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cannibalbuffe · 9 months ago

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hi! I've honestly been craving some qpr headcanons with Alastor as someone who's also aroace! The concept piques my curiosity so much considering most of the stuff with him is purely romantic (no offense to those writers, I just wanna see more qpr stuff! :])

Of course! But do forgive me, annon, I got so carried away with this 😅. I just really like Alastor a lot.

I ended up writing some backstory to your relationship first, but I highlighted the start of the proper qpr headcanons if you feel like skipping that.

Obligatory I'm sorry if this is ooc, I'm still getting used to writing about these characters. This is also all based on my own perception of him.

(Also, I am aware that qprs are very different from one another and there is no single mold for a qpr, I'm just going off of what I think it would be like with Alastor.)

Uhh, I also finished this at 1 AM, so forgive any mistakes. And I'm pretty sure I changed the verb conjugations(? Is this how you say that in English?) from present to past at some point. Sorry. Enough with the A/Ns now. Hope you enjoy!

Alastor queerplatonic relationship headcanons

(gender neutral reader, Alastor x reader)

‼️Trigger-warning‼️: mentions of cannibalism (not graphic), a single mention of tongue-kissing and making out (spoiler: he doesn't want either of those things in this work.) Usage of the word queer, but not as a slur. Alastor is a grandpa and you have to explain LGBTQ+ stuff to him, but he gets it.

› At first, before you were close, it's likely that he didn't see you as an equal.

› Truly, in his eyes, it seems not really is his equal. He is the most powerful overlord in hell and he knows it.

› Unless you are someone he holds in high regard (and this is mostly based on vibes, barely anything to do with power, as we can see by how he is with Lucifer of all people) before your first meeting, like Zestial, you won't be on equal footing at first.

› You only really start getting close when his perception of you shifts.

› You respect his boundaries, you are interesting, you and him share quite a few interests (or not really, but you're at least interested in hearing about his), and you're, surprisingly, pretty wise and mature.

› And caring. I personally believe he would be drawn to that in a way that he may not even understand fully- or realize it at all.

› Still, the point is. He respects you, and you respect him.

› (And not in the way some others do, where they're only "respectful" out of fear. You would act like this regardless of his power.)

› This, by the way, is important. You don't treat him like a superior, but as an equal.

› You'd think someone like him would love to be treated like a superior, and it's true. He very much does.

› But he has to admit to himself that it does feel nice whenever someone isn't shaking in their boots and can hold really good conversations with him while still not being pushy, annoying or just generally disrespectful.

› Anyways.

› Ever since you became friends (which took long), one could say, you just kept becoming closer and closer.

› You were the first one to be vulnerable with him, of course. It happened on accident, but you trusted him enough for that.

› You were also the first one to share any more intimate information with him. Something you wouldn't tell just anyone.

› Between this, your conversations, and maybe even helping each other around (honestly, he probably helps you more than you do him, but you always offer it and always in a sweet way, never condescending, and he appreciates that.)

› He eventually felt more comfortable sharing personal things with you too.

› (He may have distanced himself a bit when he realized this, but it was short-lived. You can't be without each other for so long, and you were pretty upset at his suddenly withdrawal. You may not have mentioned it to him, but he could tell, and as much as he hated to admit it, it hurt him to see you sad because of him.)

› This marks the beginning of the path toward your queerplatonic relationship.

› I mean, you didn't initially label it as such, but it definitely started there.

› Surprisingly, I feel like the first one to ever do any sort of affectionate gesture towards the other was him.

› You knew he didn't like to be touched, so you didn't.

› But! He just started getting more and more comfortable with touching you. At first it was hands on your shoulders, or putting his arm over them.

› I can even see a head pat or two, which he probably passed off as some sort of joke the first few times, but, if you liked them so much, just became a thing he does to you.

› And then one day you, completely absent-mindedly, intertwined your arm with his while walking around.

› When you noticed you had done it and he hadn't said anything, you questioned him about it.

› "Alastor, I'm sorry I didn't ask... is this alright?"

› "This?... Oh, you mean the arms? Ah, dear, don't worry, if it weren't I would have simply told you so!"

› From them on you only got more and more physically affectionate with each other. At first you would usually be the one to start it, but eventually you were both shockingly equal in doing so.

› (You still would always ask if you could touch him beforehand, but after a while he just gave you a free-pass.)

› Not a lot in public, though. Mostly just hand holding, or intertwining arms (if in public, that is.)

› Alastor also was so protective of you. You were the person he treasured most, after all.

› Well, demon.

› Even if you told him you were going to be okay, he would watch out nonetheless. He couldn't afford to lose you, not when he's never trusted and cared for a person this much.

› You two also cuddle a lot. You were the first one to ask, as usual, but now both of you feel weird sleeping alone.

› Alastor loves being the big spoon, if you're doing that.

› But he is also quite fond of occasionally being the little spoon, although he wouldn't be caught dead admitting it.

› A hobby you two do together is cooking. Cooking with Alastor is fun... especially if you're okay with cannibalism.

› But if you don't like that, he won't insist, of course.

› He's pretty good at cooking, though! If you're also good at it, then great. If not, he'll tease you about it (in a friendly way), but still teach you.

› On teasing, he teases you quite a bit, but never in a mean way. If you don't mind, of course.

› You also may tease him occasionally, but he doesn't appreciate you teasing him in public.

› The two of you also have a good amount of inside jokes that probably confuse the hell out of the others.

› Kissing... well. I don't really see Alastor as the type who would enjoy kissing on the lips too much.

› Tongue is out of question for him, as well as any sort of making out, but otherwise... if you like it, he can do that for you.

› He might actually like a peck or two. An acquired taste for him. Don't overdo it, though.

› Of course, him being from the 1930s and not very familiar with anything LGBTQ+ related, he would, at first, be somewhat confused by the request.

› You would probably have to explain to him that nothing is inherently romantic, especially not if you don't want it to be.

› "A kiss on the lips? Well... we aren't courting, Y/n."

› "We can put our own meanings to things, though. Would you like this kiss to be romantic?"

› "Definitely not!"

› "Well, me neither. So it's not!"

› "... That is very sound logic! I can't believe I've never thought of this myself."

› Kisses on the rest of the face are something else, though. He does enjoy it whenever you kiss him on the cheek. He himself might occasionally kiss you on the forehead.

› But overall I don't think he's big on kissing.

› If you want to really solidify that you're in a queerplatonic relationship you'd also have to explain what that means to him, sorry.

› Again, he's old and not up to date with things.

› Thankfully he understands things easily.

› "I see... I suppose we do have quite the queer relationship, don't we? And it is certainly platonic. I don't see why not!"

› Going back to vulnerability. It will never feel fully natural for him to just be vulnerable with you — or anyone else, for the matter.

› (In case you couldn't tell, he's using the word queer as meaning odd (and doing a little pun. You know. Because it's a. Queerplatonic relationship. Queer. Hehehehe), as it defies the norm of what a platonic relationship usually looks like, despite being one.)

› But you know him well enough at this point to recognize whenever there's something going on with him.

› And if you show concern and give him enough time he will share whatever it is with you.

› If it's not anything too big he might even reach out to you first.

› He can also read you like a book and gives surprisingly good advice, and is also pretty good at comforting you.

› You are the only person allowed at his studio while he's live on the radio. You usually read as he speaks in the background, his voice is very relaxing. He enjoys having you around.

› He's also particularly gentlemanly to you, more than to the others. When you're with him you never have to open a single door yourself, for one. If it's raining, he'll hold the umbrella for the two of you. When walking together on the sidewalk, he's always on the side closest to the street instead of you.

› You two often go out for dinner. If you also fancy some cannibalism, he will definitely show you his favorite restaurants around. If not he will just pick the best non-cannibal places (but you know those are not his favorites, haha.)

› He just cares about you a lot, even if it took him long to admit (it may have seemed fast-paced during this, but Alastor is someone who really takes long to get close to.)

› And you care about him lot too!

› (And you're probably never going to be in a life-threatening situation again, at least not at the hands of most demons. Who would ever want trouble with Alastor?)

#alastor x reader #platonic alastor x reader #queerplatonic alastor x reader #hazbin hotel x reader #headcanons #buffet tag

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jesncin · 2 months ago

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A Queer and Asian review of Xanthe Zhou + Spirit World

I haven't exactly been thorough about how I specifically feel about Xanthe Zhou as "representation" for people like me and a part of me didn't want to be too harsh since they're a fan favorite and I'm sure the writer did their best and what not- but there is this sense of "I'm not even whelmed I'm underwhelmed" by Xanthe as a character. I don't dislike them, but I can't say I'm a fan if I don't find them particularly interesting.

I'm sure for a lot of people the idea of a Chinese non-binary anime sword wielding, bomber jacket wearing, shaved cut having, envoy between the living and spirit world character is a novel concept. But when you've lived the reality this character attempts to represent (ghosts and spirits are a tuesday where I'm from) and have sought out that representation from within your own communities, Xanthe pales in comparison like a really corporate product. So I want to talk about intersectional storytelling and what a holistic queer Asian superhero could look like.

Again I'm aware Spirit World was written by a queer Chinese author (+ an all Chinese team) and as a fellow author who has to navigate mainstream publishing and deal with attempts at sandpapering authenticity for capitalism I want to stress that I Get The Struggle. But I'm allowed to be critical of how the final product turned out. Some of this is subjective musing even.

Here's the premise of Xanthe Zhou's character: When Xanthe was a very tiny kid, they were run over by a car when they were walking alone at night in the rain. They're resurrected by a powerful spirit called Po Po to be the half-dead, half-living Envoy of the Spirit World.

Everything about Xanthe is exhaustively corporate for me. Like industry planted representation designed to be as safe as possible and attempts at being intersectional are limited. Spirit World features Cassandra Cain Batgirl and John Constantine Hellblazer because that's how we get Asian and queer DC fans to hop onto out new queer Asian character! Xanthe doesn't get to stand out in their own world, or have an established cast system the way Kong Kenan gets to. Spirit World suffers from being a follow up to an Event comic, with all these characters crossing over- but it didn't rise to the challenge of including Batgirl and Johnstantine in meaningful ways. The story would've been better if they were replaced by characters unique to Xanthe's cast system.

I've become pretty cynical about scenes like this one. It's a scene where Xanthe is forcefully invited to have dinner with their family they haven't seen in years. The transphobic dinner pages made rounds on social media because "ooh look at John Constantine gendering a non-binary person correctly even when Xanthe's family keeps misgendering them", and "whoa even the magic system respects a trans person's name". It's free marketing, you can see comments on these posts asking what comic this is from to read more. People will start discourse over "Constantine going woke" and the defenders will pull up receipts that "John has always been a lefitst" and so on and so forth. I saw the promos for Spirit World, but these panels were what piqued my interest early on.

