— what do you mean exactly? What kinks are you seeing?

So, this post is breaking down things I've seen and how in some cases, they start to cross the line into kink territory. These are all things that were being done platonically— no dicks were out, everybody's clothes were on (in most cases, not always with the dehumanization tropes)— but the focus of the narrative started to place special weight on specific features, experiences, or concepts— there were extended paragraphs that served no narrative purpose except to dwell on something— in a way that I started to go "the point of this fic is the squiggly feeling the author or reader gets on reading about this specific setup— this is getting kinky". And that is fine, I am not placing any moral weight on engaging in kinks— people just get wired sometimes to really like the concept of bondage— but a) sometimes it would be nice to get a heads up as a reader, b) if you like these things— there are tags out there that are FULL of this concept, you might like to do it or search it out on purpose.

So I asked some friends what things have they found in platonic fics that they went "ah. yeah. something is happening here", and this post is the result. A lot of these things don't exist in the real world or people don't necessarily want them to happen in the real world/to them, so it's understandable that a person can miss how they'd started to morph and become something new. But when we talk about kink in fiction we're often talking about things that either can't or we don't want to happen in real life, it's just that reading about them/writing them scratches our brain.

And also, to be clear, in no way do I mean that if you've written these concepts then you definitely have been writing kink. There are vanilla ways to do all of these concepts, and sometimes the idea of dehumanization is interesting to you from a narrative standpoint, for example. You can also engage with them in a non-sexual way— many ace people are very kinky— so I'm not saying that you've secretly been writing porn OR writing something you have a real desire to happen to you. Just to make that clear. However, if you keep coming back to a specific setup for writing or reading, it might be worth investigating if certain things scratch your brain in a specific way.

So.

Blorbo gets mind controlled and there's a detailed breakdown of their descent into this altered state and then they're just so biddable and out of it and vulnerable and the narrative places weight either on someone taking advantage of them in this state, taking care of them, or their own subjective experience having lost control: this is hypnokink. Hypnokink or mind control— lots of ways to do it, but there is a thriving hypnosis or hypnokink scene that you might want to look into. Sometimes this is played for horror, but even the horror stuff can be kinky if played in a certain way. This falls under a larger umbrella of "altered states" that is very popular.

Blorbo gets drugged/intoxicated, often against their will, and heavy narrative weight is placed on their experience while drunk/drugged and unable to control themselves or conceptualize what is happening: this is intox kink. Another altered state— and again this is sometimes used for horror, but even the horror can give you the special tinglies if the dread is mixed with something.

Blorbo is turned into a vampire or taken by a vampire, gets drunk from or drinks blood, and there's specific narrative focus on how good the blood tastes, blood from a wound trickling down over someone's body and maybe being licked up, a hunger being sated— so vampires are a longstanding trope that can be done in a strictly horror way, but a LOT of vampire tropes are deeply kinky along the ideas of possession, loss of bodily autonomy, fear/desire, and consumption. This, for example, I have definitely read dipping into bloodplay or consumption kink. Sometimes blood drinking scenes are directly metaphorical for sex, including narrative tension building to a release where someone feels so good, but also there are other elements, such as a focus on blood that gets kinky.

Blorbo has wings that get preened, and it feels so good they can't hold back instinctive movements and sounds (maybe bird sounds) and they're so grateful and bond so much with the person doing it with them— This is wing kink. This is actually the first trope in this fandom that I identified that some things were happening with, because I was reading these fics that had been recommended to me as family fluff going— am I crazy or is something else happening here? Wingfic has been broadly used as a platonic/familial trope in this fandom, however, the structure of the scenes in which it is written about sometimes has heavy crossover with wingfic in other fandoms, where they are using it as a smut trope— the fic just didn't have anyone literally orgasm at the end. But if there's involuntary sounds or movement from the person with the wings, a focus on how pleasurable it feels, a feeling of release or rightness that someone gives the person with wings, and then they cuddle afterwards— yeah.

Blorbo is terrified and chased by a monster of some kind, with a heavy focus on how frightened they are, how inexorable the monster is, and something bad going to happen, and/or the monster chasing them enjoying their terror— this can just be horror. OR it can be fear play or predator/prey. Sometimes it's both.

Blorbo is confronted by monsters (perhaps giants or aliens) who are much bigger than them and the threat of being eaten by them is narratively focused on, either bitten or swallowed whole. Sometimes in the narrative the eating happens, either safely or to their death— this is vore. Being eaten alive is also a horror trope so it isn't always vore, but it is sometimes most certainly vore.

Aliens or monsters/hybrids much bigger than blorbo have them as family/friends/romantic partners/captives: this is giant/tiny. Sometimes just a science fiction au but if there's a lot of weight being placed on how big they are and how small blorbo is, this could be g/t. Borrower aus can frequently start to fall into this category. If they're not THAT big but there's focus on things like "oh they can span my waist with one hand", this can be size kink, instead. (Note that to my knowledge the platonic version is giant/tiny and sexual is micro/macro— there's a thriving platonic scene I sometimes see when I'm cruising tags, so if you like this you might want to check that out.)

