#it doesn’t matter if you’re part of the demographic that’s being harmed and you have no problem with it you don’t speak for all of us

[samuraisharkie]

that virtualtoybox person literally told me they aren’t reading what I said and then tried to talk to me w about as much in their tags lol. i never understand people that go ‘I’m not reading all of that but you should read what I have to say” bc like. imagine how infuriated ur gonna get when that response is leveled right back at you? and judging by their tags they didn’t read past my very first line. bc they started comparing animals and animal rights to eugenics which is EXACTLY what I was saying is extremely dangerous to do. That’s exactly how people start calling things that happen to animals a ‘Holocaust’ and I’m positive such a statement is made in that book they told me to read. I’m disabled too. I know what I’m talking fucking about too. In the animal section, I for SURE know more than you do! Because if you knew and truly cared about animals and their welfare, you wouldn’t be talking like PETA. Here’s a trick to other disability activists: learn about animal welfare by volunteering on farms and educating yourself on breeders and the industry rather than getting involved in PETA! And another critical trick: NEVER compare animals to people! That’s exactly what the freaks that think any living thing with a deformity that should die are doing. These people would clutch their pearls the moment they hear farms cull undesirable animals bc they can’t afford to keep every single one and have to streamline their breeding and raising to what will help keep the farm running. That doesn’t mean these farmers want to do the same to people, because the animal is NOT a person and doesn’t live like one. Our lives are not even remotely comparable! People like OP are the people that keep a wild bird with an amputated wing alive bc in their mind it would be insinuating all amputees should die if the bird is put down, and next thing the bird is on the Dodo as inspiration porn. Duex Face is an exception to two headed animals, not the rule. Don’t tell me to do my research when you’re spouting talking points from people that have caused more problems for animals as a whole second only to the commercialization of animal industry. Maybe you need some research (field research) instead! They’re going to block me and I’m assuming that’s why I can’t rb the post anymore even if I wanted to (like I said I didn’t want to start a fight so like. I’m not going to be yelling and acting like an asshole. I swore a bit in the tags initially bc I feel very strongly about how animal rights activists have fucked up disability activism by acting like there’s equivalency in our existences, but that’s not targeted. Most was going to respond telling them that if they feel this strongly they need to be reading more about the animal industry rather than relying on people that are in no way experts on animals talking as an authority on them, and using that to tie with their human rights activism as if animals rights and humans rights are even remotely the same in any way. Whatever though at least the tags are there if anyone who cares enough actually reads them and thinks about them. Will most likely just attract militant vegans and ARAs like the op but whatever)

[atlas-nsfw]

I think these topics are worth serious academic studies. In traditional publishing, we can point out straight-white prominence as a symptom of the beliefs of the publishers (perhaps they think queer people and POC arent large enough markets or not wealthy enough markets, etc.) but in non-traditional publishing we still see a similar emphasis on white and straight dynamics (though there is admittedly more diversity than in traditional publishing). So this lends itself to the belief that white and straight authors are more common. This could be a language barrier, as English speaking spaces online tend to be white by majority (It could be worth comparing white vs POC demographics in the real world to the digital world to the indie monster publishing to free/fandom monster romance), but it is hard to say. On a similar note, it may be interesting to dissect what different audiences want from their romances.

The monster romance community on tumblr is highly varied. There are those who enjoy dub/non-con, those who want their monsters to be physically monstrous but moral paragons, those who like x reader content, those who want monster x monster. Just because someone voices an opinion doesn’t mean they are a significant portion of a population though. This especially applies when money is a factor (traditional publishing vs indie vs free/fandom).

A recent example is Baldur’s Gate 3 releasing that the most romanced character is Shadowheart (the most generically attractive white girl), followed by Karlach (who is just generically attractive but big), then Lae’zel (not generically attractive but woman). Which was a huge shock to fandom spaces where Astarion (white boy vampire who is a certified tumblr sexyman) is most popular. This is because the fandom space is not a 1:1 ration with the consumer base. The fandom space is made up of mostly women (admittedly white women) as fandom spaces often are, while the consumer base has a significantly larger population of straight men, who have traditionally made up a majority video game consumer bases as developers cater around them.

As just mentioned, the consumer base and creator are not independent. Any academic study would have to consider both if they wanted to be thorough.

Another interesting angle is that people can be trained to find certain things attractive, especially if they are allowed a degree of removal from the object of attraction (people who read non-con do not want to be actually violated in real life usually, consent being vital in bdsm spaces, tolerating toxicity in fictional relationships but not real ones, etc.). Beauty standards are perpetuated this way but so are concepts about what is hot vs not. Plenty of people internalize “harmful” tropes as hot because they have a history of being exposed to them in that context and haven’t received enough incentive to overcome challenge their attraction to the trope(in theory though this too warrants study).

In summary, I don’t have a lot of answers but I would be genuinely curious about quantitive and qualitative studies on the topics mentioned here! There is clearly a lot we can learn by asking these questions and I am glad OP brought it up!

I would be very interested in counterpoints or other angles that other people come up with on this topic! The more voices engaging with a topic, the more scope it has!

Some light reading:

^this one talks about formal segregation as a historic factor which I didn’t get to on my post but I definitely a factor to consider!

^ short article on some proposed reasons people gravitate towards monster romance

so I got some interest on this post where I tossed out that I wanted to talk more about monster romance and race and gender. it's been really nice to see a few folks are also wanting to hear/talk about it! I'm not prepared to say anything at length [eta: this turned out to be kind of a lie] with any certainty or research to back me up, but I thought I could post a rough outline of sorts of what I'd want to research and explore further, just as a starting point for myself but also a jumping off point if anyone else has any thoughts or resources.

I guess I'll start with gender first. I'm new to the romance genre generally, but I don't think it's a surprise that the genre has always been dominated by discourse around who reads romance and the kind of gender dynamics presented in a lot of conventional romance books (which are generally heterosexual/heteronormative in a lot of problematic ways). I'm thinking of the harlequin romances my mom and grandma used to read, but also of the discussions around colleen hoover's work and then the dark romance sub-genre too.

this means that there's the obvi discussion to be had about content vs. context. who is writing the romance, what informs their writing, what messaging comes through via choices made by the author, as well as by the context the author is writing in. I'm sure if you've been reading romance--even fanfic--for a while, you're well versed in some of these conversations, even if just in a casual way.

after considering romance on a macro level, I think you'd then have to look at some of those more micro sub-genres. where are gender norms accentuated and exaggerated, and to what end? why is dark romance a thing, why do (usually) straight white women want to fantasize about being in that kind of relationship? what's the purpose being met? (this is all asked non-judgmentally, btw, as I also enjoy dark romance.)

and maybe there are folks who would dislike my comparing of monster romance to dark romance, but I do think the two are related, especially based on a lot of posts I've seen since joining this corner of tumblr. I think there's a lot of interest in exploring ideas around control and dominance that dark romance and monster romance provide contained space for. if you watched my YouTube video, I touch on this a little bit more at the end as well.

I'm sure I'm missing a lot re: gender (like all the stories being told about lgbtq+ MCs), but this is just some initial thoughts at the fore of my brain.

as for race...........well. lol.

there's the very surface level question around what percentage of monster romance FMCs are white. I genuinely don't have this answer, and I know there are a lot of nonwhite FMCs too! but I'd be really curious to know the actual numbers here. why? well, bc diversity matters. but also because of the decades long narratives around white women as victims of men of color, and how that narrative has been used to weaponize whiteness and demonize blackness specifically, and non-whiteness more generally.

I am def not saying that all monster MMCs = depictions of non-whiteness, I'm just thinking about the connections between equating non-white people/bodies with monstrosity. I'm thinking of the historical framing of non-white people and communities as sub-human, as savages, as beastly. inhumane. monsters have kinda always been a metaphor for the other, including the non-white other, and I think it'd be naive of us to assume that vestiges of that brand of racism (which is still alive and well) never inform the ways creators engage with monster romance and monsterfucking, consciously AND unconsciously.

I'm also thinking about orientalism. I'm thinking of the exotification and classification of the east. the way westerners invaded the eastern world and began treating the people there like specimens. I'm thinking about how othering and abjecting and exotifying a culture or community or person can create a power-informed version of sexualizing that culture or community or person. like, othering/abjecting/exotifying can lead to creating a perverted sort of desiring. I have a special interest here because I'm arab, so this stuff feels particularly personal, but yeah. it makes my wheels turn.

there's also a dehumanizing element of turning an othered body into a piece of sexual meat. I'm thinking about the way monsters in these books are always excessive, the way their penises are always massive. we can't pretend that doesn't seem a little familiar to the degrading ways white people have also discussed black bodies, too. like. I'm not saying wanting our monsters to have big dicks is racist, I'm just saying there are some aspects of the genre that I think deserve to be ~unpacked~ and considered in a wider context that takes this kind of stuff into account. not as a confirmed given, but as an avenue worth approaching with curiosity, if only to point out the ways in which it's NOT a product of racism/anti-blackness.

obvi this post is not backed up at present with a single source because I'm just thinking out loud based on stuff I've read previously over the years that I definitely would need to revisit, so I totally get if you read this and think I'm being ridiculous. but if you saw my first post and were kinda wondering what I had in mind when making it, this is it.

[raven-at-the-writing-desk]

Reading on your thoughts of an otome version of TWST, to be honest, I agree and I’m making a romantic fangame of TWST.

That being said, I went through like four different drafts before I settled on one that I like which is:

It’s just a dream!

A dream where everyone plays what they were inspired by in the fairytale. And when the player character wakes up, their just friends with the boys.

Otomes and romance visual novels where the love interest(s) has heavy trauma, I can never finish it. An example is Obey Me, not only does it heats up my phone, it just doesn’t sit right with me that *Spoilers*

the Mc just forgive(?) Belphagor for killing them and that he only stopped trying to kill them because they are descendant of their sister????

It’s why for my self-insert on my Obey Me blog that Obey Me!Mieka puts the brothers at a distance even as they spent time together and is only really close to the angels and Solomon. Sorry for the slight rant about Obey Me.

Oh, and the TWST boys are in their teenage years so puberty, hormones, and attending an single gendered boarding school goes not go well together at all. Drama is happening left and right, on large and small scales.

 [Referencing this post!]

***CONTENT WARNING: I have put some of my response below a cut, as I will go on to briefly discuss self-harm and suicide.***

Oooh, how exciting ^^ Best of luck, and I hope that you’re having fun with the process of making it! Creating a game takes a lot of time, energy, and resources, so be sure to take proper breaks to avoid burnout.

Yeah, I think that the idea of a TWST dating sim (I’m going to avoid using the term “otome” moving forward, as that can be alienating for those that don’t identify as part of the “maiden” demographic that those games try to appeal to) could work as an “it was all just a dream” kind of thing. As I said in my original post, the main problems with “translating” TWST to a different genre is that a lot of what makes up the core and the identity of TWST (the realism of the relationships, the emphasis on friends and personal/individual character growth, and addressing darker subject matters and traumas, etc.) fundamentally clashes with the usual trappings of dating sims. In the circumstances of a dream, it’d be very possible to explore romance while softening the details of the original without necessarily erasing or overwriting the original events and characters of TWST. It’d also work really well with the “Wonderland” aspect of Twisted Wonderland--you, the player, are the “Alice” that has fallen into their “dream world”... but you’ll eventually have to wake up from that dream, just as Alice did. 

I definitely think that involving heavy trauma in dating sims isn’t appealing for everyone 💦 I think part of the draw of a TWST dating sim is that people are looking forward to “bettering” the boys with their presence and helping them with their problems, but that in of itself is a double-edged sword. If it isn’t done well, it can end up sending the wrong message to the people playing and make them feel uncomfortable, like in the example you gave. Once, I played a dating sim which (in the “true” ending) the protagonist stabs themselves in order to show their suicidal love interest that if he were to take his own life, it would also harm the ones he loves (with the stabbing being the protagonist’s literal demonstration of them “hurting” from their love interest’s actions). That somehow convinces the love interest to not attempt to unalive himself again????????? And then they live happily ever after, recovering in the hospital together???????? That does NOT sit well with me. It unintentionally sends the message that it’s “okay” to harm yourself for love, and that it’s “okay” to hold your own wellbeing hostage to prevent someone else from hurting themselves (which IS guilt tripping). It can read as incredibly insensitive to those who are going through similar situations in real life, and it oversimplifies the very complex matter of managing one’s mental health. I worry that a heavy focus on the protagonist “fixing” the TWST boys can easily lean into misunderstanding their issues and oversimplifying the solutions, such as in the example I gave.

I think that inexperience and immaturity come with dating for both teenagers and adults. Age doesn’t always necessarily correlate with experience and maturity in relationships (though it’s certainly more chaotic when you factor in teenage hormones and people just trying to figure out who they are and what they want to do). I’m not going to speak on the subject of all boys boarding schools and how that could factor into this, because I don’t want to make sweeping assumptions without any knowledge on them. Suffice to say, I think the TWST boys would still be varying degrees of messes when it comes to romance 🤣 (as we’ve seen in Ghost Marriage). That’s very much what a ‘real’ relationship is! Not being perfect, but learning to address issues and to compromise with your S/O--an interpretation which I think fits the spirit of what the original TWST is: a world with magic and wacky shenanigans rooted in realism.

[piccolina-mina]

Our girl is thriving this season, but what the fuck is this Wyatt plot? I need your thinks about this one. I just knew you'd be six posts in on this by now. HAHAHAHAHAHAHA!

*sighs* For fk's sake, nonny. I don't even like talking about it because I get ranty.

What do you want me to say? Honestly, everything you can imagine I would feel about this, you're probably right. Because you know, I'm that b*tch always getting ranty about racism and stuff.

In short, I hate it. I think it's unnecessary, tone-deaf, random, pointless, lowkey offensive, and illogical. I legitimately find it triggering AF. And it doesn't make sense.

It's Unnecessary. There is a fraction of a chance that it will connect to something more significant, but even if that's the case, I'm confident that end result or connection could've taken place without this random reform racist Wyatt storyline. This series has struggled enough as it is properly utilizing all of its primary characters as well as providing them with decent screentime and arcs. It literally makes no sense to spend any of that time that could be used elsewhere on primary characters on a recurring guest star.

This isn't actually about Rosa, it's about Wyatt. Following up on the previous point, this specific arc caters to Wyatt. Revolves around Wyatt. Rosa is just a passive participant and vessel for this Wyatt storyline. So again, the arc itself is about a recurring character. At least when they did something similarly bringing back Cam to siphon time and arcs away from its main cast they found ways to implement it better and tied her to multiple main characters, so it wasn't a total waste.

The intended Wyatt/Rosa parallel is illogical. I know what they're intending to do with this storyline, drawing parallels between Rosa's experience coming back from the dead after ten years and trying to make sense of that and atone for things before and having this second chance to make things right and go down the right path and so forth and Wyatt losing his memory and his racist ways and having to reconcile with who he was to who he can be and all of that. I understand the concept they're trying to sell. It just doesn't work. Rosa's addiction is not equivalent to Wyatt's racism and violence. Her mental illness isn't either. It's dangerous to invite the comparasions with this storyline.

It's not successful redemption. True redemption is Wyatt knowing and remembering his actions and then trying to atone for them. It's not the convenience of amnesia wiping out his memory only giving him distance from his actions rather than really facing up to them. Because of the amnesia, to Wyatt, it's like he's hearing about another person. It's a cop out. He doesn't Actually have to do the work to redeem himself or atone or learn or grow. IF we're supposed to compare it to Rosa, she knew what she did and remembers and knows how she hurt her loved ones or whatever and she's actively trying to make amends for that as part of her program... a program that Wyatt isn't working or anything BTW.