My twin and I were taking turns reading Spirit World- Jes asked Cin (who finished reading first) "so what about that transphobic dinner scene? Was it there? Are there other scenes that talk about it?" and Cin said "nope that's it. The rest is magic fight scenes and spirit world stuff." And honestly that feels calculated. It's like that Jenny Nicholson Star Wars Hotel thing: "whoa if they have this droid and this animatronic alien performer, imagine what else they have!" but nope. That's it. Just enough to fit in a tik tok promo. Just enough to fit in a tweet and make rounds. It's not like Alan Scott's Green Lantern solo, where his queer identity isn't limited to one scene designed to go viral. The whole narrative holistically discussed what it was like to be a gay man in that era. Spirit World on the other hand felt like it had a representation quota to fulfill before moving on to the generic Superhero Stuff- an entirely separate plot.

Then there's Xanthe and John. As a Hellblazer purist I already knew this was going to be a hard read for me since I'm not a fan of DC!Constantine but I've talked before about how Spirit World still has that appeal for me because sometimes og Hellblazer is a pain to read as a person of color. Maybe I can enjoy the fantasy of Constantine being an ally to an Asian person instead of fetishizing them like he did in those old Vertigo comics (people love to leave that out when they're defending Constantine as an ally but whatever). And people kept talking about how this is an elder and younger queer friendship dynamic and I love those.

So where was that? Sure, John genders Xanthe correctly over transphobic dinner and comforts them afterwards. But nothing he says or does is specific to a queer elder. Any ally or character can say these things or do these gestures. He doesn't speak from personal experience about how "it gets better" or "I know what it's like" it's just. "yeah throwing up in Gotham is great I do it all the time". Excuse me if I don't think that's substantial.

Ooh but the ghost of Johnstantine's ex boyfriend Oliver showed up! And then there was a bi joke about how John hooks up with a clone of himself a "dozen times" because he's such a slut amirite, gays. Diversity win. I expected bi jokes from DC!Constantine but marketing this as a queer narrative or generational friendship is a stretch.

Spirit World would've been a more holistic queer narrative if Wan Yujing, the villainous corrupted spirit that wanted to be remembered properly (or reincarnated, depends on the writer's mood)-was revealed to be a queer person. This would've been a fantastic opportunity to recontextualize Xanthe's personal transphobic encounter with their family into a larger systemic theme of queer historical erasure. The original meaning of a "dead name" is the idea that when a trans person dies, their family will put the wrong name on their grave. It's literally their "dead" name, erasing their legacy in writing. So why not include that in your conflict?

Wan Yujing is revealed to be a famous poet, slowly forgotten because "time erodes everything" (vague and bad writing btw). Why not pitch something more motivated and specific? Make it so that she wrote queer literature that was destroyed. Make it so that her lover was rewritten in history books as her "friend". Then when Xanthe makes the promise to remember Wan Yujing as she truly was, it'd be a holistic act of queer recognition and solidarity. But instead the resolution is just Xanthe Zhou promising "hey I'll remember you" and Wan Yujing just takes their word for it.

Can we talk about the huge missed opportunity of what this dialogue implies? Xanthe proclaims that they are both living and dead, granted the living's power to remember and the dead's immortality. Why was this not thematically paired with their experience as a non-binary person struggling in a cis-heteronormative world. Heck, why not pair this with how they're a queer Asian American, a perpetual foreigner wherever they go? Not Asian enough for traditional spaces, but not white enough for a majority of queer American spaces. Are we worried we'll scare off the white audience if this got too intersectional?

Xanthe gets more fleshed out under a different writer (Jeremy Holt) for one of the DC Pride stories (2023). Here, Xanthe talks about how being in the land of the living feels like going about a routinic obligation; "Reminding me that home isn't necessarily where the heart is". This is so much like the disassociated way trans people go about life before figuring themselves out. It's also like how a perpetual foreigner doesn't fit in anywhere. But it's not paralleled to that experience. The fantasy aspects of Xanthe Zhou the Envoy, are completely separate from the very few personal civilian parts of them. Like they're a Superhero first and a person second. The later half of this story gets overtaken by a team up with Batwoman, because once you have a new character set in Gotham you are at the whims of being absorbed into the greater Batfam conglomerate.

There's interesting concepts at the center of Xanthe's character. But it's hard to give credit to writing that doesn't follow any of that through. Xanthe's a hero motivated by making sure the dead are remembered and respected. That's a decent motivation in general, and a pretty resonant one for a queer hero-but everything surrounding the execution of that idea feels so half-assed to me. Xanthe's origin story has so many plot holes, it feels like it was thought up in 5 minutes.

Why was their death just some random car accident and not something more motivated? Why did the all powerful Po Po decide to resurrect them specifically? Where's the tension in any of the many excessive fight scenes in Spirit World, if Xanthe's apparently immortal? Also they age? What are the stakes for a character like this? This isn't even covering the shoddy writing for their transphobic family drama (Why did they just stalk their family after being resurrected? Why did their mom recognize them even though they've been gone and have aged for 15 years? so many questions ugh).

(why was this toddler walking around alone in the rain with their own umbrella. In Gotham. What is this-)

I casually propose that instead have Xanthe's origin be that they died as a runaway trans teen who went missing and was murdered. Maybe because the way police and society in general don't look into the disappearances of trans poc, Xanthe's death went completely unnoticed. Maybe as Xanthe's dying, Po Po sees their determination to fight for the forgotten and chooses to resurrect this kid specifically. Then we'd have a really motivated origin story that ties their identity to their heroism. Instead we get these over the top fantasy concepts + transphobic dinner with my talisman wielding mom.

Spirit World is a fun enough action fantasy with troubled pacing and generic MCU-quippy dialogue. It's so overwhelmed by it's own spectacle that we don't get a chance to get to know our new hero. What is Xanthe's character development? What flaw do they grow out of or overcome? If I'm honest outside of the attempt at quippy banter, what even is their personality? The ending is rushed; not only is the conflict resolved with Xanthe just promising to remember a dead poet, but they also make a deal to work with the Spirit World authorities. Because it's always so fun to watch queer people assimilate to the powers that oppress.

In one of these action sequences, I guess the writer decided there needed to be a semblance of themes to make it feel like the readers' time isn't being wasted. So while Cassandra Cain Batgirl from Detective Comics and John Constantine from Vertigo Hellblazer are holding the giant anime sword, Xanthe goes on an internal monologue about how change is natural and people's fears make them resistant towards it. Xanthe says that to embrace magic, "you need to look at everything you think you know about the way the world should be...and imagine something new."

It's a nice sentiment that isn't reinforced by anything else in the story, but it does make me think. What is "new" about Xanthe Zhou to someone like me who seeks out representation like this? I've seen queer characters with the shaved hairstyle, I've seen queer coded Asian girlies with the bomber jacket, heck I've even seen the giant anime sword. I kinda cringe at seeing "giant spiritual sword" at this point even. But you know what I don't see as often? In real life I've seen the bravest Asian queer people reclaim cultural hairstyles, clothing, practices and beliefs (that originally excluded them). I've seen them join communities and create entire subcultures and lingo in a way that would be unrecognizable to the typical queer readers who enjoy Hellblazer-but I certainly don't see it reflected in fiction a lot.

(Is it really new if I've seen it in a Disney movie)

The premise of a Chinese American non-binary half-dead-half-living Envoy for the dead is something so metaphysical in its intersectionality, world building, stakes and themes that it would require Sandman-levels of out-the-box creativity to pull off. Which is why getting a generic action adventure (+ one scene about transphobic dinner with the family) feels so disappointing. I wish Spirit World took its own words to heart; I wish it took everything we're used to, everything we've known about how the world is and dare to imagine something actually new.

#ramblings #jesncin dc meta #xanthe zhou #I'm not at all a hater btw- there's good and “eh” things about xanthe and I hope more writers can do them justice #i just need more heart. more specificity. something that resonates beyond the surface level.#this was originally supposed to be a short post but I kept going lol

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somewhat-insane · 25 days ago

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could I possibly request headcanons for a shadowpeach × gn!reader poly. except reader and wukong are more queer platonic, fused at the hip besties.

im simply delusional and starving 😔 🧡💜❤️

Uh, ABSOLUTELY!!!! Seeing this request genuinely made me so happy you have no idea-

⫘⫘⫘ShadowPeach x GN!Reader (QPR Wukong & Reader)⫘⫘⫘

!!Warnings!!: Implication that reader has kicked the monkey boys in the nuts before, other than that it's mostly just cute sillies

I imagine the start of the relationship definitely wasn't smooth sailing. (But that's not surprising considering they're both experts in rocking the boat.)

Neither or them are the sit down and talk kind of people so you'll probably have to be pretty flexible at first since they're both so used to not defining their own relationship.

Luckily, Macaque is knowledgeable enough to communicate "I'm going to date you, and you don't have to date Wukong too, but he is coming along with us whether you like it or not" (and yes, since Macaque fears rejection, he did not ask you to date him, he demanded it.)

Macaque can definitely be suave and romantic when he wants to be, but don't worry, Wukong will be there to interrupt any romantic tension by throwing peach chips at both of you and going "corny, lame, boo, tomatoes, tomatoes" (and then will promptly demand you buy him more peach chips to replace the ones he threw at you.)

On occasion, Macaque will interrupt the tension himself by being a dork.

You and Wukong will playfully fight over Macaque because it gets him all flustered

Wukong had the idea of doing board game nights but that ended... painfully. For them, not for you.

Totally unrelated, Wukong has dubbed you the "Nutcracker".

Don't wanna talk to someone anymore? Take out a Yu-Gi-Oh card and banish them to the shadow realm. Macaque can take care of the rest. (You can also use this on Wukong. Usually not Macaque himself unless he's in a fun mood in which case he will dramatically fall into one of his own portals.)

You are all insanely protective of each other. (They're definitely more protective of you because of your fragile mortal body, but kicking someone's ass to protect them is a surefire way to make sure their attention is solely on you for the rest of the night.)

Wukong won't stop trying to get you to eat an immortal peach. Luckily, he hasn't stooped low enough to try sneaking immortal peaches into your meals... Yet.

Good luck in the summer, Wukong's a cuddler and not only is he covered in fur, but he also radiates an insane amount of heat. Luckily, Macaque's (super?)natural chill evens it out a bit, but that's only if you can convince him to join the cuddle pile.

Playing a dating sim together for fun and all of you arguing over which character is the hottest. (Careful, Macaque is prone to jealousy. A few kisses should cheer him right up though.)

Macaque is best as showing love through words but physical affection is the quickest way to get him flustered. He'll need his space sometimes though, so be wary of that.

You all have crap sleep schedules

It's hard to cuddle with them sometimes because they both choose the most uncomfortable places to sleep

It's tough when Macaque and Wukong are fighting because they'll both want you to side with them but in reality they're both usually in the wrong

Wukong gets nervous when you and Macaque are fighting because he doesn't want to have to choose between the two of you if you have a big falling out: "... You're going to forgive him, right?" "eventually, yeah." "and you're not going to leave him?" "I'm not going to leave him, Wukong." "... Promise?" "I promise."