Blorbo is non-consensually touched, cuddled, or modified, and narrative focus is placed on this as a violation/outrage/loss of bodily autonomy: again, this is something that can just be a horror trope, but there is often a larger or smaller strain of consent issues in it. If blorbo doesn't want it at first but eventually feels at home in the nest and feels good, that's dubcon (dubious consent), and if they are fighting it and raging against it and will never be part of your family, that starts to overlap with noncon (non-consent). Blorbo's bodily autonomy is being non-consentually violated, which would put it under the consent issues umbrella. I think many people writing these tropes are simply focusing on captivity and bad things happening to blorbo— when one is a prisoner they automatically lose bodily autonomy, and I don't think that every fic set in a dungeon requires a consent issues tag— and additionally many people are writing from family settings that include bodily autonomy being violated (being forced to hug your aunt you don't want to hug, for example, is an example that many of us have experienced). Not every example of non-consensual touching is always consent issues. However, when the narrative focus is on the outrage and betrayal of it all, the loss of control, and/or the helplessness, this can start to serve a different narrative function in a story than simply illustrating that a family is touchy. I have read scenes that structurally function as a thinly-veiled metaphor for sexual assault, including things like blorbo being held down while they fight against what is being done to their body. Some of these could have used additional tagging. Note: because this is such a hot button topic I should mention that if you like writing or reading this I do not think that means you are a fan of violence happening in the real world— a) reading a bad thing happening on the page makes it containable and controllable in a way that the real world does not, people also like to read about murder and dismemberment— b) simply the presence of a happy ending tag on a fic contextualizes that the bad thing is something to be passed through in a way that again, the real world does not offer. This is a similar thing to torture, suicide, or slavery, where sometimes you want to see blorbo have a bad fictional time specifically in things that would be terrible in real life, and in your real life you do not condone police brutality or want these things to happen. Again, sometimes people like to read about people being eaten alive, and it does not mean they condone wolves on the streets.

Blorbo is captured by alien/fae and kept as a pet, sometimes kept in a cage or collared, unable to communicate with the people holding them: this is often tagged as dehumanization and it is that, but it also starts to contain elements of pet play. If there is an emphasis on having to eat pet food, be "trained" by their owner, leashing/collaring/crating— this may be pet play.

Adult or near-adult blorbo is adopted and take care of by a new dad who knows everything to keep them safe and loves them and can take care of them and they can just let go and be their new sonboy because Dad's got them: Right. So this is sometimes just someone writing a "wouldn't it be nice to be taken care of" fantasy. Sometimes this is Daddy kink. This is almost never tagged and in some cases that I have read it certainly deserves an additional tag. An adult Daddy or Mommy figure taking care of their adult Little who can just be taken care of and not worry is a d/s trope. In some cases, where you have an established adult with a job who gets taken by magical means who then finds their true home as a powerful being's new child where they don't have to worry about their former life and they mentally find comfort in their new role as sonboy, this may also be Caregiver/Little. Direct age regression (often written by people who experience it) is usually tagged appropriately, but narrative elements that nod to that while not actually being age regression, such as an adult being now treated as a child and the narrative presenting that as good, are remarkably common and often entirely untagged in certain tags/circles. If someone could look at your fic and expect adult peers and then this happens, you should consider tagging or phrasing your summary differently.

Blorbo has hybrid instincts that overcome their cognitive functioning and make them revert to an instinctive form such that they can only be calmed/soothed by another hybrid of a different type: now this at this point is basically its own trope and I am fascinated to see if this trope expands out of MCYT as people move to new fandoms. However, it shares a startling amount of overlap with omegaverse. One of the primary draws of omegaverse for many people is the biologically determined altered states and the fated-mates aspect, and hybrids reverting to instincts and needing particular care from a perfect family is often beat for beat things I've read in omegaverse, just platonic. When you have a biologically determined "protector" figure and a biologically determined "runt" whose job is to be taken care of and to submit to the protector, and this is required to calm the protector, it also has strong overlap with BDSM aus.

Blorbo is captured or contained and tied up, and narrative emphasis is placed on their experience of being bound and struggling against restraints or just how impossible to escape from the restraints are: this is bondage. I have had friends who are into this mention that they used to tie up their barbies as children, so again, as with all of these, this can be perfectly platonic— but something about that concept just seems particularly satisfying to the writer, perhaps it is more than just set dressing.

Blorbo is captured and there is strong emphasis on them being hurt or the waves of pain rolling over them as they are tortured: this is just an honourable whump trope, but a lot of whump tropes if handled in a specific way have strong crossover with BDSM. Lack of ability to move or restriction of senses, loss of control— or, as with this, an emphasis on pain or inflicting pain, which can cover sadism or masochism depending on our POV.

Blorbo is overwhelmed and only finds comfort in submitting to the authority of someone who they completely trust, whether because of past trauma or because of hybrid instincts: this is d/s, or domination/submission. If there's specific emphasis on allowing someone to take control finally makes blorbo's head go quiet, that's subspace.

Blorbo is marked or indicated as belonging to someone, either through something like an earring or a brand/tattoo or a magical mark, so that anyone who looks at them will know that they belong to someone: again, this can just be horror, but especially if it's framed as a good/satisfying thing, it also can contain strong crossover with BDSM, especially master/slave elements.

Blorbo is transformed and corrupted, often being bodily changed into a new form by aliens or fae or mobs: this is obviously body horror, but this can also be transformation kink. This is a narrative trope in SF and horror so someone can approach this completely innocently, but when handled in less of a horror way, it can take on other undertones. If there is a strong emphasis on the innocence and unprepared nature of blorbo before being changed into what someone wants them to be, this can be corruption kink as well.

Blorbo dresses up for a fancy event and there's emphasis on how specifically they look, or maybe blorbo is looking at someone else and thinking about how THEY look in their formalwear: sometimes this is just description and/or the author likes textiles. I have also read things where I think the author would get a lot of joy out of pursuing the formalwear kink tag.

Blorbo finally gets told that they did a good job and everyone is complimentary or a specific trusted figure is complimentary, they're appreciated and loved and good: sometimes this is just someone writing a fantasy of blorbo being appreciated. Sometimes this is praise kink. If blorbo is being held by their parent or mentor or trusted elder sibling who is telling them that they're good, everyone is wrong about them, they know that they're good, this could be praise kink.

Touch-starved blorbo finally is given good touch and they are overwhelmed and don't know how to handle it and it feels so good: I did even know this was a thing until I asked for examples, but a friend let me know that this falls under the "touch sensitive" or "sensation play" umbrella. If you have spent time in a touch-starved tag, you have almost definitely seen this.

Blorbo is overwhelmed and bursts into tears and either cries a lot or heavy narrative weight is placed on them crying at important moments when it all becomes too much: this is not always, but can certainly be, dacryphilia.

