#its all based in subtext

[kidkubrick]

((no bc yknow why i think max and gus' relationship is so good? i think it's because the one time we see gus fring before hes Gus Fring is during the scene where max gets shot and that scene is genuinely so fucking powerful. the thing is, gus works alone, that's his whole shtick. he either works alone, or you work under him. max is the one time we see someone working with him, and at the same level. it's the one time he shows an emotion more than polite listening, or stoic brooding silence. and you can tell how much max cares about him, getting close to tears trying to apologize to eladio. for this very fleeting brief second we see what happened to make gus gus. i think that's the point of that scene. we get all this lore abt who gus was, how eladio knows who he really is, etc etc, who he was when he was in chile, but the scene doesn't exist to establish the beginning of a gus backstory plot. i think it exists to show us a) the ruthlessness of the cartel and b) the main motivation for gus' actions following the murder of his lover. none of this even has to do with max and gus' relationship im just venting abt how much i love their dynamic, and how fucking good the acting is because it is. its so good that you can convey all of the micro-expressions and feelings, and have your audience get it. james martinez is fucking masterful at it, as is esposito. like i can scream this until im blue in the fact but oh my GOD dude.))

[blacktipreefsharkwizarding]

They should give me full ownership of the ace attorney franchise I’d canonize all the obviously gay characters

[rise-my-angel]

Anon who sent me an ask regarding requests, I'd like you to know that this is unironically you

[crowswarm]

👍

[tenshiharmonia]

Thank you ! Honestly, it's something that I find quite infuriating. And baffling. Don't get me wrong, I understand that it stems from the desire to have a more nuanced portrayal of the Demon King, which I'm totally on board with. But can we stop trying to make Ganondorf come off as more sympathetic than he is by demonizing a perfectly respectable character for crimes that he did not even commit ? Because really, it usually has the opposite effect...

Ok so like if the argument is “Rauru questionable”… why? Why is he questionable? Because he’s powerful?

Ganondorf attacked him and he responded with restrained self defense. Ganondorf lobbed thinly veiled insults at him and his mixed race marriage in his own home, and Rauru responded with patient diplomacy.

One of the points made in the “Hyrule is imperialist” comments is the assumption that Rauru inviting Ganondorf and the Gerudo to join his kingdom basically amounted to a threat… except that’s really obviously not the case?

Rauru didn’t conquer them even after they attacked him. He didn’t conquer anybody. None of the other lands are under Hylian control. They all have their own leadership. They all manage their own resources. In BotW King Dorephan refers to Hylians as the Zora’s allies… not their masters.

Rauru established an alliance, not an empire.

People are concerned, saying “I hate how the other races are subservient to Hylians” except… they’re not. They don’t follow the royal family of Hyrule unquestioningly.

To get help from the other people, Zelda still had to make diplomacy trips and convince them to aid her. Convince them. Not command them. They’re loyal to her because she shows them the respect they deserve and is dedicated to caring for and protecting everyone. She’s not entitled to rule like Ganondorf thinks he is, people follow her because she’s a good leader and it seems to be the same with Rauru. He shared his immense power with others and sacrificed himself to protect everyone from being subjugated by Ganondorf.

Reading Rauru or Zelda as imperialist or Hyrule as an oppressive empire requires ignoring practically all of the canon text and projecting a number of things. So… why do people keep pushing that extremely shallow reading?

Call Nintendo out on its bullshit, by all means! The series has improved over the years because people voiced their legitimate concerns in the past. I just think this whole “imperialist propaganda” argument is completely off base and I really wish the people saying this stuff would pay more attention to the deliberate efforts Nintendo’s made to diversify the Hyrule royal family and the world of Hyrule at large.

[andy-888]

I'm so used to bad queerbaiting etc. That whenever I see a gay ship in Star Trek I'm like "jajaja silly ship probably doesn't have much base or support in the subtext but its probably fun" AND THEN. I WATCH THE ACTUAL SHOW. "Captain, there's a definite pleasurable expirience connected to the hearing of your voice" "The Spy talked to me! :D" "You are not another electronic" "Even Gods have favorites Jean-Luc and you've always been one of mine" I SEE INTERVIEWS. I SEE GARAK ACTOR SAYING "Oh yeah I wanted to fuck him and that's what I acted on" I SEE WILLIAM SHATNER BEING LIKE "Kirk favorite conquest is Spock!" AND IT FEELS SO INSANE???? IN FUCKING 2023?????