When you and Wukong are fighting, Macaque is usually very blunt in what he believes. (Which is usually, "you're both idiots")

They usually have their tails wrapped around a random part of your body. (Wukong does it subconsciously; Macaque is always very conscious when making physical contact.)

You and Wukong hype each other up to go on dates with Macaque; Macaque makes fun of you for it

Wukong likes to tug on your hair and sleeves and stuff; likes to fall asleep while playing with your hair

I REALLY liked this request, I hope I did a good job in answering it!

#lego monkie kid #lmk #monkie kid #sun wukong #macaque #lego macaque #lego monkey kid macaque #lego monkie kid macaque #lmk macaque #lmk six eared macaque #macaque lmk #macaque x reader #macaque x wukong #monkie kid macaque #six eared macaque #sun wukong x macaque #the six eared macaque

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angelsdean · 1 year ago

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I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

#long post #LONG-ass post #but it needed to be said!#i'm sorry if you think every creative involved with spn was a braindead asshole but the thing is.#even the most mediocre of writers understands a thing or two abt symbolism and writers working in TV are plagued by S&P #countless writers have talked abt the S&P bullshit and having to tweak and edit down their work to get past censors #it's a reality of writing for television #and the people who understand all this and understand the context of making TV in the early 2000s (to present tbh!) aren't 'delusional'#i'm sorry but it's naive to think that queer stories and queer characters are free to be told even nowadays. it's still a constant battle #times have changed but unfortunately not as much as you'd think #the confession !!!!! the confession still struggled to air and what we got was so obviously hacked down to bits!!!!!!#how can anyone think getting destiel content into the show was ever easy?#how can anyone think the pro-destiel writers weren't constantly having to be careful and underhanded in their writing?#there's a reason queercoding and subtext exist and it's this!!! it's censorship from TPTB #anyways. people much older than me have been talking abt this for ages. younger fans who are used to more open queer rep need to understand #it hasn't always been that easy and even nowadays SO many networks are still not willing to take a risk on queer stories #so creators do what they can #vic.txt

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absolutebl · 1 year ago

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This Week in BL - Top 3 Are HEATING UP

Organized, in each category, by ones I'm enjoying most at the top.

Dec 2023 Wk 2

Ongoing Series - Thai

Honestly, 3 are neck & necking for top position! They are all so good in different ways. But The Sign had me hooting with laughter this week, so it scooped #1.

The Sign (Sat YT) ep 4 of 10 - This show is literally everything (except straight) all at once. It's BL, queer, band of brothers, romcom, erotica, paranormal, fated mates, mystery, suspense, slasher, and horror. It’s the king of genre mash-up chaos. I have no idea what I’m watching but I’m ON this ride. Is it a roller coaster? Is it a haunted house? Is it a twirl & hurl? Is there candy floss? Am I even tall enough? Who tf cares. All through the second scene, I was laughing. It was legit funny. Billy has great comedic timing. Guess he’s not just a pretty face.

Everyone should be watching this. Sure, it's madness but there is genius in it.

Last Twilight (Fri YT) ep 6 of 12 - Yech. August may be one of GMMTV’s least likable characters ever (and that is saying something). Meanwhile, MOAR language play! They spoiling me!

Mhok letting Day go then walking away at the party hurt so bad.

Argh this show is great!

Ep 6 so that kiss was right on schedule. I’m looking forward to the boyfriend eps before doom & pain in the new year. Carry on GMMTV.

Speaking of...

Cherry Magic (Sat YouTube) ep 2 of 12 - Oh they’re great. It’s great. It’s paced oddly, moving quickly through most of the key scenes of the original JBL in these first 2 eps. I think it’s intending to encompass more of the manga series than that one did. Which is good, cause that will get us all the way to The Library Kiss (TM). It's the best kiss in the manga. I also like the sides in this show (better than the JBL version).

My Dear Gangster Oppa (Thurs iQIYI) ep 8fin - What a lovely slightly unhinged little show. Tew, can we talk? Un-ironic suspenders, that takes courage. Also, the revolver was a crazy gun choice.

Final thoughts:

This show is just as ridiculous as its title. About a gaymer who falls in love with one of his in-game teammates, who just happens to be a IRL gangster. A real gangster, the kind that actually kills people regularly. The lead pair is doing their best with a ridiculous story and shoddy script, but I enjoyed it. Although I was grateful it wasn’t very long, what we got was oddly satisfying if, frankly, a little bit silly. Recommended. 8/10

That said, what's important about this BL is not the show, but the production and style. Let me explain... no, too much, let me sum up.

This is a chimera BL. Regarding characters: it has Japan's style otaku + Korea's style gangster + Thailand's style friendship group. It used Thai talent + Korean money (Kakao) & IP (adapted from a manwha) but aired on a Chinese channel globally (iQIYI). I'm delighted by the eclectic insanity of this production and truly doubt that any other genre but BL could ever produce like this. It's like diplomat's BL and it's the great wonder of our age that it happened at all. This BL deserves its place in the history books on production alone, even if that place is only in the footnotes. A remarkable little monster.

For Him (Thurs iQIYI) ep 3 of 10 - The sides are… messy. Using the same actor for the old bf is… odd. But in the end, this show leaves me smiling. Which means, I like it despite myself.

Bake Me Please (Mon Gaga) ep 4 of 6 - It's decent. It’s basically what I wanted Antique Bakery to be when I first watched that way back when (not to mention Bite Me). But there’s been so much BL since then that, for some reason, this is falling flat. I think it’s moving too fast for a Thai series. Although, say what you like, Ohm has to be one of the best soft kissers in the industry. He's just good at mouth tenderness.

Ugh, that doesn't sound right. But you know what I mean.

Twins the series (Fri GaGa) ep 7 of 10 - I love how First is so upset when Sprite starts chatting and being nice to Koh. Sprite is just a sweet easy-going likable boy. I enjoy Sprite as a main character, he’s a bubbly little communicator. And they had a cute kiss.

Pit Babe (Fri iQIYI) ep 5 of 14 - Because there was more Alan and Jeff and they were more key to the plot I was more into this ep. I do compare it to green smoothie down the pants in the Trash Watch.

Cooking Crush (Sun YT) ep 3 of 12 - Look OffGun are truly great. But I’m just not sure we need them in BL anymore. That said, it’s nice to see Off as "the one with the crush" for a change. Also, this show is only good when OffGun are on screen together, otherwise it kinda, well, sucks.

Night Dream (Sat YT) ep 1 of 6 - Cafe setting featuring a cook and a writer. *Seems awfully familiar.* Except these two are exes and this is a reunion romance. It’s stiff and very pulp but not bad (no crap sound effects) and I am a sucker for a reunion romance. That said, Rookie Thailand is not to be trusted, proceed with caution.

Absolute Zero (Weds iQIYI) ep 12fin - I'm grateful this is over. It was tense but for the wrong reasons - sadness and confusion. This final episode was fine, but that’s because it was mostly them being together + flashbacks. Plus all the familiar actor faces of the grown-up friends (hi, Karn my lovely, still stunning I see). But 2 of 12 episodes is not enough for the 10 of suffering and confusion that came before.

In conclusion:

A man is killed on his 10th anniversary resulting in a time paradox, for which the only solution is him never meeting his childhood sweetheart until later in life. Both lovers cycle back to the past at different ages, so that they each become their own 1st & 2nd great loves, but every time it ends in pain, until each also endures 10 years of separation. Finally it gets fixed, but leaves them with multiple memories of time's failures like temporal PTSD, and everyone around them has chronic deja vu. Me? I got both. This is one of those BLs that is high-quality with great acting but poor story. If you like your BL dwelling, maudlin, and tense due to angst and suffering, then you might enjoy this. But I just regret it, 6/10. Recommended only if you like confusing time travel emo pain.

In which case, just watch Tokyo in April is... instead. Give over Thailand, Japan does it better.

Middleman’s Love (Fri YT & iQIYI ep 6 of 8 - While our main couple isn’t working for me... the side couple isn’t working for me either. I really wanted to give LeoTai a chance, this is the 3rd show I’ve seen them in, and still nope. I like Jade a lot more when he’s sad. He’s a much more pleasant screen experience depressed. I would like him to stay hurt for a couple of eps, just so I can enjoy this show a tiny bit more. But then he just goes unhinged again. Argh. I just don’t like it.

My Universe (Sun iQIYI) Pisces of Me ep 17 of 24 - Codependent boyfriends in middle school planning for high school dealing with stuff. Including other boys being into them.

Playboyy (Thurs Gaga) 5 of 14 eps - Dear Playboyy, it's not you, it’s me… I hate you. You’re about as deep (and as palatable) as a shot glass of cum. While I'm sure you’re someone’s kink, you're my weakest link. Goodbye. DNF

Ongoing Series - Not Thai

VIP Only (Taiwan Fri Gaga) ep 5 of 10 - It’s cute but I don’t think BL in this short format is Taiwan’s strength these days. And this is quite slow and dull. Perhaps they should have whacked it down to 6 eps, not 10.

Sahara-sensei to Toki-kun (Japan Fri Gaga) ep 3 of 8 - This is one of those JBLs that I should like on paper but is failing me. The drag bit was ridiculous but handled gently. The kiss was… well… something wasn’t it? It’s all very odd. I like the photographer cutie character.

It's Airing But...

The Whisperer (Sun ????) 10 eps - Thai horror BL that ALSO involves cheating (what joy is mine). I don't think even the perfect single dimple can motivate me to watch. Word is... it's terrible.

7 Days Before Valentine (Weds WeTV) 10 eps - Giving me Luminous Solution vibes. I'm waiting to binge if it's safe.

Beyond The Star (Weds iQIYI) 8 eps - House of Stars meets Boyband. I was NOT impressed with ep 1. Been told I shouldn't bother.

What Did You Eat Yesterday Season 2 AKA Kinou Nani Tabeta? Season 2 (Japan Gaga) 10 eps - I find this series more fun to binge, so I'm waiting until after it completes its run next week.

Dear Kitakyushu (Thai/Japan movie) in theaters in country only, I know nothing about distribution.

Behind the Shadows (Korea movie) this is a historical I was interested in, but I've been told they kill the gay so I'm OUT.

Next Week Looks Like This

Still coming:

12/23 Dead Friend Forever (Thai horror) iQIYI

Original 2023 forthcoming BL master post (see comments, some are inaccurate, NOT KEPT UPDATED). With the end of the year upon us I'll do an "announced for 2023 but never happened list" soon.

THIS WEEK’S BEST MOMENTS

He so pretty.