Blorbo fucks up and is made fun of by all their peers, placed on centre stage and just mercilessly mocked: sometimes you are just whumping the character, and sometimes this can be humiliation kink.

Blorbo is tickled. That's the whole scene/fic. Okay so you actually may know this if you cruise character tags, but tickling is a kink and there are several blogs devoted to it on this website. If the whole point of this scene is the tickling, the character losing control and being overwhelmed, the person doing it to them having them at their control— this may be the kink.

Blorbo just keeps sneezing at inopportune times, they keep losing control and can't keep themselves from being overwhelmed by this: this can be sneeze kink.

Blorbo has finally made it to safety, maybe after a time of privation and starvation, and then there's whole scenes with an emphasis on how much they eat, how full and round they're getting, maybe them eating to the point of getting sick, maybe burping, maybe them having difficulty moving because of how much they've eaten. Food as part of recovery or safety can just be a healing trope, and food as a metaphor for love and community is a favoured tag of many of us in the fandom, but if the emphasis is especially on the eating and the getting full, how full the person feels, how much they can eat— this could be feederism.

Blorbo is injured or killed and there's a huge emphasis on the wounds, dismemberment, focus on gore and how bad it is and how much they're coming to pieces: this can be guro. If the person dies at the end of it and there's emphasis on that, this can also be snuff. Or maybe it's just gore/MCD, but some fics and some scenes dwell on it in such a way that you start to ask if this is intended to be horror or if something else is happening.

Blorbo is dressed up beautifully and looks so good in their new outfit, maybe to the point that the person who dressed them doesn't want them to move, just sit and be admired: this can be dollification, or kinking specifically on being dressed.

Blorbo is going through a medical examination and specific focus is placed on the impersonal aspect, being manhandled or examined by tools or gloved hands, they are the somewhat-dehumanized medical subject of professionals: this is sometimes horror or dehumanization, but it can also be medical kink.

Blorbo and blorbo's friend are ride or die beyond reason, they're a crew, they're found family (not biological), there is Two Of Them (or Five Of Them), they have each other's backs to the end. So loyalty is just a great character beat to hit that people have visited since time immemorial. You can also loyalty kink, when a person refusing to abandon their person(s) just hits just right. I'm not saying that everything under the found family umbrella falls under this, cause it doesn't, but if you have a particular attachment to works tagged [blorbo] & [blorbo] are best friends, or Loyalty, or crew as family, or [blorbo group] is a family but exploring nuclear-family aspects of this is not what makes a fic light up neon in your mind, it might might be worth considering if this is something you'd want to add to your list of likes.

Blorbo is really good at their job, and either respected for it and save the day with their skills or underestimated and show everybody by having the perfect skill at the right moment. More people are tangentially aware of this because of the TV show Leverage, which popularized the concept of "competence porn", or "non-sexual examples of scenes of people being very very good at their job but just makes you oooooo nice job", but if part of what draws you to a character is their niche skillset, or you enjoy stories that turn on characters being masters of their skills, competence kink might be something that resonates with you. Note, this sometimes just overlaps with power fantasies, because not everything in the BAMF [blorbo], tag is focused on competence per say, but if you really love your fave character being skillful, (or alternately, fics in which they are rendered powerless or pathetic tend to grate on you), you might want to explore the competence kink tag.

Blorbo is captured or pinned and rendered unable to breathe, and there is focus on pressure building in their chest, only being able to gasp for sips of air, or the person choking them having power over them, and this is presented as a narrative climax of a scene. This is choking kink, or breathplay. Also can be noted when there is particular narrative fascination with a character's hand at or on another's neck, even if pressure is not being applied.

Blorbo enters the narrative as a dude and is turned into a woman or treated as a woman, whether willingly or unwillingly, and finds this to be either a positive or negative experience. So this is sometimes a gender exploration that is deeply personal to the creator. Sometimes this is forcefem, or forced feminization. Sometimes it's both—exploring that tension between different gender paths can be both emotionally fulfilling and kinky for someone, and that's fine. And again, this can be played for horror or euphoria, but both aspects, if treated a certain way, can be kinky. This is related to a whole family of gender play concepts— for example if dude!blorbo is just dressed in traditionally feminine clothing but is not treated as a woman either by characters or the narrative, it could be crossdressing. If blorbo is a woman being turned into a man, it could be forcemasc. I want to emphasize again that breaking down gender lines is often something someone embarks on for their own gender reasons— AND it's a popular trope across many forms of media— so it's not always a kink. But it's useful to point this one out both because if you bring it up outside of circles where it's normalized, it may not be viewed as appropriate, because these are not the bog-standard ways that everyone approaches gender, presentation, identity, societal expectations, etc, and also because if someone out of the blue asks you for this trope, it's good to be aware that they might be, (whether knowingly or unknowingly), asking for fetish content.

__

So. As you can see. There are a lot of possible kinks that can be handled in a platonic way, but this doesn't mean they aren't kinky. This isn't even everything possible, this is just what came up when I asked the group chat what they personally have seen where they feel that a platonic fic could have used additional tagging.

I am not saying that any of this is wrong to be interested in these kinks, either. People get wired a lot of different ways and sometimes you just feel a certain way about formalwear. Or bondage. Or vore. Or tickling. My point is just that if any of this resonates with you, you might want to consider adding extra tags to your work (you don't even have to tag "humiliation kink," "humiliation" works just fine), and you also might want to consider checking out some tags, because there is probably a vibrant community of people who also like that and who would both love your work and would love to share their work with you.

That's it. Go with god. Now if people are going to be in my notes going HOW CAN SOMETHING PLATONIC BE KINKY I have something to link them.