They've contradicted themselves too much and are rewriting their own work and thus twisting everything up just to make this storyline work and it still doesn't. The timeline is all fkd up... what they established already all of it..The Longs were racist before Kate's death. Kate was racist. To suggest that a 10+ amnesiac blackout clean slates and erases all of Wyatt's racism is just wrong. As in it literally doesn't even make any sense. That is not how the amnesia works but they keep playing both sides of it trying to make it work. To sell us what they're claiming, he would have to have ALL of his memories wiped and have forgotten who he was completely.

Wyatt is behaving like he's shocked by racism in this town but they're also trying to argue that he was born into it. Wyatt was surrounded by racists and his friends come from racist families but he's acting like the very concept of him ever being ingratiated in it is some huge surprise. Wyatt looks affronted by things like Confederate flags. Wyatt being steeped in and surrounded by racism predates his amnesia period.

Kyle mentioned that line about Wyatt putting Whites Only on water fountains, and it sounded like a school prank. It also sounded like something Kyle was reminding Rosa of as if she was alive when that incident happened. Therefore, Wyatt was doing racist stuff before she died. Kyle would've been out of school by then so how else would he know that or why would he bother retaining it?

IF Wyatt and Rosa really were friends before (which holy retcon), then it makes no real sense that he would get psychopathically angry about his "friend" who does drugs getting into a car accident with his sister who does drugs. He would've mourned them both not jumped to severe racism and violence. But both he and Jasmine's family (who are MIA for all of this) did that... jumped to racism. So was Wyatt indoctrinated by his family or indoctrinated by message boards and shit? And if Wyatt and Rosa were friends than why was Kate such a racist bitch to Rosa?

They're backdrafting history JUST to make this storyline that we don't need with a character who isn't even a main one to work.

By not actually addressing that Wyatt has to unlearn racism and giving him an out through amnesia, there is the very realistic issue of that latent racism to come out at any given time. What happens when he's drunk? What happens when he's really angry at a POC?

Tying Wyatt's redemption with his clear affection for Rosa is again dangerous and irresponsible. I know we would all like to think that love is the way and through love it can heal racism, but that puts the responsibility on the disenfranchised person to be "lovable." Because if Wyatt WAS friends with Rosa once then that means the second Rosa did something unlovable she was just another *insert racist slur of choosing* right? It means that there's a possibility that if his feelings for Rosa dwindle or things go sideways in some way there's a chance that he could revert back to those racist ways. Loving Rosa(linda) and pinning all of his wanting to be better on her because of her makes his actively learning to be anti-racist conditional. Right now he's not doing this for him. He's doing it because of Rosa.

This entire storyline has placed the burden of forgiveness on Rosa, his victim. Without him ever having to actually make amends. It's this turn the other cheek BS that means there's nothing too big or harmful that can't result in forgiveness. It relies on Rosa and all that she represents to extend an inhumane level of mercy and grace to their tormentor and oppressor that was never once extended to them. It's such a consistent and problematic thing projected on disenfranchised parties that ONLY benefits the majority and makes them feel good. It's a narrative of meeting someone halfway when the playing field was uneven and the minorities are in actuality doing more work and making a longer trek. Halfway and meeting in the middle only works if both sides were even. They are not. It's the reaching across the aisle both sidesms when one side was clearly and actively more harmful than the other and than calling that peace and equity. It is not.

This storyline was meant to scintillate some viewers with this "what if" notion and teach others a meaningful lesson or be this poorly thought out gateway to exploring a complex storyline but it came at the expense of other demographics who actively have to deal with racist crap. And because of their problematic approach what is simply "just entertainment" to some who has the luxury of not having to think about it beyond that, is just gross and insanely triggering and uncomfortable to others. The others who deal with the reality of the subject at hand.

They wrote themselves into a corner with Wyatt so trying to dig him out of that no matter the cost or logic is absurd. This storyline could've worked better if Wyatt's racism didn't also include conscious, constant, extreme violence. But they spent all of this time making Wyatt the face of violent racism and now are trying to redeem him with no real effort. He wasn't just using slurs or making microaggressions. He wasn't some insensitive or aloof white person. He is a murderer. He has killed people. He technically murdered Liz in cold-blood. He knew she was in the crashdown when he shot up the place. The lights were still on. He beat up Arturo so badly he nearly killed him well after his friends even stopped. He attacked and intended to kill Rosa. And his handiwork was a constant thing, enough for Jenna to comment on it. And now we're supposed to ignore all of that because he has amnesia and has puppy dog eyes?

The fact that we can entertain (and for some succeed) Wyatt in all of his hot white dudeness' redemption after everything he has done slips into the inherent racism of society in the first place and is enraging. Because systemically and culturally and inherently society will bend over backwards to find a way to absolve a hot white guy no matter his actions. Flint and Noah couldn't get this type of redemption... So their intended storyline about evolving from racism STILL plays into the racist structures set up in society.

And because some people like it, there's this slippery territory of NO everyone who genuinely enjoys this aren't racist for enjoying it. But yes, this entire storyline and how it is playing out is at the very least racially insensitive.

In order for this storyline to work they would actually have to show Wyatt doing the work. They don't have enough time to dedicate to such a delicate storyline. It's been a C and D filler storyline with 45 second to a minute scenes. That's not enough time to explore this properly. We would've needed to see Wyatt returning home from the hospital. We would've needed to see Wyatt with his friends and it not feeling right and his discomfort. We would've needed to see Wyatt going through his yearbook and googling himself and the horror and disgust he felt. We would need to see this through his eyes. But we didn't have the time for that and we wouldn't have anyway because he's not a main character. We only get Wyatt through Rosa's eyes and they haven't even dedicated enough time to that for it to work. Rosa isn't conflicted at all. She didn't struggle to forgive him. She was reduced to a school girl with a crush and an insane level of grace and they just threw that at us with no buildup whatsoever. I don't know where Rosa's head is and how she got to this to place. Not really. And the only thing working about this is the chemistry between two actors who are allegedly dating so of course there's chemistry.

It literally feels like another instance of a favorite actor being shoehorned into a storyline just for the hell of it. Just because they didn't want to let Dylan go or something. Just to give him something else to do.

[exn0bisstudios]

hiya! if it isn't spoiler-y or you won't be making a separate post for it, could you tell us a bit about the work hunters and seers do? does being a member of the order as a hunter always guarantee that you'll have a seer for a partner, or do they have different kinds of work that don't require a partner, or maybe require a bigger group to work with?

I will be making a post about it. After that, you'll obviously get a more in-depth look during the game itself. Still, since I have some other things lined up first, I would be happy to give some cursory notes here in this ask!

Please be aware that this info might seem a bit jumbled since I'm just tossing out notes (also I’m running on two hours of sleep lmao). This also got really long, so I apologize for that! As I said, I'll eventually get a much more organized & concise post up for you guys!

About Seers of The Twilight Order

What is a Seer?

Seers are magically gifted individuals of strong mentality who have been soul-bound to a Nightmare, which allows them to use Void magic. Said magic is the only thing that can actually destroy a Nightmare - yes, they can be hurt by weapons. Still, they'll eventually reform from the damage unless a Seer comes along and wipes them out. Since the Void is essentially power in its most raw form, it is not meant to be used by mortals. So, the Order devised the binding to allow an adept enough mage to use a Nightmare as a proxy. It's a messy necessity since, without Seers, Yereth-Shai would have fallen to the Nightmares a long, long time ago.

Unfortunately, this proxy system is hugely flawed. Nightmares, by their very nature, are corrupted, as is the Void. The forcible melding of a mortal soul to this corrupted being will eventually erode the mortal, no matter how mentally resilient they are. The more they use the Void magic, the faster that corruption sets in. Not to mention that the binding ritual itself can be deadly outright.

In short, becoming a Seer is a death sentence. Most last for around 5 years before corruption kills them. Unfortunately, it's also common for Seers to go insane, either from corruption or just from having a primordial creature that hates them living in their head. The Order has a care facility set up for any non-violent Seers who have lost their minds, where they can live out what's left of their lives in peace and safety. Sadly most that go nuts are also violent, though, and are mercy-killed by The Order before they can cause civilian casualties.

If you're asking, "why would anyone want to be a Seer" the answer is, again, purely because it's necessary for the survival of mortal-kind. Many people who volunteer to become a Seer do so because they see it as a way to atone for past sins. Some do so to be a hero, however short-lived it might be. Some just see it as a civic duty. Regardless of why the Order won't turn away volunteers.

Who can become a Seer?

The only actual requirements are that the candidate must be willing, mentally resilient, and magically capable. Of course, it's always preferable for a candidate to be young and healthy. Such individuals typically prove more resilient to both the required training and the ritual itself. However, so long as they meet the core necessities and make it through Seer training, the Order won't turn anyone away.

A candidate will go through 5 to 8 years of relentless training to prepare for the binding ritual. The training is brutal and has been deadly but is necessary if the candidate hopes to survive the binding. In addition to physical and mental exercise, a Seer candidate is trained in advanced magic techniques. A particular focus on personal control is crucial, considering the Order has no desire to give someone prone to violence access to raw power.

What can a Seer do?

In addition to their ability to wield Void magic as a weapon, they can manipulate it in other ways that benefit the general public. Destroying Nightmares is always a Seers primary duty. Still, they are also often called in to clear an area of Void corruption. A little-understood phenomenon, Void corruption tends to occur in populated areas and acts as a beacon for Nightmares. A Seer can absorb and neutralize the corruption at their own expense. They can also 'see' Void energy, appearing as a kind of smokey aura, which helps them find problem areas or address concerns of corruption/possession.

Some Seer facts

The tell-tale sign of a Seer is the solid black sclera, resulting from their tie to a Nightmare. Black stripes/spots in the sclera are typical in corruption or possession cases, but only Seers have solid black.

Even though many Seers were previously criminals, they are almost always received with respect. Regardless of their past deeds, people recognize the altruistic sacrifice they've made by becoming a Seer and honor them for that. On the flip side, most Seers are understandably received with an equal amount of fear.

Seers cannot comprehend or cohesively communicate with their bound Nightmare while awake, getting at most snippets of violent imagery or projected emotions. They are also plagued by violent nightmares when they sleep due to their subconscious trying to process the foreign presence in their mind. The more a Seer's mental barriers deteriorate, the more the Nightmare can torture them inside their own head.

While they are given combat training, Seers are adamantly encouraged to stay out of active combat as much as possible. They are under strict orders to not use their Void magic unless against a Nightmare or Void-related emergency. They are too valuable to risk on the front line, and using their Void powers speeds up their corruption (and thus, demise) too much to just use them recklessly.

Regarding our dear MC...

Take everything you just read about Seers and throw it out the window.

MC is an entirely unique, never-before-seen case. To start, they never underwent a binding ritual. As far as the Order can tell, MC's Nightmare has been there at least in a cursory sense for their whole life because it has chosen to be there. MC's sclera went black when it finally bonded with them (age depends on MC's background but from 8-11 y/o). It was an entirely painless experience for MC.

MC is the only Seer who has been able to actively communicate with their Nightmare in any capacity. The fact their Nightmare introduced itself and keeps a running commentary on what MC is up to during their waking hours is seemingly inexplicable. MC doesn't suffer any nightmares due to The One's presence, either, and is instead able to interact with a dream manifestation of them.

The MC shows no signs of possession and seems to suffer no ill side effects from the One's presence or from using Void magic. They are also the most potent Void magic user the Order has ever had. This penalty-free relationship has allowed them to be the only Seer to hold the position for more than 8 years.

The general public is not aware of pretty much any of this, however. The official story is intentionally vague, saying that the MC is a prodigy and ends the conversation there. They're somewhere between a myth and a legend to the general public, and the majority would not recognize them in person. The MC is under strict orders not to reveal the truth of their situation unless they deem it absolutely necessary. This is mainly for their own safety. After all, just because the Order trusts them doesn't mean the rest of the world will.

In short, the MC is very special. You'll have to play the game to find out why.

About Hunters of The Twilight Order

What is a Hunter?

A Hunter is a specialized member of the Order's main military force, highly trained in martial and magical combat and tactics. Their primary function is to suppress Nightmare and Void-related violence to allow for a Seer to safely end the engagement, as well as to serve as a Seer's protector and right hand.

They put themselves in danger so that a Seer doesn't have to. However, they are not seen as expendable or as shock troops. Instead, they are provided years of highly specialized, rigorous training to ensure they survive the impossible odds they're frequently up against. As a result, hunters are, without exception, the most effective and impressive fighting force on Yereth-Shai.

Who can become a Hunter?

Anyone, so long as they are willing and survive the training. Hunter backgrounds are incredibly varied, from noble to urchin, but all of them give up their old lives for the sake of the Order. Most candidates are given over to the Order young and spend near their entire lives as members of the Twilight family.

It should be noted that orphans make up the largest demographic, as the Order provides food, lodging, education, and eventually a salary for life. For a child with nothing, it's often the most stable option they have.

What can a Hunter do?

In addition to killing virtually anything with appropriately nightmarish skill, Hunters are known for being brilliant - if unconventional - tacticians and skilled generals. Many a monarch has tried to buy themself a Hunter with a laughable pittance of a success rate.

Hunters are also gifted with a unique soul-bound weapon upon graduation. While these weapons are not strictly sentient, they have a sort of will of their own and are inextricably part of their owner. This bond gives a magical boost to the Hunter's natural prowess, in addition to acting as a powerful channel for their own magic. Soul-bound weapons cannot be used to harm their master. In fact, most cannot even be touched without their master's permission, causing grave injury to the individual attempting. These weapons cannot be broken and, if lost, will find their way back to their master. A Hunter also takes their weapon to their grave, as it will decay upon its master's death.

The forges of Twilight Order are the only place to create these weapons, and the technique has never been shared outside of Order smiths and enchanters.

Some Hunter facts

Hunters almost always outlive Seers simply because, as dangerous as their job is, their powers aren't slowly killing them. As such, there are a lot more Hunters in the Order than there are Seers.

The mass majority of Hunters will never be paired with a Seer. Bodyguard duty is reserved for the elite. The Order takes excellent care in choosing these pairs, and transfers to a different partner are rare. Once a Hunter is assigned to a Seer, they are expected to stay together until one of them dies.

Most Hunter-Seer pairings develop an unshakable bond, so much so that Hunters that lose their Seer struggle to function as well with a new partner. As such, a Hunter who has lost their Seer will return to regular troop duties, often as an officer. Their career as bodyguard is over.

That said, if a Seer needs to be neutralized, it is traditionally their paired Hunter's job to strike the killing blow. While being a Hunter is usually a lifetime career, those who have had to kill their Seer can retire from service. The Order is not unsympathetic to their trauma.

Regarding our dear Mira...

Mira is unique in their own way, though not to the same extent that the MC is.

In Mira's case, they genuinely are a prodigy. They've been with the Order since they were a child and took to the training like a fish to water. Their proficiency is precisely why they were paired with MC - who better to protect the Order's most precious Seer than their most skilled Hunter?

Mira is also special in that they have four soul-bound weapons. No touchy.

About The Twilight Order

The Twilight Order is a neutral faction that pays no homage to any nation but demands fealty from them all. It was formed for the sole purpose of defeating the Nightmare threat, and they have stayed true to that through the decades. Members of the Order are strictly forbidden from meddling with politics unless it furthers their mission. The faction itself takes no interest in the rise and fall of kingdoms outside of keeping their funding secure.

The Order is given a begrudging kind of respect on the global politics scale. Many people view the Order with suspicion, especially considering the number of secrets they keep and how they pointedly disregard whatever laws suit them. However, no one dares rise against them - not just because the Hunter army could decimate a country, but because they're the only ones who can tame the Void.