I forgot how likable TayNew are, and frankly I think New is a better version of this role for me, personally. I like him a lot. He's a conscientious sweetheart. And a good egg. (Cherry Magic)

Ah the rooftop my old friend. (Last Twilight)

I would like to point out that it's no accident the naga's sex dream happened in the shower, he's a water creature after all. (The Sign)

(Last week)

#the sign the series #was very hot this week #this week in bl #bl updates #Last Twilight #Thai BL #cherry magic #my dear gangster oppa #my dear gangster oppa review #for him the series #Bake Me Please #antique bakery #twins the series #cooking crush #offgun #Absolute Zero review #bl reviewed #bl reviews

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spop-romanticizes-abuse · 4 months ago

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i don't get why Perfuma is considered good trans representation or just.. trans representation at all.

even if we put aside the fact that she's not a very interesting or well-written character, it doesn't even seem like she was written to be trans. the only reason she is considered a trans woman is because her character designer said that they intended her to be trans. and i think Nate said somewhere that he supports the headcanon. that's it.

it's basically the same as Catra being Latina (or any kind of POC, for that matter). it's not ever mentioned in canon, it just looks like it was added as an afterthought. you would only know that Perfuma was designed to be a trans woman if you were deep enough into the fandom to discover what her designer said about her.

and i get it. i want casual queer rep too, where not everything has to be verbally confirmed. a lot of trans people pass as their gender anyway, and it's not always easy to tell. it's not great to label certain features or body types as strictly feminine or masculine either.

but if that's the motive, they could have at least made Perfuma a more interesting character, so that her being trans wouldn't be one of the only notable aspects of her character.

OR they could have made any of the other characters trans - Entrapta, Scorpia, Glimmer, or Adora herself would have been good candidates. you know why? because they were actually interesting characters and not 2D vegan horoscope girl stereotypes.

a good example of a canonical trans character is Terry from TDP. he's not a main character, he is introduced as Claudia's boyfriend. he doesn't play a huge role in the narrative but despite this, he is still an interesting and fleshed out character.

for one, him being transmasc is actually canon. he talks about it to Viren, how the other elves treated him like a woman at first and how he chose his own name. and this was done in a natural way without coming off as too sudden or expository.

this serves a purpose other than informing us that he's trans. it also helps to build a connection between him and Viren, who was initially disapproving of Terry but responds to this situation with actual empathy and understanding.

Terry also has some notable moments dedicated to him despite being a side character, like when he had to kill an elf in order to protect Claudia and was plagued with guilt because of it. his relationship with Claudia is also pretty well-written and actually healthy, despite the fact that Claudia is a villain. Terry is also a decently powerful character who is actually useful to the plot.

he is also voiced by a transmasc VA, which definitely helps the case. i'm pretty sure Perfuma's VA is cis.

in short, Terry being trans doesn't seem like an afterthought or fanservice, because it was seamlessly integrated into the story and he was already an interesting character in his own right. he was only introduced in the fourth season and he's already a much better character than Perfuma, who was introduced in the first season (if i recall correctly).

#this is my opinion as a genderqueer person #my perspective is not universal #spop critical #spop salt #spop #spop discourse #spop criticism #she ra #anti spop #the dragon prince #tdp terry #trans representation #queer representation

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queerstudiesnatural · 2 years ago

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i find it so interesting to look at sam and dean's respective views of society and people vs monsters, especially in early seasons, and then how that shifts and evolves throughout the show. like when we first meet them dean is very anti establishment whereas sam is literally studying law at an ivy league college. dean is very vocally anti police, and you're like wow for someone who was raised by an authoritarian father and is trying his hardest to please him this guy sure hates authority. he is aware of and cares about issues like racism and classism. but then when it comes to anyone non human he pretty much has no grey area, he sees them all as monsters to be put down. they are Things and they all killed his mum. whereas sam is pretty neutral about people, he doesn't even seem to be aware of systemic inequalities, he has a more individualistic approach to society. but this means he also sees monsters as individuals, just as capable of being good or redeemed.

This has everything to do with the way they grew up and the challenges they faced that affected them the most. dean's biggest challenge was putting food on the table. dean grew up poor and hungry. he was arrested for stealing, he had to use his body to get by, and he had to starve to try and feed sammy. and sam also grew up poor, but he was somewhat shielded from the reality of it. he wasn't the one who had to get food and pay for the extra week in a motel john left them in. his issues were much more personal. because sam knew he was a freak by all standards, he felt impure, and he knew in his heart that the monsters they hunted weren't too different from him. so his hope was in believing that anyone could be saved. anyone could choose to be good. where dean saw a system, with people in power and people who suffered because of them, sam saw grey individuals, and he was drawn in particular to the ones that had something "wrong" with them (max, madison, the kid from bugs, etc)

dean grew up so isolated that he couldn't be individualistic. he could only look at people from afar and that's why he sees the systems. and the violence he faced wasn't targeted at him personally, it was targeted at people like him. poor people, drifters, queer (or queer-looking) people. sam grew up trying to make connections. he made friends, he wanted an education. he tried so hard to belong.

and it's interesting to me that dean ended up being the one who formed the most personal bonds with people who were different, or ostracised, or monsters. see crowley, benny, charlie, claire.

sam tried to build communities (see his s14 arc) but every time he tried to get close to someone it ended in disaster so he ended up keeping his distance. and building a system. throughout the show he takes on leadership roles, and as time progresses he keeps his relationships more and more goal-oriented. whereas dean ends up forming personal bonds with a lot of people, and focusing less on helping oppressed people in general, and more on saving the individuals he cares about. i'm not saying they switched roles, they both kept their original views of the world, but they shifted towards a more confused and confusing moral compass that pointed somewhere in the middle and made it harder for them to understand each other. and ain't that just what growing up is like. dean cared about the whole world as a teen and young adult, but then that became too much to bear, and he had to focus his energy on his circle of loved ones. still caring about the world, but he had individual connections now and had to prioritise them. and sam still saw the potential for redemption and goodness in everyone, but he grew weary of people too, afraid of them or afraid of losing them, and he built walls. tried to help by giving himself missions rather than getting personally and emotionally involved.

psychologically speaking this show is so rich, the characters don't feel one dimensional (despite some of the writers' best efforts), and following their journey for 15 years means we saw them change and evolve, they don't remain the same people they were in season 1, but they keep some of that, and they just grow organically. sometimes i just love spn

#rain posts #dean and sam

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melaniekatewrites · 5 months ago

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Just thinking about how easily Franchaela can work (for all the naysayers):

1. Francesca does love John. There's no debate (or, shouldn't be) about that. Just because her sparks with Michaela are altogether different doesn't negate her peaceful, quiet comfort with John.

2. Her infertility issues still very much have a place within her story—with John. They are married. They will have these issues come up. That part of her story has not been thrown out the window.

3. Michaela will still very much help—and join—Frannie as she grieves after John's death. John and Michaela are still cousins, close as siblings.

4. I know that many claimed they were disappointed in the change to Michaela since part of Francesca's fertility journey is that she does have a child with Michael pretty quickly. This could be easily included by Francesca having been pregnant again at the time of John's death, or by Francesca and Michaela adopting a child/children. Because of course Michaela would help raise John's child, her own relation as well. That could look a bit like Sir Phillip's situation.

5. There could be a number of ways the Bridgerton world approaches queer relationships. Either the influence of the Bridgerton's (and the Stirling's, another family of the ton) will lead the Queen to deem queer couples accepted by the ton, or Francesca and Michaela can be presented as companions, as many real life queer couples of the age would have done. If they go this route, it's unlikely that they would be questioned or face much scrutiny. They are relatives by marriage, Michaela should still inherit the title and Kilmartin, and Francesca would be afforded more freedoms in society as a widow: she has already experienced the marriage mart, would be the dowager Countess, and still comes from an influential family besides.

All in all, this scenario can work out really easily. If this post alone helps convince even one person of that, I'm happy. We all interpret characters in different ways, and for Brownell, that's envisioning Francesca as a bi, neurodivergent woman. Considering that Julia Quinn approved this change, and affirmed that it will be keeping to the heart of the story, I'm not too sure why there continues to be a debate about this (or a call for a re-do, which logically would never happen). If you have any other ideas of how the showrunners may depict Franchaela, please share! I'd love to discuss their coming story more ♡

#bridgerton #period drama #francesca bridgerton #michaela stirling #franchaela #francesca stirling #john stirling #francesca x john #francesca x michaela #netflix #julia quinn #shondaland #shonda rhimes #jess brownell

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viquipo · 5 months ago

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No bc I'm so mad rn I usually post my rants on ig stories but I need the tumblrites to tell me if I'm crazy or what. Jwcc/ct spoilers WHATEVER

First of all I want to preface this by saying that this is just my opinion on the matter, I'm not saying your headcanons are "wrong" or whatever tf, it's a kids cartoon where they unironically use terms like "fam". You can play with the characters however you'd like.

That being said, this is why TO ME it does not makes sense for Ben to be anything other than gay. Again, if you think he's bi or straight or anything else that's cool. I'm also leaning towards the opinion that he does actually have a girlfriend. I don't think the shows gonna pull a 180 on it because, realistically, 2 queer characters is already a lot for a DreamWorks kids show. As much as I'd like it not to be.

But, since the beginning, Ben has been very clearly coded as exclusively into men to me. Before finally going into it, I remind everyone on here that I'm a lesbian. I have felt an affinity with his character specifically for the experience of only liking the same gender. I might be totally projecting.

Ok, so.

1. The arc Ben goes through during the show is yes, one of self discovery, but also one of self acceptance. He changes a lot from the start of s1, but he also comes to terms with stuff himself or other people didn't like about him. He doesn't throw the dork pouch away or tells Kenji to keep it, the first thing he does when he takes it back from Kenji is put on hand sanitizer. He is covered in dirt, he's not afraid of filth anymore, but he still does that action because it's part of who he is as a person. He also becomes very unashamed at the things he does. He went from being embarrassed of his carob bars to eating grubs in front of people who he knows think it's gross. He knows himself as he is and he accepts it. To me (and to lots of other people) this works very well as a gay metaphor, and pairs up pretty nicely with the whole "jungle boy? Jungle MAN" arc being a trans metaphor. But how does this make Ben uniquely into men?

Well, it doesn't. But I think this next one does.

2. Enter Yasmina. She's pretty, she's smart, athletic, funny, all that good stuff. I'm not saying that means every wlm character should automatically be into her, but it certainly helps. Now forgive me if I don't remember specific episodes/seasons, but we all remember that episode where Ben convinces himself that Yaz is in love with him for some reason. When he "rejects" her, he says : "I'm just now starting to find myself". That's cool, cause I'm pretty sure Ben's " finding himself " personality wise was over and done a couple of seasons ago. To me, that is a really good hint at him dealing with his gayness.

3. He's also the first person Yasmina talks to about her feelings for Sammy. Now, in this particular context, the options for Yaz to talk to were Darius, Brooklynn, or Ben. It would initially seem to make more sense for her to confide in Brooklynn, since the two of them are far closer than her and Ben, and it also wouldn't be the first time she brings up Sammy as a romantic interest for Yaz (see: everyone tweaking abt that one line back in like s2). So why does Yasmina, a very private and reserved person, choose Ben to talk to about her same sex crush? She has probably gathered from the previous conversation that Ben relates to her struggle in a unique way in which Brooklynn just can't. Ben seems very receptive of what Yaz is saying ("feelings, am I right?") and it seems like he REALLY gets where she's coming from.