[jaguarys]

I find it fascinating (derogatory) how the general fandom conversation has shifted from "this woman is getting in the way of our gay ship and she's USELESS and ANNOYING and WE DON'T LIKE HER!" to this weird "no actually she's just not involved in her own relationships because she's too cool and special and awesome and a girlboss". But the problem is that there's not actually a veritable difference there. People still aren't engaging with her as a fully-fledged character. Like sure man calling her a girlboss is fine it's whatever but let that lead somewhere else. Engage with her. Can you actually name any of her character traits or are you just blindly praising her so that you can focus on shipping the guys in the background without feeling bad about it

[conarcoin]

the concept of "lore" ruined discussion of mcrp because like. people use it to mean some kind of weird hybrid of plotline and worldbuilding but ONLY if the server is drama-focused otherwise it doesn't count i guess.

so you get people saying like. hermitcraft isn't a lore server. smplive isn't a lore server. sdmp isn't a lore server. and it's like yeah this is true because "lore server" is a meaningless slop category you guys made up. they very much have plotlines and worldbuilding though 💀

[jessmalia]

HOUSE OF THE DRAGON 2x03 "The Burning Mill"

[perseidlion]

I like to think that if Edwin had lived, he would have quietly embraced his sexuality. I love how in the show that the anguish Edwin feels is more about being known on a deeper level, and that his affection is focused on his best friend rather than struggling with his sexuality. I think Edwin has known for a long time that he was gay, even if he didn't acknowledge it or put words to it.

We think of Edwin and the time he came from as pretty buttoned-up and therefore closeted. But until the modern era, it was actually one of the freer times for queer people in London. It was more about scandals with married men or high-up people having affairs than your average man going to an underground club or having a lover on the side. This was at the same time as the Weimar Republic in Germany where queer people were living openly. It was one of those periods in history where queer rights took several steps forward and then were forced backward.

I think Edwin is uptight because that's a way of asserting control over a life where he's had very little rather than a classic closet-case. He had to shrink himself so much in Hell. The demon chasing him was all about not drawing attention to himself lest he be destroyed. It was the horrific personification of the fear of being known.

We see him start to get over that by the end of season 1. He's confessed to Charles. He's started flirting back with the Cat King. He was uncomfortable with Monty's affections not because he was a boy, but because he didn't feel that way about him.

So I like to picture the Edwin Payne who lived as having a rich social life with his favourite underground clubs and subtle flirtations. And I imagine he would have fallen in love (probably more than once) and maybe settled into the life of a 'bachelor' with a long-time lover. Or perhaps he'd find a woman who the arrangement benefitted as well and married her.

Maybe he got sent to the trenches of WWI (almost certainly, given his age) and maybe he loved and lost someone there.

In any case, I prefer this headcanon over him being closeted and unsure of himself. I prefer to imagine him not as a cliche closeted man from the past, but as someone who just never got a chance to shine and really know himself.

[criticalcrusherbot]

The Women of Helluva Boss: Millennial Fandom Culture and the Reclamation of Female Archetypes

By Crushbot 🤖 and Human Assistant 💁🏽‍♀️

Helluva Boss is many things: hilarious, chaotic, heart-wrenching, and wildly divisive among fans. But one aspect that deserves more attention is how the show depicts its female characters—and how these depictions are deeply rooted in millennial fandom culture, particularly from the early 2000s Tumblr and DeviantART days. This connection isn’t incidental; Vivienne "Vivziepop" Medrano herself is a product of that era, and her work reflects the sensibilities, tropes, and archetypes that defined it. To fully appreciate what Helluva Boss is doing, we need to explore the history of how fandom treated female characters, the infamous "Mary-Sue" phenomenon, and the archetypes that shaped our perception of women in fiction. What emerges is a fascinating interplay of nostalgia, reclamation, and subversion, offering a window into a unique creative legacy that’s far more deliberate than it might seem at first glance.

A Crash Course in Millennial Fandom Culture

Before we dive into the women of Helluva Boss, let’s take a trip down memory lane to the early 2000s, when fandoms were thriving on platforms like Tumblr and DeviantART. These spaces were dominated by a specific kind of fan culture: one that was largely created by and for young, marginalized people (especially women and queer fans) who often felt isolated in their day-to-day lives. Fandoms became sanctuaries, places where fans could express themselves, rewrite the stories they loved, and create new ones.

However, this era wasn’t without its problems. Internalized sexism and societal pressures bled into how fans viewed and created female characters. This is where the "Mary-Sue" phenomenon comes in. A Mary-Sue is an idealized, often self-insert character who is beautiful, powerful, and universally adored. While ostensibly a critique of shallow character writing, the Mary-Sue label was disproportionately used to mock female creators for daring to write characters who reflected their own desires and fantasies. The backlash against Mary-Sues was so pervasive that it reinforced the idea that female characters had to be flawed, secondary, or suffer immensely to be taken seriously.

At the same time, fandoms often vilified "barrier-antagonists"—female characters who stood in the way of the protagonist’s happiness, often in a romantic context. These characters were frequently canonically "annoying" or "useless," written as shallow stereotypes who existed either to be a temporary obstacle or a "trophy" for the male lead. Instead of critiquing the (sexist) writing that reduced these characters to narrative props, fandoms channeled their frustration into rewriting them as outright villains. This wasn’t always done critically; it was more about venting annoyance with the character than analyzing the systemic issues that created her. Think of Tea from Yu-Gi-Oh! circa 2003 (💁🏽‍♀️: too niche? let us know in the comments. cookies if you know what "puppyshipping" is 🤪) or other characters dismissed for being "in the way" of a ship. These "mean girls" became lightning rods for fan resentment, reflecting broader frustrations with the storytelling norms of the time.

Millie and Loona: Power Fantasies Reclaimed

Fast forward to Helluva Boss, and we see Vivienne Medrano’s millennial fandom roots shining through in her female characters. Millie and Loona, for example, embody the kind of power fantasies that Mary-Sue critics would have torn apart in the early 2000s—but here, they’re embraced unapologetically.