Star trek fr was so ahead of its time in all topics that now I actually expect good representation of any type from today's TV shows and I just disappoint myself

[grunckle]

Qualia and Ascension in Rain World

(To clarify I'm mostly talking about base-game lore and not including Downpour, but honestly most of these things can transfer over)

Qualia

One thing that’s relatively hidden in Rain World’s text and subtext is the concept of qualia. Qualia is described as being, “sensory experiences that have distinctive subjective qualities but lack any meaning or external reference to the objects or events that cause them.” It’s a personal sensory experience that cannot be comprehended by another person other than the individual themself, and are often hard to convey via language.

Qualia is a reoccurring motif in Rain World, but what’s more important is the way in which it’s conveyed to the player. The picture that’s painted is that of a world or civilization that placed a great importance on the individuals’ experience, and it’s shown through pearls or environmental details.

Here are some examples of qualia appearing in the text through pearls.

“It's qualia, or a moment - a very short one. Someone is holding a black stone, and twisting it slightly as they drag their finger across the rough surface. The entire sequence is shorter than a heartbeat, but the resolution is extraordinary.”

“A memory... but not really visual, or even concrete, in its character. It reminds of the feeling of a warm wind, but not the physical feeling but the... inner feeling. I don't think it has much utility unless you are doing some very fringe Regeneraist research.”

“This one... is authored by Five Pebbles, when he was young. There has been an attempt to scramble the data, but it's sloppily done, and most is still somewhat legible. It's written in internal language, or thoughts, so it is hard for me to translate so you would understand.”

But the most prominent examples of qualia and it’s importance in this world are the Memory Crypts and possibly ancient naming conventions. The deep purple pearl (shortened) found in Shaded Citadel states,

“In this vessel is the living memories of Seventeen Axes, Fifteen Spoked Wheel, of the House of Braids (…) Seventeen Axes, Fifteen Spoked Wheel nobly decided to ascend in the beginning of 1514.008, after graciously donating all (ALL!) earthly possessions to the local Iterator project (Unparalleled Innocence), and left these memories to be cherished by the carnal plane. The assorted memories and qualia include:”

Ancients likely mutated their own neural tissue into the cabinet beasts we see in Shaded, which were used to store their memories and qualia before ascension. Even james said once "how 5 pebs got the rot is a good hint here" in response to someone asking how cabinet beasts work, and how they're made.

Adding on to this, ancient (and iterator) naming conventions seem to be built off of the concept of qualia, with them focusing on individual images or experiences.

Nineteen Spades, Endless Reflections

Droplets upon Five Large Droplets

Two Sprouts, Twelve Brackets

Looks to the Moon

Generally, this all points to a world focused on the expression and preservation of the individual experience. You could even consider some of the echo dialogue as more evidence for this running motif, but I already have too many quotes lol.

Ascension

So now time to talk about my interpretation of ascension. In short, you turn into a worm, but I should probably explain more than that.

So its been surfacing on rw-tumblr that the light in the end of the game is called the egg in files. Although file names shouldn't be taken as fact or canon, it is pretty obvious given the birth imagery.

But something a little lesser known is what happens to the worm that takes us down to the void-sea depths. Void worms normally have a bright glowing effect, on their body, which is present for ours as well. But after it unhooks us, it swims down, and when it passes us on it's way back that glowing effect is gone.

To be honest, I don't really think this can be interpreted in many ways, but the most obvious one and the one I personally subscribe to is that the worm laid the egg. Biology and spirituality really aren't that different in Rain World, it's implied that karma is stored in the brain through Five Pebbles's slideshow. Adding on to that, we see voidspawn after eating an iterator neuron. One's spiritual state is innately tied to their mental state, and that dictates what and what they can't perceive.

And for that reason I decide to take a more biology leaning approach to what happens in the ending. At face value, we are fertilizing the egg of a void worm to be reborn into a voidspawn.

Not only do void spawn and void worms have multiple characteristics in common, (worm like bodies, tendrils/tentacles, glowing heads, void spawn look microbial and void worms are likely some of the oldest "life" in game)

but voidspawn are seen inside egg-like coverings and share the same egg light seen in the end of the game, confirmed to be the same thing by Videocult in a livestream they did.

I believe that all this points to ascension being re-birth into a voidspawn, which eventually undergoes metamorphose into a worm. Higher-dimensional beings, who manifest and give birth to a new world.