4. This is one I don't see talked about a lot, and maybe it's just cause I'm too out of the loop with the fandom, but I want to examine it as well. It's when Ben decides to not actually stay on the island. Everyone (except Sammy) already knew he wasn't going to stay in the end, but still didn't force him out. I think this is especially clear in a line Darius says when they reunite on the boat that goes something like "you needed to figure it out on your own" *smile hand on shoulder combo*. No explanation needed I think

I am diagnosed with autism did you guys know what

#text post #rant post #ramblings #jwcc #jurassic world chaos theory #jurassic world camp cretaceous #jwct #ben pincus #headcanon #kiss my fat nuts #also ive lived in Italy my whole life and have never seen ben pincus girlfriend????#uhm that's weird #she lives in... Europe?#which could mean nothing

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hyperionheights · 1 year ago

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bones sexuality headcanons

yeah i dont have proof (except angela) i just Know. call it my lesbian spidey senses. disclaimer that those are MY headcanons, you can have your own opinions on those ofc

main characters:

brennan: bi (preference for ugly men... but i digress). she probably started exploring her sexual orientiation in college and came to the conclusion that she's attracted to every gender to varying degrees. she's probably tongue kissed angela a few times pre season 1

booth: cishet ally! ⭐️ he's a bit confused but he's got the spirit, i'll give him that.. bi wife energy start playing whenever he walks into the room

zack: gayboi with a bad case of hero worship for dr brennan. naomi from paleonthology made him realise this isnt really what he'd like to excavate, if you get the gist... ;) (ew)

angela: imo? bi, but it's up to anyone. canon queer and i'm very happy about it

hodgins: bi. putting my foot down on this one- to me, hodgela is bi4bi. one day early into the series angela goes "why is everyone so hot... being bi is so hard" and hodgins is like "yeah, tell me about it" and they have a Oh, You Too? moment

cam: distinguished (ex-disaster) pan. she's all cool and collected now but in middle school she was probably stuttering whenever she saw a pretty girl

sweets: pan. boykisser. i just KNOW. that man is not heterosexual. probably had a few boyfriends in high school too

aubrey: bi? preference for women but in an alternate universe he and sweets are a thing

goodman: token straightie along with booth except i actually like him even tho even tho he took a 2 month sabbatical and never came back

squinterns:

clark: bi. a bit repressed and only realised it after breaking up with nora but as long as he gets there it's fine

daisy: pan. absolute girlkisser. she has the wlw equivalent of whatever zack felt for dr brennan. swaisy is a disaster pan couple.

fisher: pan- and i wont have it any other way. he was 100% checking sweets out when he came over to b&b's in s8, so i like to think when hodgins asks sweets "what is it with you and interns?" in 9x23 he's including fisher

wendell: bi and in a lab au he's dating vincent thank you

vincent: english twink and i think he and wendell should kiss in the lab lost & found

arastoo: straightie but we still love him. pan wife energy since he and cam are married

finn: god, i have No Idea but i have a feeling he doesn't either

wells: aro, and maybe ace too, but fyi even if he wasn't no one would want him

jessica: ... i used to say lesbian but i kinda let the jaubrey of it all get to me... pan vibes perhaps? i'll have to think it over. in another universe she and daisy are a thing too btw

other characters:

caroline julian:... lesbian. no i will not give an explanation for this one. sham marriage and all.

karen delfs: big pansexual energy coming from this random profiler?? i like her

villains: (do not take those seriously, but also...)

pelant: unlabeled. getting strangled by hodgins awoke something in him but he didnt have the time to figure it out between 8x01 and 9x04

taffet: very VERY mean lesbian

epps: heterosexual incel

broadsky: internalised homophobia over booth, clearly

kovac: the man pretended to be married to his sister. i'm not sure i even wanna know

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cripplecharacters · 2 months ago

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i'm debating giving one of my OCs strabismus exotropia. the work/story is YA SFF. part of my reasoning is he's one of two characters in the group who's the Brains, his specialty being history and languages, and his magic relates to mind reading and telekinesis, and i know too often characters with eye differences are portrayed as the opposite of smart. one of his big hobbies is reading and i know strabismus can affect it bc of focus/headaches, so i thought maybe reading/being fluent in braille could help him engage in his hobby when actual reading is getting on his nerves / refer to his amblyopic eye as his "permanent side eye" as he can be quite critical of others sometimes. his personality is being smug but normally right and very sure of himself (though not without his insecurities), he's seen as a bit of a Pretty Boy (handsome), and is the youngest of his group of friends so they do look out for and protect him a bit more. is there anything else i should look out for, or any way i may be playing into tropes i'm unaware of? he's also queer (gay) and brown (pakistani coded) if that helps any provide context, and has an antagonistic bickering but genuine friendship with another boy (the other brains) that eventually develops into a romance

Hello!

In general, this sounds like a perfectly fine character concept and there's nothing about his personality/portrayal that's immediately jumping out at me. He sounds like a well rounded character, which is something I'm very glad to see!

One thing I would like to mention is that, while braille may be a useful tool for him at times, it's not likely to be a feasible solution for his day-to-day life.

Braille books aren't like regular printed books, there are quite a few differences that make them much more difficult to use:

Size:

Braille books aren't easy to carry around. With the possible exception of some smaller children's books, most are pretty thick and VERY heavy. In fact, many braille books are split up into several separate volumes for this reason.

To put the difference into perspective, let's look at The Fellowship of the Ring (The first Lord of the Rings book).

A standard printed copy generally weighs around 1.5 lbs, give or take a bit if it's a hardcover. A braille copy of the same book weighs over 15 lbs.

This printed copy has 432 pages including pages for spacing, author's notes, etc. The braille copy has 873, not including any non-text pages.

The physical dimensions of braille vs printed books also differs greatly. While a printed copy of The Fellowship of the Ring may easily fit in a small bag or even a pocket, the braille copy is around the size of a standard three ring binder (In terms of length and width at least).

This is all to say that taking a braille book with him out on the go wouldn't exactly be a simple task and, because of how braille is read, reading on the bus or on a park bench or anywhere that isn't a flat surface without disruption wouldn't be a possibility.

Cost:

Aside from the problems with physically reading and using braille books, it's also very difficult to acquire them in the first place. Braille books are EXPENSIVE.

Depending on the availability of the book, the size, and the popularity, a single braille novel can go for anywhere from 50$ to well over 300$ (In Canadian dollars).

The hardcover printed copy of The Fellowship of the Ring mentioned before costs around 25$ (Again, in Canadian dollars). The braille version ranges from around 150$ to 225$ depending on the type of braille.

And if your character wants to request a less popular book, it can still be pretty expensive. There's a wide range of factors that can affect the cost and it varies so wildly that it's hard to get a reliable estimate but they could be looking at anywhere between 5$ - 50$ per page.

Although some libraries may have braille books and there are several virtual libraries for the blind with braille books, it can still get very pricey for them to build up their own collection.

Availability:

In part because of this cost, there is a very low availability of braille titles compared to printed titles.

If your character is into more popular books like Harry Potter, Lord of the Rings, or some of the classics, they'll have little issues finding a copy.

Beyond that, unfortunately, they'd be out of luck. If a book isn't incredibly well known, it's a very slim chance of there being a braille version. Likewise, there's also very low chances of finding more recent releases.

Even one of my old favourites, The Perks of Being a Wallflower -- which was written around ten years ago and is fairly popular, doesn't have any braille copies.

While it is possible to get a book printed in braille for yourself, the costs of it can get quite high (As shown above) and it's not generally an option that people go for.

Durability:

The last point I want to make is that braille books don't last as long as printed books. Although braille is read with a light touch, the braille does get worn down over time.

Library books in particular are an unfortunate victim to this. Because so many different people are borrowing the books, they often get worn down much quicker. This can be because of new braille readers using a harsher touch when reading or it could be because of improper storage, either from the readers or from the library itself. It's less likely that somebody will notice when the braille is worn down.

The braille itself isn't the only concern. A lot of braille books are bound differently than printed books are and often use plastic for the bindings, which requires more care than the usual bindings of printed books. I've included an example of what a braille book may look like below.

[Image Description: A braille copy of The Fellowship of the Ring. It is open to a tactile map of Middle Earth. The binding is made of small, circular pieces of plastic, similar to a notebook of sorts. End ID.]

Now, this all isn't to say that he can't use braille books -- these are just some things to consider. And if you do choose to go in a different direction, may I suggest audio books?

Audio books have a wider availability than braille books do and are much less costly. There's also the added benefit of being able to take them pretty much everywhere with you, as long as you have one or two downloaded to your phone.

You could also go with having a balance of the two. Maybe your character uses audio books with his headphones or earbuds during the day and reads his braille books at home so he can give his ears a break from his headphones/earbuds.

Another option is large print books or e-books that allow you to adjust the font size, which could make it easier for your character to read them. There are also other strategies that he could use when reading regular printed books, such as covering an eye or using a bookmark to sort of box in the lines as he reads.

As one quick final note: Reading braille is actual reading! Braille is just another language with a different -- not lesser! -- method of reading it.

Hopefully some of this information helps! If you're interested in knowing more about the specifics of braille books, Blind In Mind's Braille Bookstore has a lot of great resources and their copy of The Fellowship of the Ring is the one I've been referencing.

Cheers,

~ Mod Icarus

#mod icarus #thethiefandtheairbender #strabismus representation #braille

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jesncin · 1 month ago

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Hi! Thanks for answering my other ask! I also haven't seen a lot of criticism for Lonely City aside from a few tumblr posts that saw the same issues with it that I did, so I made sure to read the comic again just to ensure that my criticism is accurate (that's why this reply took a few days). I'm sorry for how long this ask is, but I hope it makes sense 😅

Basically my main issue with it is the ableism present in the comic as well as certain racist or colorist writing choices. There are other issues regarding queer rep that don't fit into these categories, too, but those might be more of a personal interpretation so I'll summarize them at the end.

I'll try not to focus too much on complaints about characterisation in this ask, since that can be a matter of personal taste, unless the differences in characterisation play into the other problems I see in the comic. Also just in advance: this is my personal opinion, which may ofc be off, but that's why I wanted to ask for a second opinion in the first place.

These first two problems are unfortunately pretty common in DC comics in general, so it's not like Lonely City is unique in doing this, but since the comic spends a lot of time promoting itself as progressive they left a particular sour taste in my mouth. It felt disappointing to me to see a comic claim progressiveness and add OCs of color while still running into the same bigoted writing choices as other DC comics.