Though thankfully most governments are content to leave the Order alone, it is a delicate diplomatic balance, so long as they stay out of the political sphere.

Some relevant facts about the Order

Once you are initiated into the Order, you leave your old life behind. Each member takes on the surname 'Twilight' and is encouraged to completely sever ties to their old life. This rule is less strictly enforced with members who have been with the Order for a while. It's common for commanding officers to look the other way if their subordinates exchange letters with their original families. So long as the individual isn't compromised by these engagements, it's quietly allowed to happen.

The Order takes a similarly vague approach to romantic relationships involving its members. Physical relations & romance are not forbidden, nor is marriage or attempting to start a family. However, if such a relationship compromises the participants, it will be condemned, and those involved are punished. Duty above all, for the sake of all. No exceptions.

[dropintomanga]

The Evergreen Shonen Story

A short while ago, there were some online conversations about the popularity of shonen stories. Almost all of them are based around the experiences of youth and some adult fans wanted action-oriented stories based around their life experiences as adults. Reading stories centered on teens and kids as the main characters isn’t everyone’s cup of tea, I’ll admit that. But sometimes, I think shonen stories are somewhat of a reflection on what adults have been telling kids for years and how some/most of their advice has failed youth.

Life begins in the womb. We come out to a world of many possibilities. As children, we’re immune to bias until adults decide to tell us about the many differences of various people out there. Some adults may not care and have trouble dealing with their own pain, They may resort to substances like drugs and alcohol to cope. Under the influence of drugs or alcohol, these adults may start to abuse children and/or neglect them entirely.

There’s a term that relates to the overwhelming negative experiences of children growing up. It’s called ACE - “adverse childhood experiences.” Examples of such experiences include physical/sexual abuse, parent separation, physical/emotional neglect, and living with an adult with substance addiction. I look at a bunch of shonen flashback stories and many of the traumatic ones revolve around physical and emotional neglect.

Why is this important to acknowledge? Because some adults do a bad job in raising their children or guiding kids to become responsible individuals. We’ve seen examples of bad parenting in anime and manga. There’s also the fact that adults have been full of dreams themselves when they were kids, but have been fed advice on how the “real world” works. They’ve been told that they can’t make their dreams come true and/or they need to behave a certain way to get by. It’s a vicious cycle. A colleague of mine told me that when she sees young people with vision and a desire to smash the status quo end up being a part of the status quo themselves, she wondered if that’s due to those individuals seeing how hard it is and how long it takes to generate the change they want to see.

One of my favorite shonen characters in recent memory is Satoro Gojo of Jujutsu Kaisen. He was a student of Jujutsu High and ends up becoming a teacher there. Gojo is considered to be a prodigy, but he remains humble. He’s also willing to speak up to authority as he has gotten into disputes with upper school management over the fates of cursed students (particularly Yuji Itadori and Yuta Okkutsu) whose potential have yet to be realized. Gojo has once said that he needs to remind himself not to be a bitter old adult as he ages.

A good number of shonen stories drive the point that adults shouldn’t be bitter old ones. Or maybe more importantly, don’t be dismissive about teen experiences. I listened to a podcast a while back about loneliness and how much it affects mental health. There was a discussion point about adults ignoring teens that feel lonely with regards to dating. Here’s a quote from that discussion.

“The number one way that we do this (being dismissive of loneliness) in America is every single 30-year-old up completely dismisses the loneliness that a teenager feels about not having a significant other. Because once we hit 30, we realize that your 16 year old significant other is nonsense. It’s just nonsense. You’re gonna be in love so much in your life. You’re gonna love everybody. You’re going to date a million people. It’s gonna be fine. You’re going to realize how insignificant this relationship is. 

The key word there is you’re gonna realize it. It’s a future thing for them. So when every 30, 40, 50, 60 year old looks at the 16, 17, 18 year old and says, oh, you just broke up with your boyfriend? Yeah, who cares? That’s a meaningless relationship. I don’t care. That exacerbates the loneliness. It exacerbates the disconnected feeling because it really, really, really, really matters to them.”

I honestly think adults being dismissive towards teens’ current experiences is one reason why shonen stories still resonate with many. We’ve all been through those times where adults just shut us down because ultimately, it doesn’t matter. Yes, there comes a point where we have to move forward. But a good amount of emotional pain stems from adolescence and it lingers. Most mental disorders begin to happen around those years. Unfortunately, most of us don’t know how to give back in ways that stop the cycle. I do think mangaka are trying their best to give back the way they know how. 

Yet I think the biggest reason for the enduring popularity of shonen stories is friendship. We all know the Shonen Jump tropes - friendship, hard work and victory. All three are important, but friends are what really keeps us alive. The harsh truths are that hard work doesn’t always get you where you want to go and victories do come at the cost of important relationships. Over the years, I noticed that in my neck of the woods, friendship is frowned upon. When you’re ranking important relationships in life, first is your mother, then maybe your father, then your romantic partner, followed by your children. Friends are last. There was a nice read I found that listed a good amount of studies on the importance of friends (especially for those who are LGBTQ+ and faced stigma from immediate family). 

We don’t live on an island, contrary to what neoliberalism says. Families aren’t enough. Friends are what keeps us alive and helps build our sense of identity. 

Maybe the fans who want more mature/adult-centered stories with shonen action just want to see more nuanced stories about friendships in adult settings. Friendships are so hard to make and maintain as adults. There’s some glimmers of hope for those kinds of stories - in video games. Yakuza: Like a Dragon is a great example of an adult hero in a genre dominated by young protagonists, the Japanese RPG. The story is about a 42-year old ex-yakuza who gets exiled into a unfamiliar city and manages to make something of himself with the help of new friends he made there. It was refreshing because the whole cast were adults who were unemployed and/or stigmatized due to underworld ties. They managed to save Japan from a vicious political alliance with action elements that felt shonen at heart.

I’m all for more adult-centered mainstream shonen stories because seinen material can be a bit too blunt for some tastes, but there’s a lot of focus on the mindset of youth lately than in decades past since there’s concern on how they will manage in a world that continues to disappoint them.

I love shonen because I honestly don’t feel like I’m an adult due to my depression. My development felt stunted. I feel that I have more in common with 20+-year olds than people my age. I want to be around people who are youthful at heart. I wonder about those who still enjoy shonen past the target demographic - what still draws them to it? Is it due to them embracing their inner child more likely than most people? Or do they just like to follow simple action stories that have a lot of heart (something that some people don’t have)?

Looking at shonen’s enduring mainstream status does make me think about the the feedback loops between adults and teenagers. I’ll end this by talking about an incident that happened a couple years ago where a somewhat prominent Anitwitter figure (I am NOT going to mention their name here, but you may know who I’m referring to), who made a lot of friends with people in the anime/manga industry, was outed be a sexual predator who went after young naive anime fans at fan conventions. One of the reactions from someone that was once close with them was how can older anime fans better connect with younger anime fans when needed. I know from personal experience, I sigh on seeing the behavior of teens at conventions at times. But I learned that by saying things like “Kids are so dramatic,” “Boys will be boys,” “She’s being emotional.” gets harmful in a hurry where proper context is warranted. Maybe they are being so-and-so, but it doesn’t hurt to ask and give validation to their concerns. Teens are the lifeblood of anime conventions right now.

Shonen is a gateway introduction for youth on how to process pain in a way that helps themselves and other people with the help of said people. It’s an escape from the distress and trauma of reality. That reality, which has situations like the incident I mentioned, is controlled by adults who don’t always have it together, can’t admit their flaws, and sadly take it out on the world. That’s why shonen is still so powerful today despite all the criticism the genre gets. And that’s the evergreen truth.

[defensefilms]

Defense Films Lists His Favorite TV Characters Of All Time

5. Chris Partlow- The Wire

The ending of The Wire paints Chris Partlow as something closer to a serial killer. 

He wasn’t. None of his hits were done out of pleasure, curiosity or even impulse. Every one of those bodies helped the Stanfield organization become what they became, even the one on Michael’s stepdad.

What Chris represents is reliability and capability. The ultimate “get shit done” guy. Out of all the characters on the show, none were more dependable or crucial to the success of the institution they served. 

Lester Freeman was capable but not a good politician and ultimately a nuisance to his superiors. Bill Rawls was incredibly capable at his job but he was power hungry and ambitious. In season 5, Gus Haynes is the most capable man in the news office but the problem was that Gus questioned authority and didn’t “go with the flow” when the office decided the paper needed a “refreshing” of how they cover the local news.

Chris didn’t have any of these handicaps impeding the people he served.

He recruits the foot soldiers for the Stanfield crew, even training them himself and Marlo had something akin to a small army at his disposal as a result. He organized his sub-ordinates, handled all surveillance when Marlo’s crew was under investigation at the start of season 5 and took care of incoming shipments after they established a direct line to the Greeks. 

When the task required finesse or subtlety, like the time he stole Sergey’s picture from the court office, he was more than capable of that too. When Marlo is questioning how to address the murder of one of his dealers, he listens to Chris and chooses to retaliate on the perpetrator directly rather than targeting everyone on his corner. 

Marlo truly comes to rely on Chris in matters concerning Omar Little. Every step of how Marlo wants to get back at the near mythical larcenist, is first passed by Chris. Chris takes this as his number one job throughout the show. Anything concerning Omar is handled with brutal efficiency, tact and an almost out ouf place  sense of professional pride. 

That’s Chris’ most endearing quality. Through all the blood, guts, scheming, lying, betrayal that comprises Baltimore’s underworld, all of which Chris is very much a part of, he has a pride in how he approaches the day to day business aspects of what he does. 

Stringer Bell is arguably the best second-in-command in the show’s run but he was dishonest, ultimately harming the survival of the institution he served and damn near going rogue. 

Chris doesn’t share such qualities as blind ambition or selfishness. He understands that trust is all he has in this game. When the indictments eventually come down and Chris is facing a life sentence he doesn’t complain or even raise the possibility of turning state witness. Instead he ends up on the yard along side Wee-Bay. Marlo in turn makes sure that Chris’ people are taken care of financially.

Many of the men that serve in the various institutions depicted in the show could learn a thing from Chris Partlow. When the time came, he fell on his sword and did so in full acknowledgement that this is where it all leads. There’s a kind of honor in that.

4. Tony Soprano- The Sopranos

One of the biggest misconceptions about The Sopranos was that it was a story about a gangster. It wasn’t, or at the very least, that would be an over-simplification of what the story actually contained.

What it was was a story about a man and his family, both biological and criminal. That’s the tie the binds all of the story’s narratives together.

Another way of looking at Tony’s story is one of leadership. Having ousted his Uncle Junior from the seat of power, season 2 and onwards, as far Tony’s criminal life is concerned, focuses on what happens once you get to the top. 

While the show’s creators gave you plenty of grizzly, violent scenes, what leads to those is the story of a man struggling and failing at leadership. 

In every season, Tony has to deal with a problematic figure, employee or subordinate. 

Season 1 was his Uncle and the idea of old fashioned leadership. Then in season 2 it was the ever-acerbic Richie Aprile, representing a generation older than Tony’s, that still feels entitled to something. Seasons 3 and 4 gave us Ralph Cifaretto, the only one among the men I’m mentioning that actually earns his status and then in season 5, it was his cousin Tony Blundetto.

Each of these problems is uniquely stressful for Tony because of how they pull at the threads of both his family and criminal life. With the exception of his Uncle Junior, he kills all of them.

By that metric, Tony is in fact a very poor leader. 

He doesn’t really deal with the Richie Aprile problem because his sister beats him to it. He doesn’t willingly promote Ralph Cifaretto even though Ralph earns it and is the only one among the candidates with any real intellect and business savvy. In both the cases of Christopher Moltisanti and cousin Tony Blundetto, Tony allows favoritism and nepotism to cloud his judgement and ironically both those men die at Tony Soprano’s hands.

This paints a picture of a tyrannical man, slowly devouring everything around him because he’s got to be in control. Worse yet, his need to be in control doesn’t actually lead to smarter long term decisions or better people management.

Tony’s relationship with Ralph in particular is built on professional envy. He feels entitled to Ralph’s race horse winnings because “why should his subordinate benefit more from anything than he does?”. He then proceeds to take ownership of the racehorse itself without assuming any of the costs of owning the animal. Then to top it off, he steals Ralph’s girlfriend purely because he has the status to do it, even digging in to Ralph’s personal life in order to justify doing so.

Textbook mismanagement. Every type of managerial violation you could imagine.

So how does Tony handle it when an employee is actually being a problem on a criminal/business level?

He rewards Tony Blundetto’s deception after the Joey Peeps killing by letting him run an already profitable gambling joint. He promotes Christopher to “made guy” even with his drug problems being well known, and he promotes Bobby Baccalieri, partly at his sister’s behest and partly out of spite.

 It was fun to watch on screen but you’d hate to work for Tony Soprano.

How does that translate to his family? What kind of leader is Tony at home?

Season 3 does well at examining Tony as a father/paternal figure starting with his relationship with Jackie Jr, which is built on concern at first. Then later it starts to make Tony anxious. Before Tony decides to push nature towards taking it’s course, when Jackie runs afoul of men in Tony’s charge.

His relationship with AJ is also a bigger part of the show as the seasons go and it’s not much better in as far as the leadership or guidance that Tony offers. We can waffle on about AJ’s failings as a spoilt teenager but the real problem is that Tony doesn’t see himself in AJ. 

That’s the first step to any failure of leadership. An inability to find common ground or identify with the people you’re leading.

We won’t go in to how hypocritical it is because the entire way that Tony entered the mob life is because he himself was a mob prince and his father’s status definitely paved the way for him. 

Hypocrisy. That’s the other key to failure in leadership. 

All these negatives added up to make the most fascinating television character in over 20 years. A constant stream of contradictions and watching a man say one thing but do another was it’s own experience and you didn’t realize what a horrible human being you were watching until you saw the show over and over again. A scary observation that implies people are either blind or really comfortable with evil and narcissistic behaviour.

3. Noah Solloway- The Affair

Out of all the characters on this list, this one was hurt most by writers hitting a ceiling in how much they could say about the character or how much they wanted to say.  Divorced men don’t really have that much representation, so if you’re writing a character that so strongly linked to that one particular event in his life, you may hit a ceiling if you don’t actually have real life examples to work with.

They had the right actor, the right story and it was the right time in human history to tell this story, it just felt like they didn’t follow through on really speaking on the plight or rise of guys in Noah’s situation.

Anytime I watched The Affair, and unlike most, I was pretty loyal to it despite what reviews told me, I identified with Noah. All those other characters didn’t make sense to me the way Noah did.

The story begins with my man being stuck in a rut, the kind of middle age funk  married men tend to fall in to, so he drives out to visit some folks and while he’s there he happens to meet a baddie. Story of every man’s life. Only he does what you’re not supposed to do and sacrifices everything he has so he can be with the bad-bad. 

Then my mans starts popping off with his book writing, gets a publishing deal and in his 40′s, he starts achieving his highest career peaks. See this is important because it shows that the writers understood the subject matter really well, as well as the demographic they were talking about.

Then the next season, they go in to some murder mystery plot, Noah ends up in jail somehow, almost as if the writers and producers didn’t feel confident that they could tell Noah’s story without the theatrics/murder mystery element. 

The other danger that the writers probably didn’t want to indulge was rewarding the character with any kind of happy ending or positive outcome. Noah’s infidelity serves as the jumping off point to all of the story’s unfolding plots, mostly depicting the impact on the lives of his immediate family, a handful of which play out in sad dramatic fashion. So the writers likely felt like Noah couldn’t win at the end. 