So how does this tie in with qualia? Another thing you might know is that the area in which void spawn are most plentiful is Shaded Citadel and areas in Shoreline near Shaded. And shaded is absolutely packed with Cabinet Beasts, even outside Memory Crypts. I believe these qualia-storing creatures are what manifest voidspawn.

From what we see in ascension, it still looks physical and largely based around the real world. Hunter still has his scars and see's an iterator, survivor sees the slug tree in a more mystical and formless state, and monk sees survivor frankly just looking like a normal slugcat. I think that ascension is a product of qualia. We transcend our earthly knowledge via the egg, and our own qualia is used to give birth to a new world. This is why voidspawn appear most in Shaded Citadel.

Now I won't be getting into Void-Worm theories too much here, I'm mostly focused on ascension but I can't ignore the Gnosticism parallels. For those who don't know, Void Worms heavily resemble the Yaldaboath from Gnosticism, along with sharing some similar celestial motifs.

and running with that some people theorize that, like the Yaldabaoth, void worms are responsible for manifesting the material world. Ascension seems to be a mix of the concepts of Gnosis and Nirvana, but I believe it might lean more on Gnosis.

From my limited knowledge, Gnosis is a few things, some of which being a state achieved from experiences or intuitions, and an essential part to salvation is personal knowledge. While researching a bit, I came across this text by Peter Wilberg called "From NEW AGE to NEW GNOSIS" which brings up some comparisons between Gnosticism and qualia as well.

"Gnosis is subjective knowledge of an inner universe made up not of matter, energy, space or time but of countless qualitative spheres or ‘planes’ of awareness �� a knowledge obtained directly through inter- subjective resonance. It is the subjective science of this inner universe."

One thing though that has been brought up when discussing this is how this can be consolidated with the tone of the ending. It is pretty un-ambiguously happy, but if we're going with the Void worm Yaldaboath theory then that would put a bit of a sour twist on it right?

I agreed with these for some time, but now I actually think it ties in perfectly with Rain World's core themes as stated by the devs, "overcoming differences and finding empathy." I don't think the void worms are "evil" or malevolent, but I think they (and subsequently us after ascending) play a key role in demonstrating this theme.

By manifesting the physical world, we allow these souls to experience life and develop their own qualia so one day they can ascend themselves. We are shown compassion, and pass it forward.

[bargarean]

can i say something absolutely insane. that will make you want to forcefully remove me from the kitchen. i think the jokes about cocaine usage are directly related to the subtextual presence of queerness in deadpool & wolverine

unless i'm missing more, there are two jokes about cocaine usage being forbidden in the movie. one, where it's said that it's the One Thing they're forbidden from doing, that They know all the slang terms for it so they can't slip through the cracks, and that wade wants to do it but isn't allowed. the next is when they meet johnny, wade says to chris evans, "fair warning, gorgeous, you’ll encounter some indelicate language, a smidge of assplay, but we’ve been PROHIBITED from using cocaine. (on camera)." okay? okay.

i don't think any good comedy is actually just a comedy, and if i'm good at anything it's stripping away the jokes and trying to make out what the writers are saying between all of the lines. in the case of deadpool & wolverine, i think it's about the relationship between the studio and the story, and the somewhat inherent tragedy of being a character that belongs to disney especially. this thing takes every chance it can to make fun of the mcu. one of its antagonists is a representation of the higherups, who choose to save the profitable stories, leave the rest to die, and then old yeller the profitable ones when they become too much trouble. the other antagonist is a story who was left to die. and all of this comes together to become a movie about a character who in real life had major elements of his character, his queerness, stripped and left to die when he became disney IP, finding out that his reality is about to be left to die and fighting to protect it.

i note his queerness there not only because it's the basis of this whole post but because the movie wants us to. this is, by far, the queerest deadpool movie so far. but you know what's interesting? there are people who watched it and came out thinking it was a Based breath of fresh air in this Woke Economy. we saw the allusions to sex scene tropes in the honda odyssey fight. they just saw a hypermasculine fight. because, ultimately, the queerness in this movie isn't profitable, so it's being muted and stripped and turned into jokes. god knows disney isn't going to let two of their most popular characters fuck nasty on the big screen. they're going to greenlight a deadpool movie and tell the writers that they can do whatever they want but to keep the queerness at arms length to avoid scaring away half the viewership. but we're telling a story about characters being left to die for not being profitable. so that really won't do. instead, we'll fill it with subtext and layer on jabs upon jabs at the studios who seek profit over a genuine story. and then we'll literally have our not-so-explicitly queer main character save his reality from being old yellered by holding hands with a shirtless man

tldr: it's the one thing they can't do! On camera.