The first writing choice I has issues with in this regard is the depiction of Catwoman herself. Catwoman's mother Maria Kyle has been depicted as afro-cuban since the 90s, but despite that fact comics almost exclusively portray Selina as a pale blue eyed woman who gets treated as white by the narrative and other characters in the universe, completely ignoring her mother's race. Lonely City goes out of its way to show that Selina is half cuban - which is great! - however, since the artist still decided to draw her as a pale blue eyed woman and the comic doesn't make any reference to her mother being black whatsoever this just rubs me wrong. It's not like the author simply wasn't aware of Selina being canonically half afro-cuban, since her cuban heritage keeps getting referenced, so it can be assumed that the author must be aware of her mother being a black woman as well. To me this makes it stand out even more that she is drawn and treated as a white(-passing) cuban woman, instead of a black one. It's unclear if this was the author's decision or a requirement by DC editors (though Selina is drawn as black in Absolute Batman and iirc in one of DC's highschool AU comics so it doesn't seem to be a publisher mandate), but either way it means that despite being fully aware of Selina being half afro-cuban, the comic completely ignores her mother's (and by association Selina's) canonical blackness.

The second issue to me is the depiction of Waylon Jones/ Killer Croc. Waylon has been coded as a black man fairly often throughout his appearances in DC comics, with at least one comic directly drawing him with brown skin instead of the usual crocodile green and the new Absolute Batman directly depicting him as a black man without the crocodilian traits the character usually has. Now, presumably in part due to this DC has been changing their approach to the character from writing him as an animalistic cannibal monster to more sympathetic characterisations as a regular human man with a skin condition who got ostracized, treated as a monster or assumed to be a violent and aggressive perpetrator due to the way his skin looks even before having to get into crime because it was the only career path available to him (which ofc also plays into an interpretation of him as a poc or at least as an allegory for racism). All of this is presumably something the author of Lonely City would be aware of, so the choice to depict Waylon not as a regular human with a skin condition but as someone more visually animalistic (given that Waylon is drawn with a snout and animal eyes), as well as having other characters directly refer to him as an animal, insinuate that he would just urinate on the floor and generally writing him as 'unhygienic' (stating that he doesn't care to flush after defecating etc) feels ...not great. Of course it is debatable wether the author wants Waylon to be read as black in Lonely City (his outfit design does seem to potentially point to him being coded as an older black man though), but even if that isn't the case the writer still would likely be aware of the character being coded as black or as a racism allegory in other works, which makes the choice to depict him as gross and animalistic a problem.

Now these next two cases include one of the most glaring problems I saw with the comic's writing. The writing, at least to me, seems pretty ableist. Of course ableism in regards to mental health is a problem with DC and especially Batman comics in general, but before reading Lonely City for the first time I genuinely thought it wouldn't be an issue here, since the comic markets itself as progressive and even goes back to depicting Barbara Gordon as a wheelchair user, which current comics have unfortunately moved away from.

The ableism in Lonely City imo particularly shows in the writing of Riddler and TwoFace, so they're going to be the characters I'll talk about here. Their cases basically represent opposite problems with the way DC tends to portray mental illness: in Riddler's case Lonely City decides to completely erase his mental health problems, while in TwoFace's case they use his mental illness to portray him as more evil.

I'll talk about Riddler's portrayal first, since TwoFace's is the arguably more offensive one. The Riddler as a character has pretty consistently been portrayed as struggling with his mental health, mainly with ocd and some variant of bpd. He's also usually portrayed to have low empathy, either due to npd or general neurodivergence. These are core character traits that usually still persist even when the character gets 'reformed' in canon and aids the 'good guys' (like in his arc as a P.I. in comics in the late 2000s or in Batman Unburied/Secrets in the Dark), which, if handled well enough, helps balance out the portrayal of mental illness in the character's appearances by essentially stating that it's not his mental health issues that made him a villain and that they aren't an inherently bad or evil trait.

Now Lonely City essentially does the inverse of this: not only does the comic write its version of Riddler as a mentally stable, fairly well adjusted and empathetic man that seems to lack pretty much every single one of his usual mental health issues, they also ascribe his mental illness (as well as his usual flamboyance and queer-coding) to him having been a cocaine addict that has been 'cured' by the time the comic's plot takes place. There's no issue with giving the character an addiction ofc, if handled well enough, and Lonely City isn't the first comic doing that either; the problem, to me, lies in the comic specifically pointing out that Riddler's usual characterisation - and everything that comes with it regarding his mental health - was not something inherent to him as a person but instead was caused by drug abuse. By doing this, as well as by portraying him as well adjusted and neurotypical after his rehab, the comic essentially posits that the ocd/bpd/npd/general neurodivergence associated with his usual characterisation were 'weird' negative traits exclusively caused by him doing cocaine and that he needed to be 'cured' of them in order to be able to reform and become a better person. It essentially states that he used to be weird, ridiculous, villainous and "crazy" because of drugs, but now that he went to rehab and got "cured" he is normal, well adjusted and a good man that is fit to be a romantic option for Catwoman. And while the comic states that even as a villain he never seriously hurt anyone, it still makes the suggestion that he got cured of mental illness along with his drug problem, and that he had to be cured of both of it in order to reform.

Now, it could be argued that this negative portrayal of mental illness as something caused by addiction or something to be cured of wasn't the intention of the comic - and maybe it really wasn't - but that's where the second problem comes in: Throughout the entire comic there are only two direct portrayals of mental illness we get to see: the first is Riddler's short flashback to his "embarassing" pre-rehab self, the second, more direct, portrayal of mental illness is TwoFace. There are further mentions of characters with mental health problems, but those are only short and offhand, though not without their own problems, which I'll get to during this argument.

I've already discussed the problem I see with the way Riddler's mental health is handled, but the portrayal of TwoFace is ...worse, imo, to say the least. In Lonely City TwoFace is characterised as a far-right fascist politician, trying to force his bigoted and classist policies onto Gotham via police brutality and propaganda. He is also the only character in the entire comic that is consistently shown to struggle with his mental health: Every other character (including post-rehab Riddler) is shown to be well-adjusted and mentally healthy, their problems mainly stemming from grief or circumstance, not mental illness. Meanwhile only TwoFace exhibits behavior linked to his mental health on panel: in closeups he is shown to have ocd tics, like having to rhythmically tap on his desk when agitated or struggling with the thought of needing to use his coin, his behavior is often erratic, other characters treat him as off-kilter and ultimately when he is defeated it is said he will be interred at Arkham again. Arkham, specifically, where at the point of the story only the "truly evil" and mentally ill villains like Scarecrow are still being held, as the comic makes sure to point out. By doing this, by showing only TwoFace to struggle with his mental health, by mentioning that only the irredeemable villains are still at the mental health hospital, by showing all the reformed rogues to be mentally healthy and stable - the comic directly associates mental illness with being a bad person.

More than that, by not only making TwoFace a bigoted fascist but by specifically revealing that his bigotry and fascism was caused by his "evil alter" after all at the end, the comic directly links being far-right with being mentally ill. Seeing the comic handle things like that and especially the "evil alter" reveal at the end was a genuine shock and huge disappointment for me, especially after how much Lonely City seems to flaunt its supposed progressiveness throughout the story. Writing TwoFace as an evil racist bigot and Trump-allegory not (just) because he is a privileged white man in power, but specifically as someone that is a far-right populist because he is "crazy" and mentally ill is just so...hurtful. Add to this that throughout the story TwoFace's fascist policies are consistently portrayed as the actions of one single mentally ill "maniac" that others only go along with out of fear or sense of duty instead of being a systemic issue (the police commissioner keeps telling TwoFace off about his fascist policies, his financial backers stop supporting him once his right wing ideology becomes too overt, whenever TwoFace issues commands for police brutality police officers voice their concerns with those actions and only go along because they are scared of Harvey and then ultimately abandon him as well). And in the end, fascism in Lonely City is defeated not by thorough systemic reform but by simply throwing the Trump-analogue into a jail for mentally ill people "where he belongs". It's extremely frustrating to me, as you probably can tell, and it just feels so disappointing to see a comic presenting itself as progressive and anti-fascist while falling into the exact same ableist tropes as every single other comic that portrays mental illness as something evil that needs curing to even have a chance at becoming a good person, and fascism and bigotry as something caused by mental illness instead of a sytemic issue (and specifically having the police 'only following orders' while actually disagreeing with fascism, when far right ideologies infamously thrive in the police system irl).

Like I said at the beginning of my ask, there are other issues I have with the comic as well, but those might be more based on personal opinion, so I'll summarize them here: Another thing that irks me about the comic is that despite showing pride flags in the background multiple times the queer rep in it is, imo, flimsy at best. Harley and Ivy are mentioned to have been a couple, but Harley has been fridged before the events of the story while Ivy gets killed during it, making the comic essentially commit a double "bury your gays" with the only two explicitly queer characters in it. Yes there is the implication that Barbara Gordon might be in a queer relationship with her campaign manager, but as far as I could tell during my second read through it's never actually made explicit that they are a couple or that either of them are actually queer, it's only ever implied. And while Catwoman has been canonically bisexual for over two decades, there hasn't been a single mention of her queerness (that I noticed) throughout this entire comic either. Of course her ending up in a relationship with a man wouldn't erase her bisexuality (nor Riddler's for that matter, who had been confirmed as canonically bi prior to Lonely City's release), however since there aren't even any allusions to Catwoman being romantically interested in women whatsover in the entire comic (as far as I could tell, maybe I missed something if so feel free to correct me), personally speaking I can't really count this as bi representation, since for all it matters if a reader that isn't aware of Selina (and Eddie) being canonically bi in other comics reads Lonely City they would most likely read her and Riddler as a heterosexual couple (particularly since as previously mentioned the comic imo does erase Riddler's usual queercoding as well by ascribing his flamboyance to his cocaine addiction and by having the 'clean' version dress and behave in a very heteronormative way, for example by dressing mainly in beige and muted colors instead of his usual bright greens and pinks and by otherwise acting like the stereotypical "dad" character in a sitcom). Having Catwoman end up in a relationship with a man wouldn't be an issue otherwise, but in combination with other queer rep being either only alluded to (Barbara) or being killed off (Harley and Ivy) the fact that Selina's bisexuality is never even hinted at and her "happy end" in a comic that set out to write a story about Catwoman being her own character separate from her relationship with a man (Batman), that she so often gets defined by, being that Selina ends up in a by all accounts "heterosexual" relationship as the (step) mom of a teenager just leaves a bad taste, imo. It really wouldn't have been hard to make her (or Barbaras) queerness explicit, but the comic didn't do that.

Either way though, I'm sorry that this ask has gotten so incredibly long and seems so negative, but like I said I only saw a handful of people make the points I did here about Lonely City with everyone else treating it as perfectly progressive and it really made me doubt if my criticism and disappointment in the comic (I really wanted to like it!) has any ground at all. And since you seemed to have the same issue with the MAWS fandom and generally always have thoughtful commentary about representation I thought I might as well ask you for a second opinion.