In the 1930′s when gangster films were first being made, they would commonly feature PSA messages at the start warning against criminal behaviour. 1931′s “Little Caesar” starring Edward G Robinson, features a warning at the end that makes it clear the film’s producers and writers needed the character to go down in flames at the end, to prove the moral point that “crime doesn’t pay”. 

A writer’s moral obligation and the times in which they live can lead some to write the ending that makes a moral point rather than writing the most dramatic or honest ending. I think Noah Solloway kind of suffered from this.

I don’t know. 

There was a chance to explore modern men in a way that most stories fail to. They had the foundation. They knew enough about who and what they’re talking about. However it didn’t manifest in the telling of the story. 

I’m not saying Noah needed a positive ending, it’s just that the one we got was not the most fitting nor did it wind up ending the story honestly or even dramatically.

Noah Solloway should have got the Tony Soprano treatment in as far as how much the writers explored his inner world but instead the show’s creators decided it didn’t matter. They didn’t answer the question of why this happens to modern men.

If nothing else Noah Solloway can be a blueprint or foundation for those telling this story in the future.

 2. Ciro Di Marizio- Gomorrah

About as slimy and as low down as a television character can possibly be. Ciro represents Machiavellian criminality pushed to it’s extremes. 

When writers plot a character’s trajectory, they often fill it with moments that make the character more endearing. Exploring the relationship the character may have with a child, friend or spouse that makes you see the character’s more genuine/compassionate/likeable side. The writers of Gomorrah did plenty of that with Ciro.

However, they didn’t hesitate to show you just how off-the-rails and downright evil Ciro could be. 

What’s funny is that Ciro is defined by loyalty and servitude when the story begins. He is a capable captain and rises to 2nd in command when the Savastano family needs him to. However the death of his close friend and mentor changes him for the worse and he goes ham. 

What follows is betrayal and Ciro basically masterminding a coup of the Savastano clan but the levels of paranoia that his new found power push him to, make him question whether it was all worth it. The world burns around him and a kind of justice is restored when Gennaro is able to take back power and restore the Savastano name. 

That’s one aspect of the show that Ciro truly exemplifies in that he rises to the top but the throne never truly feels like it’s his.

He is Iago-like in his ability to understand the weaknesses of people around him. He proves himself more cunning, capable, strategic, murderous and even business-minded than almost every other character. Every character except for Pietro Savastano (the man he betrays) and Gennaro Savastano. 

The show goes to great lengths to put forth the idea that crime families in Naples are on the same level as the pope. True modern day monarchies. Royal families that have the power to benefit or harm anyone around them. People bow their heads to them when they walk in public and use reverential terms when addressing them. They will often have salons, jewelers  or restaurants cleared out so they can enjoy the establishment in ostentatious privacy. 

When you look at it like that, Ciro was always an outsider. The difference between just sitting on the throne and being born of the throne. 

In that way maybe Ciro’s story is about redemption. 

He eventually sides with Gennaro Savastano again, helping him get his wife and daughter back after they’re kidnapped. He does this by essentially lying to/duping a crew of young dealers from Florence to fund this hostage rescue and then he offers himself as a sacrifice when the Florentines demand blood.

At his best Ciro served the clan and went to great lengths to restore what he had destroyed. 

1. Marlo Stanfield- The Wire

Is there any greater?

Sure there are characters like Tony Soprano whose world and whose inner thoughts the audience gets more familiar and intimate with. Within the same shared universe as Marlo is a character like Stringer Bell and the writers of the Wire go to great lengths to understand and convey his moral conflict as a drug kingpin turned wannabe real estate tycoon. 

Marlo is something purer though. 

You don’t need to know his inner-most thoughts like Tony because his utmost desire is simple, he wants to be the top kingpin of Baltimore. What more do you want?

He does not share Stringer’s moral complexity because unlike Stringer he is not conflicted at all. He’s not a drug dealer playing businessman, he’s just a drug dealer and that’s all he ever wanted to be.

From the start of season 3, it was fascinating watching this man move about on the screen with a confidence reserved for the richest and most talented. Indeed Marlo proves he has both in bundles. 

He outwits the older drug kingpin in Stringer Bell by maintaining independence from the Co-Op. He matches Avon Barksdale’s war effort step-for-step after Avon comes home from prison. He outsmarts the wily, Proposition Joe in order to learn how to launder his money and then get access to the Greeks.

It was fascinating watching Marlo avoid pitfalls, monopolize Baltimore, out-think his older counterparts and grow his empire to the scope that he did. 

There’s a youtube video that compiled all of Marlo’s scenes from his 3 seasons on The Wire and it pretty much plays like a feature film. Watch it here if you dig Marlo as much as I do.

You’re not watching a drug dealer become a kingpin, or at the very least that’s what I believe. It has more to do with watching the younger generation upset the order, and in a lot of ways that’s what Marlo represents. From the moment Marlo shows up, all old agreements are null and void. He does this over and over again throughout his story. Constantly upsetting the order and establishing his own. 

Indeed Marlo isn’t aware that this is what he’s doing. He’s acting on ambition, arrogance and naivety. 

It speaks volumes that most of the characters on this list have on-screen relationships that explore their personalities, like the aforementioned Ciro’s relationship with his daughter. Marlo has none of that.

Marlo’s most revealing relationship is his rivalry with Omar Little, a man he only ever encounters once. The continuation of their feud happens because Marlo refuses to let any perceived slight towards him slide. One way of looking at what this shows is that Marlo is both egoist and perfectionist, the latter of which is actually very prized personality traits in today’s business environment. The combination of the two is actually commonly seen among CEO’s and top executives.

Marlo shows every weakness and drawback of youth while exposing the follies of the more seasoned and experienced in his field. A walking contradiction in that way.

[xoxo-ren-xoxo]

(this is about the schlatt situation, which will probably my last ask about it since thoughts are happening, and you don't have to reply if you don't want to!)

I don't know why but no matter how much I try to distance myself until further notice, I keep thinking about the situation? And now I think my feelings also just turned into worry? I mean the anger and disappointment is still there because what happened was definitely not okay - it was horrible and the video just shouldn't have happened. I'm just worried and scared that he won't address it/that he will ignore it and that he won't change. and I'm also worried for him - because of the whole doxxing situation. Whenever I see screenshots or posts about things like his address, family info and apparently potentially credit card info being leaked I just worry for his safety. of course I recognise that he's a grown adult and he can definitely keep himself safe but still I'm just worried since no one should be doxxed.

I think I'm just holding onto a sliver/slither(?) of hope that he does make a video to discuss it, to apologise and to show that he does recognise that those things are very serious. I just hope he recognises that "offensive humour" doesn't offend people; it actively hurts and harms people - especially people who have been constantly hurt before. And I hope he recognises that this persona he's doing is just doing more harm than good. Even if he's trying to mock people who act like that, it's just slowly turning into attracting people like that into the fanbase. Cause I had a peek into the comment section on that video and it's just mostly people defending him?? and it's just like: why are you defending those "jokes"/malicious content? So instead of making fun of those people, it's really just turned into attracting people who hold those views into his channel. I just hope he realizes that and just changes and drops the shock factor content. I get it that YouTube is his source of income and he needs to make money but that isn't the way. Making money off of hurting other people isn't the way. He could have just posted the cat video instead and I bet that people would love the video since Jcat is adorable and an update would have been really nice. or even if he tried a somewhat chaotic (like knowing half the recipe and then trying to figure out the method) and wholesome cooking or baking video if his new place is set up? Because that video he made after moving in was really nice and just hearing him talk was nice? And I know change doesn't take a sudden day (like Minx said) but even just making the effort to change is something - which would really start with an apology and a serious, no persona, non edited, non monetized discussion video. Plus if they are playing a video game and someone in the group says something horrible like that, than for him to just be like "Stop. That's not okay." even just calling that out would be something.

Just some thoughts but otherwise I'm just worried and holding onto a bit of hope - that feels like is slowly dwindling as the days go on.

I absolutely agree with this and feel everything you're saying. All I want is an apology/response. The bear minimum. I feel less and less confident we will get one every day.

The way I see it the ways this can go (best to worst) are:

He makes a response and changes his content

He makes no response and changes his content

He makes no response and doesn't change

He makes a response and doesn't change (worst option)

I would be happy with option one, and I'd go back to watching his content regularly. In the event of option two (most likely imo) I would wait to see how he's doing then get back into his content hesitantly. For option three and four, I will drop that man instantly. Fuck that.

Of course that's my opinion as a fan and someone who has been a fan for over a year now. If people want to drop him no matter what I'm chill with that as long as they don't come after me/harass any other fans.

The people defending him in the YouTube comments are wrong and part of a nasty demographic that I really don't like. They do make up a lot of Schlatt's audience but I wish he would call them out sometimes. This is why I doubt mans will make a response, but it feels more likely that he'll be careful and better in the future.

He could post anything and it would get good views. The jackbox videos were lazy and uninspired. He's smarter than this (I could rant for hours about how good he is at satire and making fun of Bad People and exactly where he fucked up with this video) and he's clearly not like this irl. It annoys me and it will keep annoying me if he says nothing.

Maybe they'll say something on Chuckle Sandwich. Connor did imply that Schlatt knows the video was a bad decision, but I won't be happy until we hear something from the man himself.

The doxxing situation is terrifying. All his personal info, and the info of his family and friends, plus his address, maybe even his card number. It's disgusting. People who are apparently visiting his house are so out of line and I hope Schlatt and Connor are okay rn.

If you ever need to talk you can message me. I have a server dedicated to documenting YouTube/twitch/CC drama. It's invite only rn but we can talk about that if you want.

Hope everyone's doing okay. I'll keep updating on the situation.

[chibimyumi]

Hello Chibimyumi, I apologise in advance for the uncomfortable question I have about the musicals. I hope I'm mistaken, but for those musicals where Soma and Agni are included, is it truly the case that they are portrayed by actors in brownface? Is this a common occurrence, and what is public perception of this in Japan today?

Dear Anon,

You ask an incredibly good but complicated question. It is great to hear that you are aware of how cultural contexts can play into such matters. Now, since you asked, I’d ask you all to strap in; this is going to be quite a ride.

Short answer

If you mean whether the actors used darker make-up to portray a race with a darker skin tone, then yes. The actors are all ethnically Japanese without any Indian heritage to the best of everyone’s knowledge.

However, before we can discuss this “whether this is an issue”, the following is what I need all readers here to keep in mind at all times (i.e. don’t continue reading with White SJ in mind). Namely: In Japan and Japanese live theatre medium especially, ‘[colour] face’ has entirely different connotations than in the White West. To anyone mid-pounce of their attack in light of social justice, halt. Please hear me out. I am talking ONLY about Japan.

Brown Face in Japan?

Demographics

So, before we begin, I wish to instill in you all that Japan is very, very homogeneous in comparison to most other countries. Japan has LESS THAN 2% of ethnically non-Japanese people, and half of this >2% is ethnically Chinese or Korean. So yes, in Japan, ONLY 1% is racially and phenotypically different than the native Japanese.  Japanese people are the natives in Japan, so they consider their skin ‘neutral’; it is NOT coloured. Then there are the ‘white coloured’ people who are semi-neutral, and you have everyone else who have a ‘darker colour’.

Now with this framework in mind, let us jump to how this demographic makeup affects the theatre world. For clarity’s sake I shall discuss this in sections.

Section 1 - Poor, poor industry

Japanese theatre and especially 2.5D industries are really poor. As discussed in full detail in this post about the extreme harm of pirating JP theatre, the vast majority of theatre actors need to juggle 2 or 3 jobs to make a living because most theatre companies ONLY pay the performers for their stage time (no rehearsal pay, no food, no accommodation). One run of a show is usually no more than 5 or 6 weeks. If one show gets a run of 3 months, that is considered ridiculously long. So far, only the top three Japanese theatre companies can manage such long runs, being: Takarazuka, TOHO and Shiki.

Section 2 - ‘Broad utility value’ and chances

The super short runs means that on average, an actor only has an income for 5 or 6 weeks for one job, even though their work for one production takes much more time than that (formal rehearsal is usually one month, but there’s a lot of ‘homework’ and ‘overwork’ too). This again means that in order to make a living in the theatre industry, a performer needs to have ‘broad utility value’, that is to say: they need to be ‘castable’ into as many roles as possible, and therefore ‘neutral’.

The selling stories in Japan usually have an all-Japanese or all-white character list, as you all must have noticed. When there are non-white foreigners in such stories, they’re usually countable on the fingers of one hand. And sadly, when they are present they‘re often comic relief, antagonists, or ‘exotic accessories’.

The wider sentiment in Japan is that if you are ‘neutral coloured’ you can be painted into a different colour. But if you are ‘darker than neutral’, you can’t be painted lighter. “You cannot take the colour away”, so to say. That is the reason why in Japan, darker skinned minorities would have very little incentive to sign up for the theatre industry. Why bother get a job that pays so terrible and ONLY be allowed minor/bad roles if there happen to be darker skinned characters once in a blue moon? Why bother competing with ‘neutral’ skinned people who can replace you easily?

In a nutshell, the terribly racist reality is that darker skinned actors are not considered to have broad utility value because the entertainment industry and common populace decided so. With so few dark skinned characters and the wide acceptance that ‘neutral’ skinned people can be painted into any other colour, darker skinned people’s chances of getting by on theatre work is just very slim. The entertainment industry makes itself very unappealing to these people, and indeed resulted in a shortage of darker skinned performers.

This current shortage means that if a production wants to feature differently skinned characters without ‘brown facing��, they’d have trouble finding enough people who: 1. are ‘the correct colour’, 2. are willing to work for virtually no pay, and 3. also have the skills to perform in Japanese language (many of these people also really lack the practice to build up theatre skills because - as explained - they have very little outlook in this field). So again, “why bother going through the trouble if you can just paint these actors white and those actors brown? Same difference right? Here have some brown foundation and you’re good to go!”

Section 3 - The race is the costume

Well, is painting Japanese actors white or brown ‘same difference’? In practice... to Japan, ‘yes’. Japan does not have an issue with pretending to be a different race through make-up. This means that there is no concept of ‘brown face’ or ‘any other-colour-face’. Seeing Japanese actors painted white in modern theatre and cosplay is the standard. Countless modern theatre shows feature almost exclusively white characters, after all.

As a representative example, Kuromyu mostly has white characters. But so far it has had 4 mixed-race actors in 10 years! However, all of them are partially white, meaning they’re “““light neutral””” or even “““extra pretty”””.  

There is no such thing as ‘white face’ in Japan, and outside Japan, nobody (in their right mind) should compare ‘white face’ to ‘black face’. When the Europeans arrived in Japan, the Japanese were actively challenged to prove themselves as white as possible. Japan was spared from colonisation because they proved themselves “white civilised enough” for the Europeans. That is the Japanese-Western legacy: “pretending to be a colour is part of ‘modernisation’ and ‘globalisation’”. If painting a ‘neutral’ person white is okay, why wouldn’t painting someone ‘brown’ be? It sounds quite hypocritical to Japanese people because Japan has a different racial relationship than the White West has.

Unlike white-colonising countries, Japan does not have such a long and problematic history regarding brown/black races, hence there is also no collective guilt about having systematically oppressed and excluded dark skinned people. In the White West if you paint someone darker it’s because they don’t want to employ dark skinned people. In Japan however, it’s because there are hardly any darker skinned people to actually take the job. It’d be an altogether different problem for the theatre industry to just go: “we shall only stage all-Japanese-characters productions now!” ... that’s what they did in Imperial Japan during WWII, and that was NOT pretty.

Besides, Japan in being so homogeneous, we can imagine why awareness of ‘brown/black face’ was never deemed immediately ‘necessary’ in Japan. In combination with the legacy of ‘pretending to be a colour is fine’, the current status quo had taken shape.