Millie is a powerhouse. She’s a loving wife, a skilled assassin, and someone who’s virtually untouchable in combat. To some, she might seem "too perfect," but that’s exactly the point. Millie isn’t meant to be a deeply flawed anti-hero or a tortured soul. She’s a character who represents strength, loyalty, and joy, allowing fans to live vicariously through her as she kicks ass and takes care of her loved ones. This is wish fulfillment done right: not as an excuse for shallow writing, but as a deliberate choice to let a female character be powerful without apology.

Loona, meanwhile, offers a different kind of wish fulfillment. She’s aloof, sarcastic, and emotionally guarded—the quintessential "cool girl" who secretly cares deeply about her found family. She scratches a different itch: the fantasy of being both desired and emotionally untouchable, of keeping people at arm’s length while still being irreplaceable to those who matter most. Loona’s popularity speaks to the evolution of the Mary-Sue archetype, showing how fandoms have learned to embrace complex, powerful women who defy easy categorization.

Stella and Verosika: The Modern Barrier-Antagonist

Then there’s Stella, who fits snugly into the "barrier-antagonist" mold of millennial fandom culture. She’s not nuanced or sympathetic; she’s a loud, over-the-top villain who exists to make Stolas’s life miserable. And that’s okay! Stella serves a narrative purpose that’s as old as fandom itself: she’s the embodiment of the mean girl archetype, the bully that many fans can project their own past frustrations onto. In a story as melodramatic and chaotic as Helluva Boss, her lack of subtlety works in the show’s favor, making her a satisfying foil without distracting from the central narrative.

Verosika, on the other hand, offers a more nuanced take on the barrier-antagonist. She’s sexy, confident, and antagonistic, but she’s also deeply human (or, well, demon). Her history with Blitz is messy and painful, but it’s clear that she’s more than just a hurdle for him to overcome. In "Apology Tour," we see glimpses of her vulnerability and the ways she’s been hurt by Blitz. This evolution reflects how fandom culture has grown out of its black-and-white view of female antagonists, embracing characters who can be both sympathetic and deeply flawed.

Intention and Audience

The women of Helluva Boss aren’t perfect, but that’s exactly the point. Vivziepop’s writing reflects a deep understanding of millennial fandom culture, from its love of power fantasies to its struggles with internalized sexism. These characters feel like a love letter to the fandom spaces that shaped her storytelling: Millie and Loona reclaim the power and confidence of the Mary-Sue archetype, while Stella and Verosika offer modern takes on the barrier-antagonist trope.

Importantly, Helluva Boss is a show that knows its audience. It’s not trying to appeal to everyone; it’s speaking directly to fans who grew up in the same fandom spaces as Vivziepop, who understand the tropes and archetypes being played with. By embracing the strengths of millennial fandom culture while learning from its flaws, the show creates female characters who feel both nostalgic and refreshingly modern.

In the end, Helluva Boss reminds us that wish fulfillment and empowerment aren’t things to be mocked—they’re things to be celebrated. Whether you’re a Millie, a Loona, a Verosika, or even a Stella, there’s a place for you in the wild, chaotic, heartfelt world of Helluva Boss.

[zephrunsimperium]

I genuinely don't know how anyone can come away from Book of Bill not accepting that Bill and Ford were A Thing. I'm not going to go through every example in the text that supports that - plenty of people already have.

Depicting abusive relationships is not inherently evil - especially considering that BoB never presents the abuse as acceptable. Bill can be both sympathetic for the things he's gone through and a perpetrator of horrible things. Ford can be both a victim and a very morally grey individual who didn't treat his assistant or brother well. It's nuanced; it's a good story, it makes the audience reflect and think. That's a good thing. And as an English major I don't think it serves the story to somehow get around the fact that they had something very not straight going on between them.

I understand not wanting to see abusive relationships if it's a trigger but pretending it doesn't exist is just not a very mature response, one that I believe does more harm that good.

So yeah, Bill and Ford explored each others bodies, I don't know what to tell you.

[ride-thedragon]

Because I'm seeing the discourse pop up. Fake Rhaena enjoyers do not have a valued opinion when it comes to the leak about her and Nettles.

"Rhaena gets a bigger plot." Rhaena is literally a beckon of hope for her house by the end, the only dragonrider with her dragon of house Targaryen by the end. She has the entire Vale plot, which , as Rhaenyra thinks Tyraxes isn't enough, could easily be her playing the game of thrones and forming a close alliance and meeting her future husband.

"She deserves a dragon." She has one. It's one of the prettiest dragons in ASOIAF history. One that matches with her sisters.

"Nettles' plot points can be transferred." They can't. It's the worst part of the rumour and people acting as though they care about either characters. It's literally impossible for the characters because of how different they are. Neither of their plots can be transferred one to one. Rhaena is a Sansa parallel in the Narrative, Nettles is Daenerys'.

"It stops this conflict." Any conflict in this instance with these two is point of the story. Their conflicts are there for a reason.

"Rhaena can still get Morning" Then WHAT WAS THE FUCKING POINT???? That's actually insane. What would be the point?

To those people who say Rhaena is black, she isn't. I'll link the multiple post as to why:

Here

And here

And Nettles specifically.

The bottom line is that Rhaena is Valyrian. She isn't black within the written narrative even though her actor is. The way these two gentlemen are black, she isn't.

If she takes Nettles' place, it's racism.

So you fake Rhaena enjoyers who probably have a Daemon daughter oc to revoke her in your canon, who can go on for hours about Daemon and the Velaryon boys without one post about his actual children and who hate Laena for no reason can disrespectfully sit this one out. This change doesn't affect you or your enjoyment.

Let's not act as though the Nettles replacement theory doesn't predate Rhaena’s introduction as a character on the show.

Either all the final girls are on screen, or the point of the adaptation is lost before it can establish itself.

[ranahan]

I’ve had a number of posts on my dash lately going “but did you know Jaster Mereel was a merc who killed people.” I’m more amused than annoyed, but I think this reads enough like a rant that I’m making this its own post rather than a reply to someone else’s. That being said…

Yes. I did in fact know this about one my favourite characters.