Please don't stress about answering btw., and if you disagree with any (or all) of my points here I'd also love to hear why you think I'm wrong, after all that's why I'm sending this in the first place. Either way though, I hope you have a nice day and thanks again for letting me talk to you about this!

Hwoof! Okay this is a lot! I'm gonna put this under a read more so that it won't be a super long scroll. But my takeaway is that this kind of fixation on continuity and details is detrimental for engaging with larger themes and an elseworld interpretation of these characters. Media crit thoughts below! Spoilers for Catwoman: Lonely City.

I know it might seem redundant, but being aware of the premise and parameters for this story can help us better understand the decisions that went into it so:

Catwoman Lonely City is an Elseworlds miniseries (4 long issues) under Black Label; an imprint publisher of DC. It follows a much older Selina Kyle, recently released from jail following the death of Batman from a massacre orchestrated by the Joker (known as Fool's Night) 10 years ago. During the time she was in prison, Gotham had changed. Costumed heroism and villainy is heavily outlawed, resulting in what seems like a safer albeit less free Gotham under the rule of Mayor (reformed) Harvey Dent. Catwoman has one final score in mind; to break into the Batcave and find out what "Orpheus" is. The last message Batman gave her before he died.

The entirety of Lonely City is written, drawn, colored and even LETTERED by Cliff Chiang. Which is nuts.

This story is tightly written with an expansive cast system. The main themes are about grief and aging. There's so much emphasis placed on how a lot of these characters feel like they're past their prime. We see Selina struggle doing the acrobatics she was once used to. The theme of needing to "let go" of the past is paralleled with the myth of Orpheus and Eurydice "Don't look back". Ultimately it asks what the point of all that costumed heroism was for and why it's worth chasing those glory days.

So keep all this in mind as I respond to each of the points you brought up!

Catwoman

So talking about a character's race like that of Selina's is tricky. I try to avoid using words like whitewashing in cases like this since she's not a character that started out that way like say- Sunspot from X Men. Instead when I'm criticizing things like Caped Crusader I'm looking at it from an angle of narrative opportunity. If Selina's going to be white again (and rich) what story does it tell? And my conclusion for Caped Crusader is that its commentary on classicism would've been stronger if Selina was portrayed like she was in Reeve's The Batman. To me, she doesn't offer much the way she was re-imagined in Caped Crusader.

I don't personally feel that's the case for Lonely City. Despite being an elseworld, Lonely City is very holistic in its application of Selina's history. The writer recognizes she's a white passing Hispanic woman in this story. In a flashback to her youth, Selina is portrayed as looking exactly like Julie Newmar (as opposed to Eartha Kitt) did as Catwoman in the 60's Batman show.

In terms of how her whiteness is integrated into her character, there's a flashback sequence that goes back to Selina's time in jail. She meets an Asian woman named Yoona who's dealing with racist harassment from the other inmates. Selina tries to train her to stand up for herself, but it backfires. Yoona's not as good at fighting, ultimately saying "guess we can't all be Catwoman". Selina tries to stand up to Yoona's bullies herself-but the big criminals of the place decide to fight back by killing Yoona and placing her corpse in Selina's cell. This causes Selina to close up, feeling guilt for putting someone vulnerable in danger.

Narratively we see this as one of Selina's arcs in this story. She can't break into the Batcave alone, so she recruits a handful of new friends and former rogues to help her. But the whole time she's worried she's putting them all in danger for her own goals. She's hesitant about training the Riddler's daughter Edie to help out on the heist, she later loses Killer Croc, and then Selina gets so paranoid she cuts Edie and the Riddler off the team. Part of Selina's growth in this story is to accept help and support. She can't do any of this alone.

The whole point is that the story ends with exactly what you're asking for in your criticism. Selina lets go of her past in some way and lets someone new take on the Catwoman mantle; Edie, The Riddler's afro latina daughter. It's a story about Selina letting go of her pride and guilt so that she can trust the newer generation to take the role. Yes things will be harder for this girl, but Selina's got to have hope; because some other girls can be Catwoman after all. Meta-textually this combines the differing histories of Catwoman into a conversation about legacy. Selina's whiteness plays a role in this elseworld story, so it justifies itself in my eyes instead of being an uncreative default.

Killer Croc Waylon Jones

I'm not an expert on Killer Croc history but from my brief brushes with him throughout being a Batman fan, I say there's 2 Waylons; 1. a guy with a skin condition 2. a guy who is a crocodile man. There's merits for either take, each with varying levels of sympathetic portrayals. He's also been white, coded as Black or straight up re-imagined as a Black man.

While I think there's a conversation to be had about dehumanization and treating a Black character as animalistic- I know at the end of the day the reason some writers pick the Crocodile variant of Waylon Jones is just because they want Batman to fight a gator guy. So he literally is just that, a gator. Not much malicious intent behind that, he's just an animorph gator. I think it's unfair to treat the "skin condition" variant of Killer Croc as the more progressive version of his character. Sometimes I'm playing Arkham Asylum and I wanna see a big croc instead of a guy with a skin condition running at me in the sewers. Either version is fine, I say with respect to furries and monster-boinkers.

At most, we see Waylon being a part of that arc where Selina's worried about putting vulnerable people in danger. Waylon dies in one of their heists and it causes Selina to close up again. I think it's fair that jokes made about him peeing on plants from Ivy/Eddie can be read in bad taste considering his history, but this take really is just the Animal Guy version of the character. I think going in too deep about the allegory of his marginalization would've lost the focus of this story in the short time frame that it had.

The Riddler Eddie Nygma

I think interpreting the way Eddie Nygma talks about his past and recovery as a broad "mental illness is evil" is reductive to the story. When he says "Hey, I was doing a lot of coke then." during his flirty catch-up date with Selina, I don't think he's saying "the substance abuse made me evil, Selina." The point of change/redemption for Eddie isn't necessarily "rehab". Eddie explicitly states that when his wife/partner Lorena died, it made him question what he was doing and put his life together. That included getting into recovery. He mentions he wasn't always there for his daughter Edie, but that he is now-he's no longer just thinking about himself. That's a conscious decision on his part.

I personally try not to get caught up in concepts like "the core of a character" because that can be subjective and people can choose to shift the pieces of a character and focus on something else. Reeves' Batman for example is a very untraditional Riddler take, he's a serial killer, and not a dapper guy at all. I'm more concerned with the concept of "through-lines" in characters, because it reveals what's resonant about them to be worth revisiting.

I get that Eddie's perceptive + genius mind and egomaniac tendencies is a huge part of his character. But I don't really know what (in your words) a "balanced out" take on Redeemed Riddler's mental health/neurodivergence in a story like this should look like. He joins Catwoman's heist team, he offers his expertise and says some quips. Is there something else he should be doing to demonstrate mental illness isn't evil or what? I know there's other redeemed Riddler takes where he still has his ego, but I don't think that fits for what story Lonely City wants to tell with him. He's narratively a humbled character in this. Lonely City wants to explore that kind of Riddler.

I'm gonna group your later queer criticisms here since I want to keep this categorized by character. But your argument about Riddler's queer coding erasure and acting like a heteronormative dad is missing the bigger cultural picture. The Gotham Rogues are heavily queer coded because- they're villains. It didn't start out as earnest representation because these were the un-questioned historical short-hands to how villains where characterized and designed. Sure as time goes on, some of that characterization will be reclaimed and canonized as queerness, but to read representation solely on historical coding is a misleading approach to analysis. Because it relies on signifiers over narrative.

Again, one of the main themes of Lonely City is about how these characters have aged passed their primes. They're tired and nostalgic for their colorful pasts, but are trying to move on in their own ways. The Riddler now looks unflamboyant and toned down to reinforce that theme. Eddie's tired now, he's wants to be a better dad, he has experienced the long prophesized twink death that comes for us all and has to embrace his new silver fox status. To hyper-focus on the details where he must perform a certain type of queerness is greatly limiting to queer representation.

John Constantine is one of DC's most prominent queer characters. He was coded and then canonized as queer early in his original Hellblazer run. In his backstory he used to be this over-the-top non-conforming punk young man, but then he was sent to a mental facility after accidentally banishing a little girl to Hell. He came out of that traumatizing experience looking,,, like how you describe Eddie Nygma looking like in Lonely City. Gone is John's colorful non-conformity, and all that's left if this beige coat wearing homeless guy. But that's the point and tragedy of his story. He's still queer even when he's not performing what people stereotypically associate as being visibly queer. So if you want to read Riddler as queer in Lonely City, nothing is really stopping you. I don't know how else to end this point other than saying there's nothing homophobic about mellowing out into your silver fox era.

Two Face Harvey Dent

To fully understand the portrayal of Two Face in Lonely City, we need to talk about what role he plays in the narrative. Because it's broader than you think.

Two Face exists as an allegory for Gotham itself in this story. After Batman died and costumed heroism/villainy is strictly outlawed, Gotham seems like a better, safer city. But in reality, it's a heavily policed city, where only the richest are doing better off. It's got the appearance of progress, but really it has same systemic problems still bubbling within. That's Harvey Dent's character in Lonely City. He promises people he's reformed, but really we just see his classic standard downfall happen again when challenged.

Much like with what I talked about queer coding villains, Two Face never started out as earnest representation of DID. The horror surrounding his premise is often really reliant on the vilification of DID. And once again, much like Waylon, sometimes we get sympathetic treatments of that part of him.

But I think the trouble with Two Face as DID rep is that as long as that "darkness bubbling within him" is represented through an alter, he's going to struggle with how his premise is tied to the vilification of DID. There are some takes of Harvey where this part of him is removed completely like in The Dark Knight, where his descent is a straightforward story about a good guy getting corrupted rather than an alter showing up. On one hand you can see that as erasure, and on another hand maybe it's refreshing to have a take that doesn't rely on an evil alter. Your mileage will vary. Tons of people with DID love Harvey, it's complicated!

Calling Harvey a Trump-like bigoted fascist is reductive of the narrative allegory he represents. I notice there's a tendency in media analysis to label any remotely bigoted or rich villain character as being a stand in for Trump or Elon Musk and that's a superficial reading. I've seen many fictionalized stand ins for Trump in media, and Lonely City's Harvey Dent doesn't feel specific enough to be a commentary on the guy.

Trump is a blatant bigot, spouting explicitly racist rhetoric and mocking disabled people. Harvey in Lonely City is performative about his justice. When talking about Barbara Gordon, he says "she's not the only one with a disability" as he touches his disfigured face. He's shown saving a brown boy from a fire. Things Donald Trump would never do. We don't see the usual fictional Trump-isms like allusions to building a wall or tweeting about celebrities.