Unlike American media or South Korean media, Japan predominantly creates solely for the purpose of domestic consumption. Hence the DVDs are often sold in Japan only without subtitles. Hence that many websites are Japan restricted. Japanese theatre no exception, it’s made by Japanese, for the Japanese, in Japan. As explained above, because there is no concept of problematic x-colour-face, then why bother avoiding it?

Section 4 - Orientalism though....

So, are Soma and Agni ‘brown face’ in Kuromyu? Not in the same way it would be in a Euro-American way, but that does not mean it’s ‘no problem at all’.

The main problem in Japan is not the ‘brown face’, but Orientalism. The common Japanese people would not bat a single eye at two Indian characters going on and on about curry, elephants and Hindu Gods. But unlike ‘colour-face’ not really being a problem in Japan because of different cultural heritage, the perpetuation of stereotypes cannot be excused.

When there are so few dark skinned characters in an otherwise all-white/ “neutral” cast, it surely is quite aggravating that the musical chose to reduce Indian people to... well, curry, elephants and Hindu Gods. Had the writers not reduced Indian culture to a stereotype however, then as long as the portrayal of dark-skinned people is respectful, ‘brown face’ really is not a problem in Japan, just like ‘white face’ is not.

Conclusion

In this post I have discussed the demographic makeup of Japan, the terrible circumstances of the theatre industry, and how this lead to a real lack of dark-skinned performers. The lack of dark-skinned actors, in turn, means that if a theatre/film industry doesn’t want to go ‘pure Japanese race pride!!!’, they’d have to ‘paint actors into a race’.

Japan narrowly having escaped white colonialism also means that the Japanese have a very different awareness about race and sensitivity. In being challenged to ‘perform the white race’ in the 19th century, Japan gained a legacy wherein ‘race is just performative’.

That Japan has a different cultural heritage and racial history can explain why x-‘colour-face’ is non-problematic in Japan. Applying white-social-justice to Japanese standards would cause entirely different problems simply because the Japanese demographic makeup and film/theatre industry simply cannot adopt this western standard without doing more harm than good. This Japanese heritage however, does NOT excuse offensive stereotyping of people however.

So in a nutshell: Soma and Agni are not ‘brown face’ in Japanese context because there is no such concept. However, there is a problem, and it lies in the Orientalist stereotyping of Indian culture.

[wordsnstuff]

20 Mistakes To Avoid in YA Fiction/Romance

* This is a re-upload due to the original being flagged a few months ago for having a gif of two teenagers...*GASP*... dancing. What, tumblr? What is “adult” about that? The post has been in appeal for 4 months, and I have a feeling it won’t leave, so I decided to finally repost it. 

--

YA Fiction is an incredibly popular genre of literature, and most people have picked one up and devoured it in less than a day, but there is a trend in the genre where in certain instances, people forfeit quality for a cheesy dramatic plot. A lot of these stories are just regurgitated cliches with vaguely interesting characters and just enough drama, fluff, and mildly (or extremely) sexual content to keep the reader paying attention. (No shade to the authors, because obviously, any author who writes and publishes a book works hard, no matter the end product.)

There are a lot of aspects of YA Fiction that repeatedly rear their ugly heads and annoy readers or flat out scream dangerous messages to the young people that indulge in them. I thought I’d put the spotlight on a few in the hopes that it will help clean up the genre’s reputation as new and more awakened authors contribute content to it.

Below you will read about some common mistakes that YA Fiction/Romance writers make that either ruin the story, promote dangerous messages, or unrealistically portray teenagers.

Forgetting The Supporting Characters

The supporting characters are an important part of any story, even if the main plot revolves around two people. Supporting characters provide subplots, information to the reader, and more opportunities for your audience to connect and relate to your story. It’s always good to give your supporting characters love and attention when creating and writing them. Sometimes they end up carrying the story.

A mistake that a lot of authors make is that they give the reader a couple defining characteristics, a name, a relationship to the main character, and then just make that character pop into the reader’s view whenever the main plot needs them to. No backstory. No life of their own. Just support to the plot, and that’s a huge waste of potential. You don’t want your readers to put down your book and either forget the supporting characters existed at all, or believe that they were extra pieces of a puzzle.

Using Slang Badly

Writers should not feel the need to include current slang in order to make their story more relatable or popular amongst their targeted demographic. Slang is constantly changing, evolving, and most importantly, dying. Not to say that you should only write in traditional terms or put “thy” and “thee” everywhere, but using standard English and avoiding the trendy but temporary slang words is key.

If you must use slang, try to use the bare minimum and only in fitting circumstances. If your character is the type to say “OMG her dat boi memes are on fleek” then, by all means, go right ahead, but you probably cringed when you read that. That would have been totally normal 2 years ago, but every bit of that sentence has died over time, and no matter how much you think a slang word will stick, don’t risk it.

Sympathy and Envy Mongering

Two emotions that YA Fiction and Romance always try to invoke in their readers are sympathy and envy. The author either wants the reader to feel bad for one or many of the characters, or they want them to be jealous of the awesome (and usually unrealistic) lives the characters have. Don’t be one of these. It’s tired and boring and not original in the slightest.

Are sympathy and empathy both totally okay emotions?

Yes.

Are they all you need to write a good story?

Nope. Not at all.

The reader needs and wants to feel more than jealous of and sad for the characters in the story. The best stories are the ones that trigger a complex whirlwind of emotion. Sympathy and envy are the easy way out, and you get out of those emotions what you put into them.

Unrealistically Portraying Teenagers & Teenage Life

Teenagers look up to and compare themselves and their lives to the characters and lives of the characters in your story. Keeping in mind that your audience is young and impressionable is essential for authors of the genre.

Love At First Sight

Love-at-first-sight does not happen. Infatuation, maybe, but love is more complicated than that. Writing a plot based on “love at first sight” can leave a bad taste in your readers’ mouths from the start, and that is something you should avoid at all costs. On top of that, love-at-first-sight is a very easy-way-out move and if you’re dedicated to your characters and your story, there’s a good to fair chance that you can come up with a more satisfying build up.

Unrealistic Romantic Situations

If you’ve ever opened a YA Romance, chances are you’ve read a scene in which the protagonist and the love interest end up in a stunningly beautiful place and the love interest sweeps the protagonist off their feet prior to riding into the sunset. This, unfortunately, does not happen very often, especially in teenage relationships. The most romance you’re going to get (usually) is the love interest offering to pay for the protagonist’s bag of skittles with the leftover money from their paycheck they earned at McDonald’s.

Just because teenagers don’t really go to great lengths to rent an entire ice-skating rink in the middle of the night so they and their crush can skate to Ellie Goulding music doesn’t mean there can’t be cute and memorable moments. Great doesn’t always equal grand and that’s important to remember. A lot of the time, teenagers appreciate fantasizing about things that are actually possible.

Happy Endings

Not all stories have to end happily, and you’ve definitely been told this before, but nobody ever takes into account how stories about teenagers have so much potential when it comes to endings. Teenagers read books about teenagers and unfortunately, this means that a lot of them will take what you’re writing about and try to change their own lives to match. Be honest in your depiction about what actually happens when you leave high school.

The majority of the time, high school sweethearts won’t stay together. Long distance won’t work, they’ll find someone else, the spark will die out, their personalities will undergo drastic changes, and their goals and plans for the future will turn out differently than they expected. “And they lived happily ever after” is criticized harshly for a reason, especially in YA and YA Romance. Most stories don’t end happily, but there is more than one story in a person’s life and giving a person their happy ending as they graduate high school is a great injustice, to your character and your readers.

Avoiding The Dark Parts Of Teenage Life

Teenagers, despite what a lot of the media claims, go through some really serious and stressful and damaging things. Teenagers suffer from mental illness and deal with the intense pressure of the education system and hold their heads high in the face of stigma over every little detail about them. They suffer from eating disorders and body dysmorphia and self-harm tendencies, and that doesn’t even bring into account the bullying and family issues and the stress of constantly learning and feeling things for the very first time with little to no guidance or assurance or resources to ask for help. It is hard being a teenager. Do not forget that, and don’t leave the actual teenagers reading your story feeling underrepresented and/or abnormal because they aren’t as stress-free as the characters they look up to.

Exaggerating How Teenagers Interact With Each Other

A lot of teenage interactions are short, awkward, and uneventful. Teenagers aren’t super eloquent and socially apt, but YA Fiction seems to believe they are. It’s quite rare that a teenager will just walk up to someone they like, say “wanna go to dinner on Saturday?” and all will be fine and dandy. It’s quite rare that a teenager will saunter up to someone who talked about them behind their back, say something super clever and damaging to their enemy’s ego, and saunter off like the king/queen of the world. Those interactions look great in our heads, but they usually contain a few stuttered words and “um”s and blushing. Confidence is usually a trait that people develop later in life, so try not to push it if you’re trying to be realistic.

Maturity of Teenagers

Teenagers are underdeveloped human beings with minimal experience in most areas of life. They do not have it all figured out. A lot of YA books revolve around characters that are extremely intelligent, disciplined and ambitious at a level of maturity a 25-year-old be on. This is not accurate. Making characters “awkward” or “childish” does not have anything to do with how mature they seem to readers. There is a distinct difference between an awkward girl with childlike innocence and a girl who makes mistakes, does not have her life figured out, and is not yet comfortable with casual social interaction. The latter things I mentioned are pretty universal when it comes to teenagers.

Unfitting Aspirations

There are more than two paths in life. It seems that in YA you’re either going to graduate, get married, pop out a couple kids and live the rest of your life in the suburbs, or you’re going to leave home, go to college, travel for 20 years and settle in some random country in Europe writing poetry until the end of your days. There is no in between, which sucks. There are a lot of interesting things you can do in life, not to say that either of the two life paths I mentioned are uninteresting. You could take a gap year and travel the world, go to college, move back home for a couple years then maybe get a job that has you traveling and exploring new things for the rest of your life. You could meet the love of your life in college and have some kids but put them in online school so you could travel with them. You could live your whole life in an awesome cabin in the forest casting spells and adopting wild squirrels. There are so many ways life can be and restricting it to opposite extremes takes the imagination out of the future.

Not All Teenagers Think Their Relationships Will Last Forever

This one is pretty self explanatory, so long story short, not every relationship a teenager enters into is with the end goal of staying together forever, or even more than a few months. Most teenage relationships are pretty short and not very meaningful, and portraying every single couple in your stories as “we’ve been going strong for 2 years and plan on getting married right after graduation” is inaccurate and will probably cause your readers some disappointment in the future.

Relationships Aren’t A Teenager’s Only Concern

Most teenagers are more concerned about the F they got on a History test than they are about who they’re going to stare at next period. Everyone has more than just their crush to worry about. Some teenagers have to worry about where they’re going to get their next meal or how they’re going to get a ride home from school or even how they can apologize to a friend they’ve hurt. It’s not all about relationships for teenagers, in fact, relationships are a pretty small part of teenage life. If all your character has to think about is the hottie they sit next to in Biology, perhaps you should work a little more on character development.

Unnatural Appearances

Most teenagers are not model-level attractive. All teenagers have break-outs and leave the house late with greasy hair or with their shirt on inside out. No teenager shows up at school every day looking absolutely flawless, as if they’re about to walk down the runway. Please keep that in mind, because portraying teenagers accurately, especially when it comes to physical aspects such as weight, acne, etc. is super important. In YA and YA Romance, you must keep in mind that the teenagers you are trying to appeal to should not feel like a piece of trash because they aren’t as perfect as your characters. Yes, YA Fiction is Fiction, but just because you know that it’s unrealistic doesn’t mean your readers do. Readers of YA Fiction compare themselves to the characters in your books whether you like it or not. It is not hard to realistically portray physical appearances of teenagers.

Avoiding Dangerous Messages

A common problem found in YA Fiction is the lacing of dangerous messages found in the smaller details. You may miss them the first couple times you read a story, but if you go looking for them, you will find them, and perhaps you will find the source of a lot of mistakes you’ve made. YA has a bad habit of endorsing mindsets that lead to bad decisions. Some of them, however, can be avoided in your own writing.

The Need To Change The “Flawed” One

Nobody in this world is perfect. Expecting the person you supposedly love to be flawless all the time is not realistic. People make mistakes. People are not always happy and bubbly and confident about themselves. People do not always act the same one day as they did the day before. Human beings are flawed and should be portrayed as such, especially in the stage of their life which is the most confusing and scary. Teenagers are underdeveloped human beings, and for some reason, teenager girls in YA Romance expect teenage boys to be charming and loving and never ever make a mistake, which is ridiculous. Creating love interests that appear flawless and can make no mistakes is detrimental to your audience. It raises your readers’ expectations to an unattainable level which causes them disappointment and might cause their future partners unrepairable damage to their self-esteem because they’ll think that in order to find a partner, they cannot be flawed and cannot make mistakes.

Glorification Of Illegal Activity

It’s not “cool” or “edgy” to pump yourself full of deadly and mind-altering substances you know absolutely nothing about. It doesn’t make you “badass” and it isn’t a personality trait unless that trait is stupid. Whatever your position is on drugs or alcohol or whatever, there is no excuse for putting the idea in the heads of young readers that doing things that are illegal and addictive and that might even get you killed is ok. Not only because most of your readers are younger than 21, but because it will always be dangerous to take drugs, commit crimes, and drink. Your choices are your choices. Don’t impose your habits and excuses on kids who don’t know any better.

Slut Shaming

News flash: it’s 2017, people. Nobody cares who you’re kissing or dating or having sex with. People are finally getting used to the idea that maybe, just maybe, it’s not the end of the world if you do whatever you want, as long as you’re not hurting yourself or anyone else. This recurring theme of “I hate this person because they do what they want with their body” is getting old and annoying. Believe what you will regarding religion and morals and what is right or wrong or whatever you want to believe in, but the second you start turning your story into a commentary on the decisions and beliefs of other people, you’re in the wrong. There are other, more creative reasons to make your characters hate each other than their sexual activity.

Forgetting The First Times

One of the most exciting parts of being a teenager is that everything you’re experiencing, you’re experiencing for the first time. Everything is confusing and exciting and 10x more painful or memorable or enjoyable, and that’s neglected all the time in YA. I don’t mean the common trope of the first kiss or the losing of virginity. I mean love and infatuation and loss and heartbreak; it’s all happening to them for the first time in their lives, and these events make up their memories that they will carry with them forever. Teenage years are incredibly heavy times for people. It is, after all, the years in which they learn the most and the fastest and where the majority of their brain development takes place. These moments that you’re writing, the first kiss, the first time having sex, the first time your character loses someone they love, they’re all going to determine how your character will develop in the future. Treat them that way. Teach young readers that it’s normal and perfectly okay to be scared and inexperienced and lost. That’s the bitter-sweet part of youth and it’s beautiful.

Bad Boys And Boring Girls

Bad Boys are, in reality, bad news. The real “bad boys” in this world are slimy, manipulative jerks who trick girls (usually more than one at a time) into thinking they have feelings for them, using them for things like sex or money, and then either end up controlling their entire lives, introducing drugs and problems, or breaking their hearts. It’s sad, but it’s reality. Yes, there’s always a cause for this behavior, and sometimes these bad boys grow out of it, but that’s not always the case. Portraying these bad boys as “changeable” is not only dangerous for the female readers but also the men in their future. If you make girls think that they can change whomever they’re with to be the perfect prince charming, they will never be satisfied with someone who is flawed (spoiler alert: everyone is flawed) and they may destroy the self-esteem of whoever they’re with by making them think they need to change to be lovable.