How is this any different than the faction of the fandom who simp after Darth Maul? Are they are unaware that Maul is a bad guy? Does it lessen their enjoyment of the character, or could it be that it’s an essential part of their enjoyment even?

Personally, the thing that makes this character intriguing to me is precisely the dichotomy between how he’s portrayed in the comics and also described as a honourable and pious person. There’s a pretty big gap between the reality or mercenary work and honour as we know it on Earth. So that raises all kinds of interesting questions: how would that even work? Or perhaps: what does that tell us about Mandalorian morality? And I find stories (and fanfics) that explore these questions compelling.

Similarly, the story where Jaster Mereel with his mercenary morals rules, is a more entertaining story to me than the story where Satine Kryze and her pacifism rules. Under whose rule would I rather live in real life? Kryze’s, of course. But this is not real life. Mandalore is a fictional place. Absolutely no one is hurt, if they are ruled by a bad guy.

Mandalore’s entire purpose as a fictional place is to create stories and do what stores do, whether that’s entertain, educate, engage or provoke readers. And I happen to think that stories with conflict are more entertaining. The story where Palpatine rules is a better story than the story where Bail Organa rules.

tldr: it’s not a bug, it’s a feature. Mereel is a fictional character, not a real person, so I score my enjoyment and what’s “good” by the metric of what makes a good story, not what I would like to happen in real life. Is Mereel a good person? Debatable. Is he a good character? To me, yes.

I feel like the fans who treat fictional characters like real people, are always going to be disappointed by the segment of fandom who don’t.

Not to say Mereel and Palpatine or Darth Maul are comparable (Mereel is more of a morally grey character whereas Palpatine and Maul are portrayed as simply evil). These are just exaggerated examples to illustrate my point. I’m similarly giving Kryze’s rule a generous interpretation to show my point does not depend on the relative morality of the characters.

[antimony-medusa]

Okay so.

Look. At this point I am old and I am tired and I am pretty firmly coming down on write what you want just archive lock it or something and tag it please. If I am hitting tropes or trends or ships that don't do it for me, I can simply click away and my day is not ruined. Cancellation is not on my radar at all. Okay. So. With that out of the way.

Look. Sometimes, when you are pushing the boundary of platonic possessive and platonic kink-adjacent stuff, if you lead special emphasis on the fact that everybody involved is related, it doesn't necessarily make it magically more platonic. It just gives it extra vibes. Specifically you are like STRONGLY invoking incest as a kink right now, my guys. This is getting dire. Like I'm sorry but if someone is lying down half asleep listening to the "sounds of kissing" and one of the people doing the kissing keeps saying how good of a brother the other person is, like, you can smack a "platonic kissing" tag on that one all you like, and I can even follow you on a faith journey and believe that you intended that to be platonic, but uh, the first reading of that one is distinctly like— man, please. I'm dying here.

In the same way that if you have an interaction— say, you did a cuddle-potion fic, and you say to yourself "man these guys are getting handsy, if they're both dating age this would look kinda sketchy'' so your solve is to make one of them twelve and then suddenly you have made your slightly off-colour fic take on a whole new tone— in the same way that making one of the characters underage isn't a magic button you can press to make something fully platonic no matter what, making your characters related isn't going to make it magically platonic if they are say, all in the same bed and one of the characters is feeling the mattress move as his brother and father cuddle each other and say how much they love each other.

This isn't even an isolated incident. Please.

If you are looking at your interaction and going "man this kinda looks like ship" and you want to make sure people don't think it's ship, aging down the character isn't a magic solve, and making them related isn't a magic solve, not when the rest of the tropes you are pulling from are pulled directly from romance and porn. You just invoked a DIFFERENT kink on top of the first one you had. Like you might not know that that's where the tropes come from but guys. Please. The solve for this scene is either changing it substantially until it no longer looks like ship, accepting that it looks off but you don't mean it that way and go "if people misunderstand this it's not my problem" or maybe considering the option that what you want to write is ship. I keep hitting this stuff and going "are you SERIOUS" and then it gets worse.

Or maybe, idk, you're specifically into all the people being related like that. You do you, the contents of your Ao3 account is not hurting anyone. But in that case please for the love of GOD can you please consider tagging it?

[necromancer-at-abattoir]

WHAT WAS CAMP HALF BLOOD LIKE IN THE EARLY CENTURIES?

Ok, ok, LISTEN. THIS IS IMPORTANT. I HAVE LITERALLY NEVER HEARD ANYBODY TALK ABOUT THIS, AND I WOULD LOVE IF EVERY PJO FAN COULD SEE AND TALK ABOUT THIS! Does ANYONE ever wonder what Camp Half-Blood was like in the centuries before the 21rst? What about the 15th or 16th century-where did they go then? The concept of a summer camp is very modern, so what was Camp Half-Blood like? Did more demigods stay there? Did more demigods SURVIVE to adulthood because there was no technology? Was Camp Half Blood a sanctuary of some kind-how many demigods stayed there for a full year? And what were the cabins like? Did boys and girls have separate cabins or something? How were Christians and other Abrahamic people affected knowing that the Greek Gods existed? What did girls and boys DO in the camp? How did Chiron manage all of them-how many children filled up the Dionysus cabin?

And Camp Jupiter, what was it like there?

Oh my god, please reblog this! I would like as many fans as possible to see this so we can discuss it! Thanks for reading, and I will DEFINITELY read ALL comments, so don't be shy!

[asm5129]

I’m playing the new life is strange game and apparently people are pissed at how it handles following up the original because OF COURSE THEY ARE.

The first game has two endings, one where Chloe survives and one where she dies.

Officially, neither is the “canon” ending, that’s been made repeatedly clear since the original game released.

But a bunch of people keep demanding more of the Max and Chloe story. It doesn’t matter that they’ve gotten comics about it and a prequel, they still want more. They don’t want to let Life is Strange be an anthology series.