Harvey's not evil because he's mentally ill, his alter isn't what motivates his actions. That reading ignores how Harvey genuinely believes what he's doing is good for Gotham. You say that the police in this story only go along with what they do because they're scared of Harvey, "and specifically having the police 'only following orders' while actually disagreeing with fascism, when far right ideologies infamously thrive in the police system irl" but that ignores scenes like this:

Where the police have no problem enacting prejudice and threatening violence without Harvey's supervision. When the police commissioner is frustrated with Harvey, it's not because he's some good guy being forced to be bad by the Mayor. Whenever something goes wrong, Harvey uses the commissioner as a scapegoat so that he can keep his own reputation intact. When the commissioner advises Harvey that it's bad to attack protesters, it's not because he disagrees with bigotry- it's because it looks bad on Harvey as a candidate. When one of the bat cops abandons Harvey in the climax (only to get shot by him), that's not him disavowing bigotry, it's him being fed up with being bossed around.

You say that "in the end, fascism in Lonely City is defeated not by thorough systemic reform but by simply throwing the Trump-analogue into a jail for mentally ill people "where he belongs". But that reading ignores scenes like this one:

Where after Barbara Gordon gets elected as Mayor, she's still criticized even after the protesters had her back earlier. Despite Barbara starting out the story begging Catwoman to leave vigilantism behind to become a respectable member of society, she ultimately learns that doing things from within the system isn't enough. That corruption still exists in Gotham and she's going to have to play dirty to fight it. That's an awareness of systemic problems, not a story where all the problems are solved when the antagonist gets punished.

Then there's your reading of mental illness in this story. Much like how your queer analysis relies on signifiers like performance of queerness in order to be read as queer at all, you do the same thing with mental illness. If you're willing to read Harvey tapping his fingers during his debate with Barbara as OCD tics, -even though it's a classic visual short hand for portraying nervousness or impatience- or his attachment to the coin as OCD -even though Harvey's obsession with duality and chance being a theme to his character- and confidently claim that "only Two Face exhibits behavior linked to his mental health" then you're willfully ignoring another strong candidate for a mental illness reading: Selina Kyle herself.

We see her taking meds after she's released from jail. We see her immediately remembering Bruce's death when meeting the Bat-police. We see her obsess over Bruce's final words to her, unable to let the past go. We see her struggling to open up and accept help after Yoona and Waylon die, she even acts out in paranoia. We see her thinking she's protecting others by pushing them away. We see her getting so focused on Bruce's final message for her, it seems like there's nothing else she has planned after the finding out what it is.

When asked about this, she continues to justify that she's protecting others "No one else is going to get hurt." She's self-destructive, not looking out for herself anymore. When she finally makes it to the batcave and watches it self destruct, she's willing to just sit there and go down with it. "Life after Batman is a dream, he said. I should have believed him. And life after Catwoman? Maybe I could've figured it out...with enough time."

I don't know about you, but that's not reflective of what you described "Every other character (including post-rehab Riddler) is shown to be well-adjusted and mentally healthy, their problems mainly stemming from grief or circumstance, not mental illness." Sometimes grief can result in self destructive mental illness, it's not any less because it's stemmed from a tragic circumstance. Our main hero character, is struggling with how her grief and love is consuming her. It may not look like classic vilification of mentally ill villains, but it's still explicitly there.

To bring this back to Harvey, no, I don't think the end is supposed to be some kind of twist that everything bad was his evil alter's doing. Harvey wasn't lying when he said he embraced his alter and made a compromise with him instead of running away from that part of himself. This is the classic Two Face descent, everything seems fine on the surface but then his inner darkness resurfaces. Harvey explicitly says "we had a deal, do things my way-" before being interrupted by his alter who says "-Fuck the deal, Harvey!" They both agreed to be doing things Harvey's way for a while, but his alter's tired of all the pushback and finally decides to take control in this moment.

There's a lot to critique at the core of Batman's mythos, the inherit copaganda in a rich man's goals to eliminate crime, the vilification of mental illness for its horror elements among many things. It would take a much bigger shake up of the status quo to see these things challenged outside of a "there's a lot we still gotta fix" ending. I think criticisms where people say "Batman beats up mentally ill poor people" is pretty disingenuous. It ignores that many of his rogues are well off and powerful, but it also infantilizes them as villains. Batman's rogues aren't clueless mentally ill people, they choose to do bad things. Some of them are mentally ill as they commit crimes, but they make a choice. Harvey Dent isn't bad because he's mentally ill, he's bad because of his flawed beliefs.

I don't think Harvey being sent away to Arkham in Lonely City is supposed to send the message that he'll only be good if he's a cured, neurotypical guy. We see how the jail system treated Selina during her 10 years behind bars, the whole system's broken and the comic is aware of that.

Queerness: Barbara Gordon, Harley Quinn + Poison Ivy and Catwoman (+ Riddler)

"Bury your gays" does not refer to when queer characters die, it is to talk about how they're treated as more disposable/expendable than their non-queer counterparts. A character being "fridged" is not about them dying, it's about how they're treated as disposable for the development of another character.

Harley Quinn is just as much a "fridged" character in Lonely City as Batman is. Both Selina and Pamela are grieving over the loss of their loved ones, but they react in opposite ways. Pamela's moved on to the point of leaving Gotham, while Selina's fixated on Bruce's final message to her. I don't know how we're supposed to have a story about grief without someone dying? So I don't really know what this kind of criticism is asking for.

Sure, Ivy dies in the story. But she goes out in a defiant stance against Harvey's vision for the city. She's comes full circle in recognizing that Gotham wasn't all awful; it nurtured her and taught her to accept herself. She dies because the story has stakes and consequences to its actions. Again, I don't think being queer means the characters should be invulnerable and immortal. Ivy has the same narrative weight to her death as Waylon did.

I agree that Barbara's queerness is subtle in Lonely City. But I don't think that's a bad thing. My impression is that she recognizes she's in a very dangerous position in Gotham, hence she keeps her relationship with her campaign manager Josie very private. But when you look into it, there's really no denying it or reading it any other way. In these finale panels, what business does Barbara have to be in Josie's son's room? Even more so, why is he named Wayne?

The comic even bothers making Selina pause upon hearing that name. Barbara named him after Bruce, so wait- how come she has a say in naming Josie's son? When Wayne tells Selina "Are you here for mama? She's in the back." Selina goes to the office to see only Barbara in there. Josie shows up in the room way later. Hence, Barbara is also Wayne's mom. If we genderbent Josie, the nature of their relationship wouldn't be up for debate.

I get that it would be cool to have a queer Barbara story, but this is a detail in Catwoman: Lonely City. It implies something interesting about Barbara still hiding a part of her identity even though she's not a costumed vigilante anymore, but that's it. Normally I'd like for these things to be expanded, but I'm aware this is Selina's story's first and foremost. And it's a miniseries. At most, this relationship is an interesting characterization detail.

Ignoring the fact that Selina's silver fox futch game is on fire in this series, I think the queer Catwoman criticism falls into the same problem with relying on queer signifiers and performance for representation. I get that an elseworld needs to re-establish its take on these characters since I don't know if they're queer in this iteration or not. But for a tight story like Lonely City, what exactly do I stand to gain from Catwoman turning to the camera and telling me she's bi again this time?

Lonely City is about Selina's grief over Batman turning into an obsession. When Bruce was alive, Selina would ask him if he ever considered retiring from his mission and settling down with her. Bruce would lead her on, saying that a life like that is just a dream for him "but when I do let myself dream Selina...in that life? I'm with you". So she clings on to that, hoping that the final message he left her, "Orpheus" could maybe be some kind of recognition of their love. But in the end, she discovers "Orpheus" is a lazarus pit meant to temporarily revive someone from dying. Bruce was asking Selina to revive him. "The cape came first [...] nothing else mattered, nobody else mattered...not even me."

Her relationship with Eddie is meant to show that a part of her does want to move on from Bruce and find love elsewhere. But she's caught between her self destructive quest and having to think about what life after Catwoman looks like. Ultimately she learns she can move on without sacrificing who she is as Catwoman by passing that mantle on to someone new. For a tightly written 4-issue miniseries, I don't see how having Selina hitting on a woman or saying she finds a woman hot, or Eddie doing that for men really adds anything to that story. Maybe if it was a longer series we could've gotten something about queer solidarity? But I'm content with Lonely City the way it is right now.

I've written in my comic essays before about how I don't want "show not tell" to dictate how queer characters have to have very specific relationships (bi person must always be with man and woman) or display specific attractions (bi woman must show interest in woman at some point) or express themselves in a specific way (queer man has to be flamboyant) to be considered queer. But I also don't want the verbal confirmation of queerness to be mandated in every story with queer characters. Taking either points to an extreme would result in really formulaic queer stories.

Maybe Selina and Eddie at the end of Lonely City are a bi couple who are happily mellowing out into their old age, judged by on-lookers as a straight couple because they're not performing bombastic queerness hard enough or something, I hear that's a very bi thing.

Also "Selina ends up in a by all accounts "heterosexual" relationship as the (step) mom of a teenager just leaves a bad taste, imo." Man, what you got against step moms? :((((((((( The teenager is robbing rich people too, it's not that domestic.

haha but I hope this doesn't come off as mean spirited in any way! I think Catwoman Lonely City is a rich text to discuss so I'm interested in people's interpretations of it.

When I talk about performatively progressive things like My Adventures with Superman, it's that media like that wants the clout of looking like it deals with serious topics (like Superman's immigrant allegory), but it'll be squeamish about tackling that in any serious manner. It's a show that has surface level diversity but is unwilling to discuss how that diversity informs its world. MAWS shows us an endearingly girlfailure Lois Lane who needs the help of men to get hired as a journalist because it believes that's far more relatable than being a jaded successful career woman. The show loves rebutting Superman discourse about red undies and being a nice guy who saves cats from trees, but it can never show us what its version of Superman's ideals are. It's a show that fails to say anything of substance.

Meanwhile Catwoman Lonely City is a story about loss and what a Gotham trying to move on from its costumed past looks like. It's wrapped up in issues of class disparity and racism, but in the end of the day it's a really personal story about grief and aging. Its characters' identities inform the way they navigate its political world. Lonely City takes advantage of the Batman mythos' history to tell its remixed story.

At times, that means working within its limitations. Two Face is a character that would require a really big re-imagining to separate his premise from the vilification of DID (which I was hoping Caped Crusader would do, but alas), and this elseworld version plays him pretty straight and standard to tell a story about repeating cycles and facades. It has the bad guy sent to Arkham, as is the usual for Batman stories.

My main concern when reading Lonely City was that the characters telling Selina to "let go" of her costumed vigilante past was going to lead to an ending where Selina has to settle down and be a respectable member of society. But that didn't happen! Barbara recognizes that working within the system isn't enough. Instead of Selina getting assimilated into the government like an honorary cop, she's still a vigilante robbing the rich.

Catwoman Lonely City ends with the recognition and hope that things could be better, that its problems don't end in the final page. And that's way more substance than anything MAWS could pretend to have.

#askjesncin #LONG POST #jesncin dc meta #media criticism #i don't know who's going to read this uhh #you can check it out if you want a huge analysis on Catwoman Lonely City

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