Boring Girls are, sort of, connected to bad boys in this sense. They show up in every story, which makes sense financially because authors who make more relatable main characters sell more books. It’s just demographics. But at the same time, this stretch for a wider audience can end up influencing girls’ expectations of themselves and their love lives. If you make every protagonist completely boring, compliant, and devoid of strong, defining traits, girls will take that as advice. They will learn that all a girl has to do to make people fall in love with them is sit quietly and be pretty, which is horrible, in case you hadn’t noticed. Teach girls to look up to strong characters with rich personalities. Nowadays, that counts as an original idea.

Generalization

Portraying every aspect of teenage life and teenagers themselves as if you opened a book full of cliches, closed your eyes and pointed at something is not ok. High schools and families and personalities are different wherever you go, and making blind generalizations about aspects of teenage life can not only change how your reader interprets their own lives, but how adult readers assume teenage life is when they’re not around. It is important to not reinforce the assumption that there is always a popular clique and mean jocks and awkward nerds and dead-beat stoners because these stereotypes are a way for people to justify their snap-judgements, and not only does that say a lot about you as an author, but that will breed a whole new generation of judgmental, close-minded people.

Glorification Of Unhealthy Relationship Behaviors

I’m gonna say this once: It is not “hot” to have the love interest constantly putting restrictions on their supposed loved one. It’s not okay to borderline stalk someone and use “I love you” as an excuse, even if the person reciprocates your feelings. It is unhealthy to ignore someone when they say “no, no, not now” or “no, stop, not here” when you’re in the middle of initiating sex or even just kissing. It is disgusting when romance, especially YA Romance, which has mostly young, impressionable readers taking in your messages, promotes these behaviors like they’re something to strive for. Like it or not, your writing is going to alter the way they imagine a “perfect” relationship. If you aren’t willing to take that responsibility seriously, you should not be writing YA, and especially not YA Romance.

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[goldkirk]

Quarantine Nonfiction book recs for someone who likes science and sociology/psychology?

HECK YEAHHHHH

Sapiens, by Noah Harari

An Astronaut’s Guide to Life on Earth, by Col. Chris Hadfield (one of my fave books I’ve ever read, so detailed and so interesting. Not by a scientist but so much great reasoning involving scientific principles and being prepared and all that with PLENTY of adventure thrown in)

Crisis in the Red Zone, by Richard Preston (an almost novel-style, completely factual chronological retelling of the 2014 Ebola epidemic and multiple groups of people fighting it)

The Demon in the Freezer, also by him (if you wanna know about anthrax and smallpox and bioweapons, this is your book)

Thinking, Fast and Slow, by Daniel Khaneman

Do No Harm, by Henry Marsh

Counting Backwards, by Henry Jay Pryzbylo, MD

FICTION: Extraordinary Means, by Robin Schneider (I know it’s fiction, but it’s a hypothetical “what will it look like if Tuberculosis becomes totally drug resistant in our lifetime, how does modern society handle that”) 

An Unquiet Mind, by Kay Redfield Jamison

Flow (don’t remember who it’s by)

Rise of the Rocket Girls, by Nathalia Holt

For the Love of Physics, by Walter Lewin et. al. (Walter is a gross gross man who did a lot of iffy stuff with students if you know what I mean but this is singlehandedly the most beautiful description of falling in love with physics and learning and teaching and how magical it all is I have found so just get a copy used so he doesn’t get money and enjoy yourself) 

The Island of Knowledge, by Marcelo Gleiser

A Mind for Numbers, by Barbara Oakley (I think everyone who goes to high school or college should be given this book. if you gotta take math or science courses you deserve to learn what this book has to say)

The Power of Habit, by Charles Duhigg

Grit, by Angela Duckworth

Curious, by Ian Leslie

The Tipping Point, by Malcom Gladwell (actually just. any of his books. all his books. very interesting)

Applied Minds, by Guru Madhavan

The Like Switch, by Jack Schafer, PhD (dude. this is written by an ex-FBI dude, SO INTERESTING, parts of it can be a little awkward if you’re not in his same demographic, but like. this is so worth the read if you like psychology at ALL, it’s rad)

Situations Matter, by Sam Sommers

Have Dog, Will Travel, by Stephen Kuusisto (not exactly sciency but it’s an amazing exploration of the experience of disability, how different each disabled person is, how society treats the disabled, and how human we all are, plus how rad service dogs are in general, which is just a sociological gold mine honestly)

Not hard science exactly but Words on the Move by John McWhorter is SO NEAT if you want to fall in love with the English language and learn a lot about how our language trains us to think and why we think and say the things we do and how linguistics plays into our perceptions and thoughts and word choice and all that. it’s a love letter to English but it’s a lot more than that too

And this might be a bit too on the nose for right now, but if you’re up for it:

Very, Very, Very Dreadful, by Albert Marrin (some history of plagues throughout humanity’s history, how we figured out vaccines and that viruses and bacteria exist, and a LOT about the influenza pandemic of 1918. good read)

[citrineghost]

Adult Spaces VS Minor Spaces

It’s that time of week again where I write a post 5k words long to explain a concept that could probably be said in ten words.

On today’s episode of Ghost Talks Too Much, we’re going to learn about the difference between adult spaces and minor spaces, because this is a topic I’ve been seeing talked about from both sides but haven’t seen anyone actually combine yet.

On one side of the coin, we have people saying,

“If you’re an adult, it is your responsibility to make sure any location minors can gain access to is squeaky clean of adult content or you’re a problematic creep.”

On the other side of the coin we have people saying,

“If you don’t want to see adult content, you have to do all of the work to curate your internet experience or you aren’t old enough to be here.”

Actually you’re both about 50% wrong.

There’s actually a difference between adult spaces and minor spaces and each area has its own guidelines for appropriate behavior.

What’s the Difference?

The first thing is looking at the environment. First, there are the simple examples:

Is it at a school? It should be minor friendly

Is it in an outdoor, public space (like a park or a sidewalk)? It should be minor friendly

Is it at a private place where children live (and are present)? It should be minor friendly

Is it a private place that primarily caters to children (like a toy store)? It should be minor friendly

Then, there are some more complicated examples. These are places that are generally divided or segregated by age:

A private place that is open to the public (like a clothing store)

An indoor, public space (like a library or a post office)

The internet

These last examples are typically divided into separate spaces for adults and for minors. For example, clothing stores will have clothing sections for kids, libraries will have a kids’ area and an adult fiction area, and the internet is comprised of different websites with different target demographics.

The short explanation is, any area that is child-targeted, neutral ground, or includes a child-targeted area with no separation between it and the adult area should be minor friendly. But, there’s more to it than that.

How are we supposed to keep these areas separate and ensure there are adequate restrictions put in place?

Parenting Responsibilities

The first line of defense for a child or minor’s intake of content is their parents. Obviously not every parent or set of parents does this. And, some do it too much. That is the parents’ personal failure. Parental failure to protect their children from damaging content is not a responsibility that should fall to the shoulders of everyone else in the world. Otherwise, we would all be forced to constantly take inattentive parents’ jobs onto our own shoulders. In a perfect world, no minor would be harmed by their parents’ shitty parenting, but we just do not have enough people who are willing or able to completely alleviate that.

Obviously, there is a kind of middle ground here. Certain places have ID requirements, like sex shops and bars. Certain adult-targeted shops without legal restrictions have watchful employees who will tell young kids that they shouldn’t be there and need to leave. But, innocuous places like libraries or clothing stores are not black and white enough to make moral judgement an employee’s responsibility.

Because of this, minors going into places that they most certainly don’t belong is, first and foremost, the parents’ responsibility. If your teenager is looking at hardcore porn online, it is your job to take responsibility for that.

It’s not that minors don’t have autonomy over their own choices - especially teenagers - but they cannot be entirely responsible for curating their online consumption. Their impulse control is not fully developed and they can end up looking at things they don’t necessarily want to be looking at, simply because there was nothing to stop them. Trust me, I’ve been there.

This is what parental controls are for. There is, of course, a line that a parent shouldn’t cross. I’m not condoning taking away privacy, using spy software to see what your kid is doing, or reading their private messages. That’s abusive as hell. However, there is something to be said for blocking porn websites, being open with your kids and teens about what you expect of them, warning them about the way certain content can be bad for their mental health, fostering open dialogue so that they can come to you if they have questions, and making sure that they aren’t just wandering around aimlessly and picking up whatever is put in front of them.

Creator, and Owner, and Website Responsibility

The next line of defense is being clear about the target demographic you are aiming your product, website, or media toward. If a parent isn’t going to make their own executive decision about whether their child should be exposed to certain content, the minor should be able to see for themselves if it is something they think is safe or comfortable to look at or explore.

Movies and TV shows have ratings that indicate this fairly well

Websites for kids are generally clearly marked as being for kids. That, or the design gives it away

Adult only websites will usually be marked or have some kind of entry warning

Neutral websites like news sites are a grey area that is up to the individual parent or minor to determine safety for

Mixed-age media sites like Ao3 have warning features as well as an elaborate tagging system

Shops will put up signs on the walls indicating where children’s, teens’, and adults’ sections are

Bookstores and libraries have children’s, teens’, and adults’ sections clearly marked

By posting demographics in/on signs, titles, subtitles, account creation pages that restrict sign-up, age warnings, warnings for graphic content, and so on, website creators, media creators, shop owners, and managers of public buildings are doing their part to make it clear who should and shouldn’t be there. This is the most we should be asking them to do short of parenting other people’s children.

Community Responsibility

After that, we have community responsibility. This is where people get things messed up. There is so much discourse on who is responsible for doing what, and it’s primarily rooted in extremism, even if people don’t intend to be extremist. There is the idea that one group shouldn’t have any responsibility or that one group should have full responsibility. Neither of these is healthy for anyone involved. You have to find the middle ground where everyone is doing their part and not taking on the responsibility of others. 

As a member of a community, whether that’s the internet community or the public one, it is your job to use the two higher tiers of restriction as intended. That goes for both adults and for minors.

As an Adult

You should be keeping adult content off of any platform that is targeted primarily toward minors. It doesn’t matter if the platform grows a large adult userbase - it is made for minors and they should be safe from adult content there.

This goes for:

Kids’ education or game websites

Games that are targeted toward kids (such as Among Us)

Stores that are targeted toward kids (such as toy stores, kids’ clothing stores, etc.)

Places that are mixed-age and that don’t have built-in tagging or warning features take some critical thinking. 

Are you on a news website, planning to comment something with a traumatic or inappropriate story involved? Ask yourself if it’s necessary. Is the article you read something that’s already child inappropriate? It’s probably fine then. Is the article something innocuous that a minor is likely to click on, believing it’s safe? Don’t post unsafe content.

Are you on a public sharing site like Imgur where images and text are displayed based on popularity or recent posting rather than on who’s following who or on tags? Do not post traumatic content that minors should not be reading.

In places that are mixed-age and that do have built-in tagging or warning features, you should be taking full advantage of those tagging or warning features. Those features are what separates the adult and minor-safe areas of the website. 

If you’re posting explicit work on deviantART, that’s fine. They have specifically implemented a warning system for explicit content so that you have to be logged in on an account with your age indicated as an adult if you want to gain access to that content. Check the box that turns on that warning when you’re uploading something.

If you’re posting explicit work on Ao3, that’s fine. They have implemented an elaborate tagging and warning system to keep users safe, including the ability to put warnings on for dubcon/noncon, major character death, and so on. Learn how to use the tagging system (I have reblogged posts explaining how to do so under the tag ao3 if you want to find the guide on my blog) and then use it effectively. This doesn’t mean tagging every form and misspelled variation of each warning tag, but it does mean using archive warnings if necessary and tagging obvious triggers as they’re added to the work. (If you don’t look at the guide (though I HIGHLY recommend it), please note that Author Chose Not To Use Archive Warnings and No Archive Warnings Apply are exactly the opposite of each other.)

If you’re on Facebook, where you’re friends with 10 teenage cousins, 15 minor siblings of friends, and your nephew, don’t fucking post for all to see about how you got laid last night or pierced your nipples. They do not need to see that. If you want to share something like that, you need to click the share settings on the posting box and restrict it so that certain friends are excluded from seeing it or only certain friends are able to see it. Use the tools given to you and don’t post content thoughtlessly.

In places that are targeted toward adult-only demographics, it is not your responsibility to make your engagement minor-friendly. 

Of course, I can’t neglect to mention, if you’re on/in any space that should be adult-only and you see a minor interacting there, you should do two things:

Report them for breaking the site rules. They might make a new account, but they also might decide to follow the rules on the new one to avoid getting reported again

Interact with them in a minor-friendly way. Minors going into adult spaces may not be following the rules, but it doesn’t give you a free pass to be a jackass, a creep, or harm them in any way

As a Minor

You are responsible for curating your experience within adult and mixed-age spaces. While spaces targeted toward primarily minors should be safe for you, when you enter a mixed-age or adult only space, it is up to you to follow the guidelines that keep you from seeing adult content.

You should be staying out of adult-only spaces (especially anything interpersonal like a Discord server) or refraining from interacting within those spaces. When you go into adult only spaces that involve consuming content, and don’t interact, no one but you really knows you’re there. However, when you begin interacting with people within those spaces, you are actually endangering them. 

Adults might seem like some vague and distant concept to you, but adults have feelings and lives too. Or, you might feel like you and adults are no different. But, under the law, if something goes wrong while you’re in an adult-only space, the adults are the ones who become legally responsible, not you. 

This brings us to:

Let’s talk about lying about your age.

Lying about your age can be convenient for getting into spaces you’re not meant to be. For some places, doing so will only affect you in the long run. If you want to watch porn and the website says you must be over 18 to enter and you click the button saying you’re over 18, no one is going to know except you. However, when you begin commenting under porn videos, it opens the door to adults interacting with someone who they assume is also an adult. If someone says something sexual to you, it could potentially lead to them having a record as a child predator for the rest of their lives, even if they were never intending to interact with a minor in that way.

This isn’t as much of an issue on porn websites, since people don’t often comment there anyway. This does however, become a HUGE issue on mixed-age sites and discussion platforms, like forums and Discord servers.

Discord servers are amazing things. They open the door to so much fun and social connection. However, there are a lot of servers that are 18+. For teens especially, it’s easy to think, “Well, I’m almost an adult anyway. They won’t care if I’m here, as long as I act mature.”

That is not the case.

We do care. Sure, having a conversation about video games is harmless, but when it comes to talking about our personal lives or sexual content, it is incredibly creepy for a minor to be hiding within the server under the guise of being an adult. As a teenager, I had a hard time wrapping my mind around the idea that a teenager could hurt, harm, or be predatory toward an adult. I saw adults as invulnerable and I said things that I regret now because I didn’t realize they were harmful. Please learn from me now: Teenagers can be predatory toward adults. 

I am not saying that teens have some kind of power dynamic over adults. I’m aware that adults have the upperhand in most situations. However, when you lie about your age and pretend to be an adult in an adult space like Discord, you are being predatory. This doesn’t have to mean you even mean harm to anyone. The fact is, you are being deceptive in order to access content and interactions that you would otherwise be denied and that would otherwise make people incredible uncomfortable. That, by definition, is predatory. 

While it is certainly not the same caliber, due to the inherent power imbalance, imagine a 24 year old pretending to be 17 to hang out in a minor-only Discord server, even if their intent is only to talk about SFW topics. If the hair on the back of your neck just stood up, you can now understand how the 24-year-olds in an adult-only server would feel about a 17-year-old lying to enter their spaces.

Pointing Fingers

Last, but not least, we have to address the pointing fingers issue - AKA, the responsibility policing issue.

If you are acting appropriately within a space, there is no reason you should feel responsible for someone else misusing that space. 