So here, Max is back as the protagonist. But guess what? Chloe isn’t a main character.

Because she fucking DIED in one of the endings, and both are canon.

So even if you choose to play in the timeline where she survived, they had to write her out or they would have had to develop two different games, one with Chloe and one without.

So instead they made it an interesting character issue. Max is stuck in the past, in the trauma of the events of the first game while Chloe wants to move forward.

It was never going to be Max and Chloe living happily ever after. It couldn’t be.

That’s not an interesting game, and it flies in the face of the ending of the original.

This game is in many ways rooted in Max dealing with that trauma and like…that’s an interesting story.

But you’re mad because the story you wanted isn’t the story they made, even though that was literally never going to happen.

The LiS fandom is shitty sometimes

Very gatekeep-y

There’s a sort of notion that there’s only one way for a Life is Strange game to be Life is Strange, but the people that buy into that don’t seem to realize that their criteria is literally just the game that already exists.

Maybe I’d give more credibility to the current criticisms if I hadn’t had to deal with YEARS of so-called “fans” harassing me for being a legitimate fan of every LiS entry, rather than just the ones it’s most popular to like. I have had to deal with this toxic gatekeeping and backlash for fucking EVER so it’s hard to give much of a shit about y’all not getting exactly what you want here.

[raointean]

Silmarillion Survey Essay!

My essay was due last night (submitted it with 6 minutes to spare!) and my professor said I could post it to Tumblr if I wanted to. It's divided into four sections, all marked. The first section is the introduction where I explain the point of the survey, who I studied, and why. The second section is the methods I used to design the survey, get answers, record answers, and control for variables. The third section is results, where I highlight several of the questions I thought would be most stratifying and explain what I actually found (it has graphs!). The fourth section is the discussion where I talk about what I found and what conclusions I drew from that.

I'd love to hear all of your thoughts on the results and my conclusions!

Introduction

            For this project, I looked into age (and length of time in fandom, in one case) affected knowledge and attitudes about fandom language. I investigated several terms and phrases, both from fandom at large and from the Silmarillion fandom specifically. The group I studied was the fandom of The Silmarillion on Tumblr because I am intimately familiar with that internet space (and could therefore phrase the questions in a way that would be understood) and because the majority of Archiveofourown.org (a popular fanfiction website) users are also Tumblr users.

            For the purposes of this paper, I am defining the Silmarillion fandom as a community of practice. The Wenger-Trayner article, “Communities of practice a brief introduction”, defines a community of practice as an entity with three parts: domain, community, and practice. The domain is “an identity defined by a shared domain of interest” (Wenger-Trayner 2). The domain in this case is The Silmarillion. As The Silmarillion is a history book set in a fictional universe, it is incredibly dry at times (there is an entire chapter titled “Of Beleriand and its Realms” which deals mostly with geography) so anyone who reads it by choice is necessarily interested in the work. The second part, community, is made up of “members [that] engage in joint activities and discussions, help each other, and share information” (Wenger-Trayner 2). Most fandoms engage in discourse/discussion, create transformative art (mostly written or visual, but I have seen musical as well) and exchange craft advice to better each other’s creative work, but due to the almost academic nature of the Silmarillion fandom, we exchange background lore knowledge, additions to Tolkien’s conlangs, translations, timelines, and character sheets in addition to the regular fandom activities. Finally, the Silmarillion fandom also has a shared practice, defined as “They develop a shared repertoire of resources: experiences, stories, tools, ways of addressing recurring problems—in short a shared practice” (Wenger-Trayner 2). As mentioned above, the Silmarillion fandom has shared resources (such as tolkiengateway.net, Nerd of the Rings on YouTube, as well as several established “fandom elders” who are happy to answer questions), stories, established characterizations for “only-mentioned-once-in-a-footnote” type characters, settled linguistic debates, and several research-oriented blogs (such as two of my own) that record niche or new knowledge about either Tolkien’s work or the fandom itself. Almost all of the above (with the possible exception of the website and the youtuber previously mentioned) is unpaid hobby work.

            When doing this survey, I expected to find a rather steep difference between older and younger members of fandom regarding their knowledge of fandom terminology. I expected the 18-25 age group to be the most knowledgeable of fandom terms with the under 18 group to be only slightly behind them and the 26-30 group a slightly further way behind the under 18 group. For the groups over 30, I anticipated that the rate of knowledge would sharply decline and that older fans would be unfamiliar with fandom terminology for the most part. I was… incorrect.

Methods

            There are eight questions highlighted in this paper. The first chart (Figure 1.) is the total percentage of answers that amounted to “I don’t know”, filtered by age. The first table (Figure 2.) looks at the people who did not know the term “Isekai” based on whether or not they were native speakers of English or live in Asia (given that “Isekai” is a Japanese word). The second table (Figure 3.) compares the percentage of people who mentioned that the word “angst” is also present in everyday German, categorized by German speakers and non-German speakers. The third table (Figure 4.) examines attitudes towards the anti/pro-ship terms based on age. The second chart (Figure 5.) examines attitudes towards the term “omegaverse” separated by age. The fourth table (Figure 6.) compares groups of people who could define the difference between “peredhel” and “peredhil”, separated by how long they have participated in the fandom surrounding the Silmarillion fandom. The third chart (Figure 7a.) looks at people who understand the phrase “Fëanor did nothing wrong” as a joke, filtered by age. Finally, the fourth chart (Figure 7b.) shows the percentage of people who used the phrase “tongue-in-cheek” in the 31-40 group as opposed to other age groups (that one was not explicitly asked for in the survey; I simply noticed a steep trend while dissecting the results from the “Fëanor did nothing wrong” question).

            I compiled all of these questions (along with several others) in a google form as a three-part survey. The first part was comprised of basic demographic questions, the second of general fandom terms and phrases, and the third of terms and phrases specific to fanfiction of The Silmarillion. The 418 responses were recorded and examined in Google sheets, which I used to filter the demographic information for ease of synthetization.