If you are misusing a space, there is no reason you should blame someone who is using it correctly for the misfortune that befell you while you were misusing that space.

If you are a minor and you go on Ao3 and click past the dubcon/noncon warning only to get traumatized from a rape fic, that is not the fault of the person who posted it. That is your responsibility for ignoring the boundary between a minor space and an adult space. It is unfortunate that you had a bad experience but, even if it has lasting consequences, it is not the fault of the person who was following the rules.

If you are an adult and you got berated by someone or your content removed because you failed to follow tagging or warning guidelines, it is not the fault of the person berating you or reporting you. It is the consequence of ignoring the rules and putting minors at risk of seeing something inappropriate.

Adults should not be expected to censor themselves in adult spaces. When we support censorship of content - even content that we find morally abhorrent - when it is tagged and warned for appropriately in order to allow people the chance to turn away from it, we are supporting the same philosophy that led to book-burning. 

Book burning and the destruction of research and information due to a large group finding it morally reprehensible has, historically, knocked us back decades in scientific study, contributed to the marginalization of POC, queers, and the neurodivergent, and has been used as a tool of oppression.

We cannot let ourselves fall into the trap of believing that our own beliefs and morals should dictate the freedom of others, or we end up just like those who have hurt us.

I could go on about people using certain unfortunate topics as a means to recover from and understand their own trauma, but it really doesn’t matter, does it? It doesn’t matter why someone is writing something you dislike. Words of fiction rarely ever lead to action. If they did, we would be seeing a large percentage of the population becoming murderers. After all, we read books and watch movies with murder in them all the damn time.

So, the moral of the story is, we all have a part to play in keeping minor and adult spaces separated, and it’s not fair nor helpful to anyone for one group to shirk off responsibility onto the other.

[socialyawkdude]

A intro to manga, anime and light novels

Hello again, long and first time readers..

Its time for the long-awaited manga review section. Now before we get into the nitty gritty there a few things we need to cover first. Seeing that I will be coving light novels, mangas, and anime there are a few terms that we need to go over. Most of these terms will be covering the different genres and subgenres. Seeing that not everyone is literate in this word, it may be a good idea to cover this before we get into the good stuff.

What I'm about to go over are the genres of light novels, manga, and anime. Like many television shows and movies; manga and anime are broken up into different genres. Many of these are pretty self-explanatory, while others are more unique, as you are about to find out. I have included a few examples with of the sub-genres. I'm no expert, as I’m learning along with a few of you. Some of the examples I've given are some that I've read or heard of.

 List of Major Anime/Manga Genres

Action

Adventure

Comedy

Drama

Slice of Life

Fantasy

Magic

Supernatural

Horror

Mystery

Psychological

Romance

Sci-Fi

 Looking at this list you can see many familiar genres of movies and TV, that you may watch. I won't go into a detailed description of these, because everyone should know these. Now for the sub-genres, it's a bit of a different story. Many of these are unique to anime and manga. It is these that I will give a little description along with a popular anime or manga.

 List of Anime Subgenres

Cyberpunk= This type of anime is a subgenre of sci-fi. It usually displays a future where society has become more ingrained with technology at the expense of social order. The setting is typically a dystopian future where the technology may be doing more harm than good. 

Game= The game category encompasses shows revolving around the idea of gaming and playing. The anime can feature a card game, board game, puzzle game, or even a virtual online game. As long as it concerns any playable game of any kind, it belongs in this category. Sometimes, even video game-based shows can count in this selection.

Ecchi= The word ecchi comes from the sound of H in the word hentai, which in turn means pervert in Japanese. This sub-genre is generally accepted as being full of sexually provocative scenes (mild enough to be viewed by the general audience) and scenarios derived from innuendos and humorous situations. It’s a fact that ecchi shows are taking an upswing nowadays as more and more titles are produced every season. More often than not, ecchi is paired up with comedy as both genres compliment each other well. This, in turn, serves as a buffer that prevents the shows from crossing the line and delving into something less appropriate for general audiences. 

Demons= Originally just an infrequent theme, the rise of demonic characters and themes have given rise to this sub-genre. The term demon does not only encompass literal demon characters. It also extends to other entities such as monsters, beasts, ghosts, and other demon-type figures. The demons present can come from biblical backgrounds or come from Japanese culture. Believe it or not, this category doesn’t just come hand-in-hand with the horror genre; it surprisingly blends well with other genres as well. 

Harem= If you see a reluctant male character surrounded by multiple female characters who all adore him, then you’re probably watching an anime of the harem sub-genre. This type of show typically features more than two female characters go head-over-heels for a single male character. Anime in this category is typically within the comedy and romance genre. It's possible that a harem anime can have no romance and feature mostly slapstick comedy.

Josei= Josei is actually a demographic but is also considered a general category in anime. It specifically targets female viewers around the age range of 18-40. These shows depict life and romance in a more mature light, usually with more grounded realism and less idealistic fantasies. The sub-genre is fairly wide and doesn't necessarily have to focus on romance. It merely needs a narrative that caters to the mature woman. Josei originated from manga during the 80′s. Girls who grew up reading shoujo stories from previous decades wanted stories for adults.

Martial Arts= Martial arts play a big role in every anime that has fighting/battles in it. Whether it's hand-to-hand combat, swordplay, gun fighting, or armed combat, there’s some kind of martial art element that plays through them. But did you know that there are shows that are primarily focused on martial arts itself and their battle techniques? There’s a lot of them, and they mainly involve hand-to-hand combat and technician battles.  

Kids= A lot of people say that anime is just for kids, but that’s not really true. As a matter of fact, there are only a few numbers of anime that are precisely catered towards children. These shows are contained within the kids' sub-genre. These shows are mild, light, and insightful, which makes them perfect for children 12 and under. 

Historical= As the name suggests, historical anime revolves around events in history and moments of antiquity. Shows of this sub-genre are typically set in Ancient Japan and the feudal period. Other settings such as the Middle Ages and medieval period of Europe exist but they’re much more rare in anime. As long as the time or setting (or even elements) are old and ancient, then the series can be considered a historical anime. 

Hentai= Hentai literally translates to "pervert" in Japanese. This is the R-18 (mature) domain of the anime world. This sub-genre commonly depicts nudity and highly explicit content. Unlike ecchi, the focus here is on explicit sexual content rather than on storytelling and narrative progression. That is why the shows in this category are usually brief and lacking in substance.

Isekai= Isekai translates to "another world." This sub-genre typically has a     narrative where a protagonist somehow gets transported to a different     world. The new world is more often than not in a fantasy setting,     occasionally with traits pulled from JRPG games.

This category of anime exploded during the 2010′s and arguably dominated the decade. A good portion of isekai anime is adapted not from the manga but rather from light novels. The most popular series in this sub-genre maybe Sword Art Online. While the world featured there was just virtual reality, it did feature a fantasy setting that would be mimicked in other anime. 

 Military= As the name implies, this sub-genre involves the military in one way or another. War may also be a huge part of military anime. One thing to note about this category is that it is often coupled with the mecha and action genre.

Mecha= Mecha stands for mechanical (as in mechanical units or robots). You’ll never see a mecha anime without a robot or mechanical suit in it. That’s the most important element of it. And while this sub-genre is rising in fame as the days go by, it almost always uses a standard formula to carry the plot. As a general trend, mecha is often seen alongside the military, sci-fi, and action genre.

This may very well be the most iconic anime sub-genre as there is a multitude of memorable shows in this category. The mecha can be considered to be one of Japan's most popular exports. Some of the earlier iconic titles from the late 70s and 80′s include Mobile Suit Gundam, Mazinger Z, and Super Dimension Fortress Macross. Neon Genesis Evangelion is considered to be an iconic and dark deconstruction of the genre as it examined the psyche of young pilots. GurrenLagann was a massive hit that brought the genre back to its hot-blooded and idealistic roots. With a rabid fan-base that loves mecha designs, this genre is one that has been consistently popular over the years. 

Music= Anime shows in the music sub-genre aren’t that popular nowadays, but they do exist and they are very timely. These shows typically focus on singing, dancing, or playing musical instruments. These usually fit within the larger categories of comedy and drama.

Parody= A parody anime is one where countless numbers of other anime references are showcased throughout the plot. It might be a popular running gag, a famous symbol, a character reference, or any other attempt at bringing another show into its domain. One anime worthy to note is Gintama. They often use similar elements from other anime to showcase in their own show.

Police= The police sub-genre emphasizes the life and struggles of law enforcement in their line of duty. Police-based characters have shown up in numerous shows and     there are now anime that could be considered as police procedural. This genre isn't exclusive to police officers; detectives, investigators, and enforcers of any type are included as well. 

Post-Apocalyptic= Post-apocalyptic anime basically show that is set in a world that is in a dystopian state. This could mean the world is destroyed and/or humans are nearly extinct. Post-apocalyptic settings were merely a theme in the past, but an influx of titles bearing this backdrop over the years have made it become a sub-genre on its own. This type of anime has become more and more popular by the day. 

Reverse Harem= A reverse harem anime is typically a harem series where the gender roles are switched around. There is one female character surrounded by multiple male characters who are all potential love interests. Like the traditional harem genre, anime of this variety is usually within the comedy and romance genre.

School= There are countless anime that use the school as a setting. An anime can be considered a part of the school sub-genre if a school is the primary setting and the anime deals mostly with school and student life. This type of anime is usually seen within the comedy genre, though there are some entries in drama as well. 

Seinen= Seinen is actually a demographic but is also considered to be a category in anime. It’s a sub-genre that specifically targets male viewers around the age range of 18-40. The shows here are depicted in a more mature light and often include more explicit content such as gore, sex, and violence. More cerebral narratives are present as well.

Shoujo= Shoujo refers to the demographic of young girls. This sub-genre specifically targets female viewers around the age range of 10-18. Most of the time, shoujo anime works hand-in-hand with the romance and comedy genre, particularly with the former. The protagonist is traditionally female and the narrative focuses on romance as well as personal growth. The world in these shows is often very idealized.

Shoujo-ai= Shoujo-ai literally translates to "girls love." The typically young female characters in shojou-ai anime show love and affection for each other. The romance is usually milder in comparison to the more explicit yuri genre. Shows in this category portray blooming feelings of love and romance rather than intimate relationships. 

Shounen= Shounen refers to the demographic that this type of anime targets, which is male viewers around the age range of 10-18. These shows are usually a combination of action and adventure and are typically adapted from serial manga series. As such, these anime tend to have lengthy runs. One Piece currently has over 800 episodes and is still running. These shows are typically the most popular with mainstream audiences. They have done very well when exported to foreign markets thanks to their relatively simple plots and focus on action.

Shounen-ai= Shounen-ai literally translates to "boys love." The male characters (typically younger boys) in these shows display tender affection for each other. The romance in shounen-ai is generally milder when compared to the more explicit yaoi genre. There is usually more focus on developing romance than actual relationships.

Space= The setting of space has always been massively popular. With so much anime taking place there, it has become a sub-genre in itself. Any anime set in the cosmos can be labeled in this category. Space anime is often within the larger mecha and sci-fi genre. 

Sports= Pretty much self-explanatory, sports anime are shows that cover characters engaging in athletic competition. Popular choices in this category include basketball, tennis, baseball, and soccer. Other sports exist as well (including those that you wouldn’t expect showing up in anime). As time goes on, more and more of these series are produced. Just like real sports, shows in this sub-genre are action-packed!

Super Power= You know you're watching a superpower anime if you're seeing an array of explosive superpowers scrambling right on the screen. If you see bursts of energy balls, death-defying attacks, and opposing forces battling it out throughout the story, then that means you're probably witnessing a show in this sub-genre. These shows generally fit in the action category.

Tragedy= As the name implies, the tragedy sub-genre revolves around tragic events or phenomenon where the characters are deeply involved and affected. Tragedy comes in diverse varieties such as disasters, accidents, misfortunes, and deaths. These shows are often very dramatic and can pull the heartstrings of audiences.

Vampire= As vampires have become so popular throughout the world, it’s no shock that they’ve also infested the world of anime. There are lots of titles now featuring vampires and they’re not just exclusive to the horror category. They’ve also manifested themselves into other categories such as comedy, romance, and drama.

Yuri= Yuri is essentially the more mature and explicit version of shojou-ai. The female characters are typically older and the series examines their more mature relationships.

Yaoi= Yaoi is the much more sexually explicit counterpart of shounen-ai. This sub-genre covers male-to-male relationships (typically older boys) in a more mature light. There is more emphasis on serious relationships and intimacy.

 Well, there you go… a not so short overview of the genre and sub-genres of anime, manga, and light novels. Hopefully, this will help newcomers to this wonderful of books and tv. It is now time to reveal the first series in the socallyawkdude’s manga review….. Tales of Wedding Rings by Maybe.  The volume 1 review should be up soon, as i’m finishing up the art work for the post.

Till then this is your friendly neighborhood sociallyawkdude signing off.

[allthislove]

I wanna come back to the affirmative action thing, because I’ve been thinking about it for a while and the shit bothers me, okay?

Racial intelligence is a myth. Positive or negative, this is not a real thing. I’m going to talk about the Model Minority Myth and bit here, and also how Black people, especially Black Americans, are seen as inherently stupider than other people.

On one end of the spectrum, you have Asian people, who do well academically. People talk about them like they’re inherently better at school, or smarter than other people.

On the other end, you have Black people, who are thought of as bad students, stupid, incapable of succeeding in school without the assistance of affirmative action.

Neither point makes much sense, because they ask the person listening to imagine that neither Black nor Asian students have individuality. They can’t succeed or fail because of their own merits, but that their success or failure is because of some thing encoded into their DNA. 

In reality, this is socialization. Before I get into this, I wanted to remind the world that Black women are the most educated demographic in America, today, and so what I’m about to talk about is (thankfully) changing, but let’s take a look at what factors help create both of these myths. 

Asian families, especially immigrant families, tend to push education. It’s almost a virtue. Getting good grades became important for some Asian immigrants because they wanted their children to have their best chance. Immigration is hard. Many immigrants (not just Asian immigrants) come here and have to completely start over. Degrees they earned in their home countries sometimes become useless, here, especially if they’re not fluent in English. They often came to this country and had to initially work very menial, hard labor or dirty task jobs that Americans didn’t want. So, they pushed for their children to do well academically, so that they could become something better when they grew up. 

So, right from the start, Asian parents are pushing for their kids to do extremely well in school.

What happened to Black kids, then? People never seem to tell the full story, here, but when I thought about it, it was obvious. I’m working on a play, right now, about Black people in the American South around the time of the first World War. The main character is a young Black woman who “finished” school at the 8th grade level because there wasn’t a school that taught Black people after that in her area. This wasn’t just some random thing I made up for my play. This is the situation that Black people lived in for a very long time, after Emancipation. While some HBCUs were being founded (thought many of them were initially just seminaries or agricultural schools) many parts of the country just didn’t have places where Black people could learn after a certain point. Couple that with a country that really doesn’t give a crap if Black people get good educations and education just never really became the most important thing, for us. 

Black people valued a lot. We valued our stories. We valued our culture, which we built ourselves because most of our original cultures were stolen from us. We valued music. But, we never got a chance to be socialized to value education, because education was not available to us. And then when it was, it was often subpar.

So, right away, you have two completely different situations. One group, largely immigrants who have everything to lose and access to education; education being one of the main reasons to even come here. One group, brought here on slave ships, enslaved, freed, and then kept from good education for decades, if not an actual century. 

The other factor in Asian academic excellence is that, especially at the college level, you have the top students coming to the US specifically to study at American universities. So, already, you’re skewing the numbers.