            The group I examined was people who participate in the Silmarillion fandom on Tumblr. I chose this group because I am familiar with them, because they are the most likely to be aware of these terms (due to the large overlap between Tumblr and Archive Of Our Own), and because fandom language is (to the best of my knowledge) not well studied. I was able to isolate this group by only posting the survey to Tumblr itself. Tumblr posts are only viewable to Tumblr users, so even if someone were to post a link to the post elsewhere, the only people able to access the survey would be Tumblr users. I further attempted to control by including several fandom related and The Silmarillion-specific questions in the demographic portion of the survey. Anyone who completed the demographic portion would have been well aware of the nature of the survey by the end, regardless of how poorly they understood the original survey posting. These measures, of course, did not stop everyone. I had a few respondents who submitted only the demographic portion or the demographic and general fandom portions. Luckily, due to the Google Sheets functions, such responses were relatively easy to filter out.

Results

(Figure 1. A chart observing, out of all 16,065 answers, how many equate to “I don’t know?” Under 18: 14.24%, 18-25: 5.9%, 26-30: 7.43%, 31-40: 9.17%, 41-50: 13.63%, 51-60: 7.3%, 61-70: 9.7%)

(Figure 2. A table comparing different categories of people and what percentage of them are unfamiliar with the term “Isekai”; a Japanese term which is most commonly defined as “a trope in which a character somehow travels from the mundane ‘real’ universe into a fictional one.” 23.08% of native English speakers are unfamiliar with the term. 27.07% of non-native English speakers are unfamiliar with the term. 20% of respondents who live in Asia are unfamiliar with the term.)

(Figure 3. A table comparing different categories who mention that “Angst” (defined in fandom context as “dramatic, serious, and sometimes dark”) is an everyday word in German. 12.73% of German speakers mentioned it. 1.38% of people who either do not speak German, or did not mention it in their language background, mentioned it.)

(Figure 4. A table comparing the attitudes of different age groups to the terms “anti-ship” and “pro-ship”. These terms are hotly debated in fandom. Those on the anti side of the debate define anti-ship as “being morally against abuse and pedophilia,” and pro-ship as “excusing abuse and pedophilia in fandom.” Those on the pro side of the debate define anti-ship as “puritanical and chronically online people who can’t separate reality and fiction” and pro-ship as “letting people ship whatever they want and separating reality from fiction.” Those under 18 are 4% anti, 4% pro, and 92% neutral. Those from 18-25 are 2.44% anti, 29.27% pro, and 68.29% neutral. Those from 26-30 are 0% anti, 33.67% pro, and 66.33% neutral. Those from 31-40 are 2.2% anti, 26.37% pro, and 71.43% neutral. Those from 41-50 are 0% anti, 46.15% pro, and 53.85% neutral. Those from 51-60 are 12.5% anti, 37.5% anti, and 50% neutral. Those from 61-70 are 0% anti, 50% pro, and 50% neutral (although, admittedly, there are only two respondents in that group.))

(Figure 5. A chart that shows the rate at which respondents cringed (using phrases such as “please don’t make me define this,” “oh god,” and “Nuh uh. Sorry man. Sweet baby rays good lord.”*) within their responses while defining “Omegaverse” (an erotica subgenre within fandom based on outdated wolfpack dynamics. Very popular, but also very taboo). Under 18: 16%, 18-25: 6.71% 26-30: 7.07%, 31-40: 6.45%, 41-50: 12%, 51-60: 12.5%)

*All real responses I received

(Figure 6: A chart exploring the differences between who can correctly identify the difference between the terms “peredhel” (half-elf, singular) and “peredhil” (half-elves, plural) based on how long they have been in the fandom. Those who have been in the fandom for less than a year are 31.71% correct and 14.63% incorrect. Those who have been in the fandom for 1-2 years are 71.67% correct and 10% incorrect. Those who have been in the fandom for 3-4 years are 74.44% correct and 7.78% incorrect. Those who have been in the fandom for 5-9 years are 65.93% correct and 9.89% incorrect. Those who have been in the fandom for 10-14 years are 73.85% correct and 12.31% incorrect. Those who have been in the fandom for 15-19 years are 76.92% correct and 11.59% incorrect. Those who have been in the fandom for 20-24 years are 69.57% correct and 13.04% incorrect. Those who have been in the fandom for 25-29 years are 100% correct and 0% incorrect. Those who have been in the fandom for 30-34 years are 75% correct and 0% incorrect. Those who have been in the fandom for 35-39 years are 100% correct and 0% incorrect.)

(Figure 7a. A chart observing who sees the phrase “Fëanor did nothing wrong as ironic” divided by age. Under 18: 23.53%, 18-25: 35.77%, 26-30: 36.9%, 31-40: 42.67%, 41-50: 22.22%, 51-60: 37.5%)

(Figure 7b. A chart observing the percentages of age groups who used the phrase “tongue-in-cheek” while answering the above question. 18-25: 1.84%, 26-30: 2.04%, 31-40: 9.78)

Discussion

            Observing these results, I can see that, while there is some level of stratification by age and length of time spent in the fandom, it is not nearly as dramatic as I had expected it to be. These results strongly demonstrate the power of communities of practice. These people, across ages and continents, communicate so often and so deeply, that nearly all terms are understood to the same degree by everyone, and nearly everyone has similar stances on divisive pan-fandom debates.

            Were I to do this study again, or a similar study in the future, I would probably narrow the purview by a lot. I would ask fewer questions (or at least, only ask questions of a single type), compare them against only one demographic question, and sincerely consider making them multiple choice. That being said, I do not regret this survey having short answer questions. There were several definitions of several terms that I never could have come up with in a million years. Synthesizing the short answers may have taken more effort on my part, but I learned a lot about my fandom.

@proship-anti-discussion (ship debate was mentioned)