Anyway. So, Black people weren’t socialized to treat education with the reverence that many immigrant families do. So, once we started to get better access to education by the mid 1960s, most Black people just didn’t find it to be a virtuous thing to have good grades. Good or bad grades are just a thing. Don’t get me wrong. Black parents still get happy when their kids get an A, and upset when their kids get an F. But it was never treated as this all-encompassing thing. It just is what it is. 

Couple that with, you know... a lot of socioeconomic factors that a lot of Black people still live in, and grades and scores just aren’t that important. 

The thing is, that is shifting. A lot. Like, almost the sharpest course correction Black Americans could have. As I mentioned before, Black women are the most educated demographic in America, now. Why did this happen? I’m not exactly sure. A lot of people credit the emergence of images of Black success on TV in the 80s with shows like The Cosby Show and A Different World with sparking this shift. More Black kids saw that it was possible and therefore more Black kids went to college. The thing, though, is that that’s still mostly Millennials and Gen-Z. Meaning barely 1 generation of Black people have started to become more educated. Which also means, like... we haven’t had the time to see what the impact of this is going to be.

The Model Minority Myth for Asians is decades old. Black people even being able to go to PWIs is shorter than the Model Minority Myth. 

I guess what I’m trying to say is... Black people aren’t more educated because education went easier on us than other people. We’re more educated because we’re capable, and we never were not capable. 

Again, affirmative action makes sure you’re not overlooked because of your race. It doesn’t magically create a spot for you just because you’re Black, and especially not because you’re Black in spite of you being undeserving. And the other thing Affirmative Action doesn’t do is change your grades. If a Black student earned a 4.0, they earned the same 4.0 as and Asian student with a 4.0. Black students succeed or fail on their own merit, not because they’re Black. 

And as for poverty... poverty is incredibly difficult to escape, no matter your race. I’m not the best person to speak on Black poverty, because I’m not poor and I grew up comfortably middle class with two college educated and professional parents, so yeah, but I can say that because I grew up like that, it was far easier for me to go to any 4 year college and earn any degree I wanted than it will be for some poor kid living in the projects with a single parent with a GED. I’m not sure why people act like Black poor people are an example of why Black people are inherently bad or stupid. First of all, you can be incredibly good and incredibly smart and still live in the projects and be poor. Second of all, the existence of bad people in the Black race doesn’t mean that all or even most Black people are bad. Third of all, nobody is stupid, and if they seem “stupid” to you, something else is going on. A lack of education. A cognitive disability. Something. “Stupid”, like “crazy”, is a dismissive, and often ableist, word, and basically means nothing. 

And since I brought up the Model Minority Myth, I think I should mention that it’s also very harmful to Asian people, especially students. One, it’s dehumanizing, and makes people hold Asian people to impossible standards that obviously every Asian person can’t meet. And two, it misses the experiences of Asian people who didn’t come here for academic reasons, many of whom don’t have the same “education as a virtue” thing that many specifically East Asian or Indian immigrants have. Like, people who came here as refugees instead of exchange students. Many of those people find that they get left behind by the myth, teachers offer them less help because they’re Asian and are supposed to be “smarter than everyone else”, and they end up falling into a sort of gap. Many of them drop out, and the cycle of poverty continues. And I guess a third, big problem is that it makes colleges and universities judge Asian applicants more harshly and hold them to a higher standard than everyone else, which means that unless you’re a high flying Asian overachiever, you might have a harder time getting into college than your white or Black friends. 

So, anyway, what I’m saying is that assigning a certain intelligence level to someone based on their race is bad and like... America really has a big problem with race and we need to fix it.

Also, we need to do better, as a whole, about understanding why we have the misconceptions that we have. It’s really frustrating, for me, to constantly feel like I have to prove I’m not stupid to strangers because they all assume I am because I’m Black. Or at least less intelligent than they are. And to have to defend my two degrees constantly because old Duck Dynasty looking white guys think I didn’t earn them because of affirmative action. To have to constantly explain that a Black person’s A is the same A as anyone else in the class, because, while teachers do sometimes grade on a curve, it’s not given racially. And that if you answer a question correctly, it’s correct. And if you solve an equation correctly, you solved it correctly. And that the answer doesn’t change for Black people, and that the work isn’t easier. 

And I think people know that it doesn’t make sense, because when you think about it logically, it doesn’t make sense that one group of people is inherently stupid or that another is inherently smart. We understand individuals. We know lots of people, each of us. We know someone who isn’t bright at all, we know someone who is incredibly smart, we know some people like this who are the same race as each other, and even the same race as us. We know they’re different because they’re individual people, and that they don’t represent our entire race. So, why, FOR THE LOVE OF PETE, can we not... as a society... yet understand that race effects our conditions, but does not dictate the type of person we are in the slightest?? Good, bad, smart, pretty, not smart, ugly, short, tall, funny, boring, brave, scared, energetic, whatever the hell... THESE ARE TRAITS THAT MAKE UP INDIVIDUALS, NOT RACES. Race is a lie we tell ourselves to explain why certain people share certain physically features and/or geography. Nothing more. We have built entire societies around this lie, and like... I’m not naive enough to think that race will no longer be a factor any time soon. Some people are far too hung up on their racism for us to truly move on as a society. But I also know that, for us to begin the process of moving on from it, we have to be honest about how it has shaped our society and stop this thing of blaming people for the conditions the society forced on them and how it affected them through the generations. 

This was a lot, and I’m not sure if it’s clear, but yeah. All of this shit is more complicated than you want it to be, and people don’t fit neatly into little stereotype boxes. You have to get that shit out of your head and learn to both see individuals AND understand how history shapes our present reality. 

[flying-elliska]

that said, of course calling David an abuser etc. is wrong. I agree with that, but saying that he didn't do anything wrong is, well, wrong. he's an adult, she is a child who had her almost entire fandom turn on her when she was worried about the actors. she later had her favourite actors call her disgusting and a piece of shit for said worry. also, everything they said was being said by the actors in those videos. it was not her/their fault that those videon weren't the entire story 2/idk

furthermore, I wanna reiterate that I mean no disrespect. but we are allowed to criticise the shows we watch. skam and the skam france fandoms do that more than any other fandoms out there due to the nature of the show. we’ve been doing it since 2016. we’re allowed to criticise shows who make ableist actions (basing this on what my followers who are how or deaf on twt have said). by doing that, that criticism often falls on the creators, because who else? 3/idk

anyway, I really hope u believe me when I say no hate hahhaha. your post just didn’t entirely sit well with me as a bipolar person who’s had to distance myself from skam france due to their handling of that storyline, and in fear of what they will do in the future. and as someone who saw a 14 year old girl get death threats. did u also know an account with 27k followers a circulating a “block list” of accounts to block on twt because they criticised a show? yeah, it feels 4/idk

like the skam fandom is turning into a cult and it’s very harmful and toxic for a lot of people’s mental health. adults (because 90% of the accounts I saw bullying them were women 25+) bullying children over a tv show that is specifically targeted towards teens is scary to see. not saying u can’t enjoy skam if you’re an adult, but they should realise that that’s not the target demographic. as a last thing, yeah, a creator can’t confront all criticism 5/idk

a creator must realise that if he or she is making a show targeted to teens handling high school plot lines, the first priority should be to make sure that part of your supporter base or followers are safe within your fandom. david could have adressed the bullying without addressing the criticism. that’s where I believe he was wrong. anyway, I really hope I didn’t come off as rude!! and I hope u read this all the way through hahaha. have a nice evening!! 6/idk(6)

Hey anon ! Don’t worry, you don’t come off as rude ! I’m not exactly sure of what your point is, though. Most of David’s posts lately were about discouraging the bullying, from what I’ve seen. From how I understood his posts, that was the main reason he spoke up. And I think he had a right to say that there is a tendency to overreact on social media, which we should all be more aware and mindful of.

Some fans’s behavior is really fucked up, especially when they are older, they should know better, I think we can agree on that. There is zero excuse for sending death threats or any sorts of threats. Also that this fandom should be better at both producing and tolerating constructive, nuanced criticism. I saw a lot of Deaf people say they really, really liked the representation this season, and that it was disappointing how people swept it under the rug because of the love drama. Maybe some other Deaf people disagree. There should be a space for a healthy discussion of that and for people to listen more. I’ve been pretty damn critical this whole season so I really believe it when I say criticism should have a space. But there is a difference between criticizing a fictional show and attacking people.

Everyone involved in setting up the rumors surrounding drama should have checked their facts before spreading them, because those accusations are extremely severe, truncated interviews or not (that said the person who edited the interview like that really should have known better). This is not like criticising a plotline, it’s about real people. Also being worried about someone doesn’t give you a pass to insult their friends on their behalf. A friend sent me this info when it first broke out and I waited to know more because it sounded super iffy and heavy and I believe that’s an attitude more people should cultivate instead of jumping into the fray and reacting right away. No matter their age - if they are too young to be held accountable, they’re too young to be on the Internet unsupervised - but nobody deserved a wave of hate either. In general there should be a lot more compassion in a fandom that prides itself on valuing love and understanding.

The thing is, in the end, I don’t believe David is responsible for what the fandom does. The fandom is an autonomous phenomenon separate from the show. His job and that of his team is to create a TV show. He’s not there to be the community manager, fandom police, or babysitter and constantly manage everyone’s expectations and emotions. I don’t think it’s possible for him to know everything that is going on in the fandom and it would be disturbing if he did. Jumping in to correct the fandom’s problems would feel very invasive. It’s not his place - it wouldn’t be doable anyway. He can’t be seen picking sides or telling off people, it would only create further drama and hate. This is another version of the security/privacy/freedom dilemma, and you can’t solve everything by just putting a big guy in the room that tells everyone else what to do. This is something that the fandom is going to have to solve on its own, if it ever does.

In the end could he have handled certain things better ? Sure, but there is honestly no easy way to adress these sorts of dynamics, it’s hella complicated, social media draws the worst out of everyone, and personally I really think the team is trying their best to juggle all the fandom’s contradictory expectations. Seriously the things I’ve seen go around on twitter are just really, really awful and I have no clue how I would personally react if it was adressed to me - maybe a lot less gracefully than they have done. Maybe they should set some clearer boundaries and should have spoken up earlier about the bullying but… idk. If you have any other specific ideas of what should be done…I’m all ears.

Of course like…I personally tend to keep to my own little corner of the fandom, on tumblr and with my friends in chats, and I blocked a loooooooot of people, so I don’t see everything that is going on and my view is limited. But it would be nice if we were a little less focused on slinging blame around.

[the-bjd-community-confess]

I don’t really get it when people have to make a “But what about” counter confession.

If someone does a confession/complaint about people making offensive/tasteless/stereotypical character portrayal of a group, through dolls, that doesn’t suddenly make it all perfectly fine, just because someone from that demographic created it.

People are often well aware that not every tasteless, or even harmful portrayal has been created by someone who is not part of the demographic, people are aware that even a gay guy can create a problematic portrayal of a gay character. Just like how someone from outside that demographic can create a good portrayal of a character from a different demographic. Eg: A straight male can create a good gay male character. This, in case people are seriously wondering, is because characters aren’t just one specific label. A gay character isn’t (or shouldn’t be) just “The gay character, who’s gay.” if the character is well written, then it’s more like “This is a character, with his own personality, and story, who’s also gay.” Not to mention that research exists.

Of course there’s also people being utterly ridiculous, where people will throw a fit because: “You created a 30 yo lesbian character, but you’re not a 30 yo lesbian? How dare you, that’s UNACCEPTABLE!” Who need to calm down. No matter if they’re not-part, or actually part of that demographic. Humans aren’t a hivemind, so obviously characters can vary widely, there’s no way in Hell or Heaven, that there’s only “One true character of demographic X”. So

But if a bunch of people tell you, separately, in their own words say: “Hey, I find this portrayal of demographic X to be stereotypical in a very harmful way, I don’t like that.”

Is it really needed to come out, white knight, and go “But some people from "demographic” create these characters!“

People know, especially people who deal with this stuff. It’s also a bad argument, it’s not gonna make the portrayal better in anyone’s view, insiders or outsiders, just because of who the creator is. It also gives a vibe of "I don’t care about the other people IN the demographic, who originally said they dislike the portrayal of their demographic in those ways.”

People can be annoyed, and maybe even disgusted by portrayals of sexuality/race/ethnicity by people, without needing to be reminded that people from that demographic create these characters.

The concepts of: live and let live, and being able to critique these portrayals, are not mutually exclusive. Someone can accept that these creations exist, and leave people alone about it, while also being able, and allowed to complain, critique, and even rant about these creations in their own space, or, as in this case, on public confession blogs. It’s obviously totally unacceptable when it gets personal, or to actually harassing specific people.

Yes, someone from that group can create these characters. Maybe some people are gonna be rude about it, and get personal, but that’s not all the people who’re against these portrayals.

And it’s not like this is gonna stop people from creating these characters, portrayals of the LGBTA, different ethnic groups, and races have always existed, both by people from these groups, and outsiders, and they’ll definitely continue to exist, because there are often people who’ll like, or find these characters interesting, or easier to “connect to”, for personal reasons.

Main reason I’m saying this, is because it feels like people are, in a way, belittling genuine concerns, and discomfort of people, by saying “But think about the other people!” as if the person’s criticism isn’t valid, or their feelings should be considered offensive because SOMEONE who likes these portrayals, or does the, could read them.

It also sounds like trying to push away people’s concerns, or the feelings of people, and pitting them against each other, instead of just accepting that there are people who are annoyed by these things.

Create what you want to, but don’t be surprised when people call out the perpetuating of harmful stereotypes. Like the “trans men aren’t real men”, they’re just “men-lite soft uwu baby boys.” Or “trans women are just men in drag, with super male bodies.” Homosexuals, both f and m, “One is the man, and one’s the female in the relationship” or “Lesbians really just wanna be men, Gays just wanna be women.” All bi’s being unfaithful, and abusive. Etc. I doubt I have to go on when it comes to races, ethnicities, etc.

To cut it down:

People ranting about stereotypical/fetishitic/objectifying/offensive portrayals of their demographic through dolls, don’t need to be told that people from their demographic also create these characters. They/We know.

These characters will still be created, but maybe it’s also important to understand that people of these demographics are gonna speak out, and distance themselves from these portrayals, because they can be genuinely harmful. Especially when people who’re anti-demographic, use it as fuel to push their anti-demographic agenda.

Also, just something I do, a cheap “trick” to this is honestly the “Nothing but the character” approach, Subjective-objective. View a few characters, without knowing the creator, and decide if the characters “acceptable” or “unacceptable” in your own personal view, and knowledge of what the character is supposed to represent. Because knowing who/what the creator is, can often skew your opinion in one way or the other. So you make your subjective opinion, if a character is actually a good, and thoughtful representation, or not. (The objective, in subjective-objective means that you get just the character, the object, without the author tagged onto it.) You’d be surprised about some results you can find when doing this with other people.

Sorry if I started rambling, but it seriously feels like I’ve seen these types of defenses a lot in the BJD community, and people acting as if people can’t have their own opinions, or views on things, or if they do, they get cancelled or called out. And if you show your genuine opinion, or find something uncomfortable, people are gonna find some way to try and make it sound like you’re the bad person, and in the wrong, for not liking something. Even if you didn’t attack anyone personally, just stated your opinion on something that happens in the community.

Also, I’m NOT a native english speaker. So some stuff might sound weird, or sound repetitive, weirdly jumbled, or lacking in proper structure. “But your English isn’t that bad!” That really doesn’t have much to do with how good I am at really explaining, or getting my point across. So if something sounds weird, that’s the reason. Because through my the lens of my languages-grammar it all seems fine.

~Anonymous