[olasketches]

I find sukuna's enraged reaction to being pitied so interesting, considering that he, himself, admitted that he didn't expect that someone (or maybe just yuuji) offering him pity would anger him so much. honestly looking at all sukuna's interaction with other characters like jogo, yuuji, gojo... the contrast in how he talks about being strong and how he talks about being weak is quite striking.

despite having a huge superiority complex, he never gives any boasting comments about himself, like gojo for example. he even praises others, sorcerer and curses alike, for their strength, which again is contrary to gojo who often belittles and degrades his opponents. however, sukuna's behaviour is not actually opposite of gojo's, because while he admires others' strength, he finds being weak disgusting in itself. you see, gojo never had a problem with other people being weak because being weak is not something he could ever relate to like "yeah, those guys are weak but how is that my problem?". others being weak never really disgusted him, not like it does sukuna, but rather amused him (probably why he teased and bullied utahime and ichiji so much lol) anyway, my point is that, sukuna's attitude doesn't contrast gojo's, it mirrors it.

gojo's problem was that he was obsessed with being the strongest. he desperately wanted to live up to his title, but not because he had some deep-seated insecurity about being weak, but because that's all he's ever been. he wrapped his entire identity around it, which in result made him believe that he could only relate to people who were just as strong as him. then there is sukuna... who on the other hand... (dramatic pause)... is obsessed with being weak or rather he desperately doesn't want to be seen as someone who's weak. sukuna keeps insulting and belittling yuuji for being weak, despite yuuji CLEARLY not being weak. yuuji's own humanity and the strength he derives from it, exposes sukuna's own deep-seated weakness and dare I say... insecurity.

at the beginning of this post I said how sukuna has a big superiority complex, which now, after the recent canon events it almost borderlines with an inferiority complex. the thing is that, superiority complex and inferiority complex are kinda the same thing. they both stem from a deep-seated feeling of inadequacy, with the only difference being that someone with an inferiority complex tends to express these feelings as anxiety and submissiveness, whereas someone with a superiority complex overcompensates by acting as if they're god's gift to mankind, which is the later for both sukuna and gojo. however, unlike gojo, whose own superiority complex comes from the fact he was treated like a god by everyone in his clan since he was born, sukuna's superiority complex and its origins can still only be found in the subtext. we know that he was born an unwanted little wretch and people hated him, most likely feared him due to his own abnormal appearance and probably later his overwhelming strength. I don't want to dive too much into this since we don't actually know sukuna's backstory, we can only speculate based on what we know. however, it's his conversation with yuuji after he possessed megumi that interest me the most. he says...

Well, saying it from my perspective; why are all of you so weak. Why (are you) so obsessed over living despite being so weak

and let's not forget, sukuna is the only character who thinks yuuji is weak, which makes the rest of his speech all the more interesting, as he continues...

How can living things who keep collapsing easily say that they wish to be happy forever?

now this is funny, because several chapters later he admitted that no matter how many times he tries to break yuuji, he keeps getting back up, he's either contradicting himself again (and well.. he IS) or...

It’s better for all of you to spend your whole life crushing fitting misfortune for you

he's not only referring to yuuji here... sukuna genuinely believes that the weak should spend their whole lives chewing on their suffering, as is their natural state... but why?

after yuuji offered sukuna mercy, sukuna felt looked down upon and got down right pissed, which even shocked sukuna himself. why would that offend him? after all, he KNOWS he's strong not even gojo's taunts could get to him or yorozu trying to teach him about love, something he supposedly already knows about. why did yuuji offering him sympathy enraged him so much? shouldn't he just laugh in his face for believing he could beat him?? it seems like.. MAYBE.. in that moment, yuuji unintentionally touched on a very sore spot there, revealing sukuna's own insecurity: being seen as weak.

[innuendostudios]

new video about Edgar Wright's Cornetto Trilogy, and how everyone* keeps getting them wrong! this video is sponsored by Nebula, a place where you can watch the original version of this video before I had to tweak it for YouTube's copyright bots. (by clicking that link, you can get an annual subscription for 40% off.) or you can just back me on Patreon, which is also cool and good.

transcript below the cut.

I adore Edgar Wright’s Cornetto Trilogy. I flirted with making a video about it ages ago, had a draft of a script, but ultimately decided it wasn’t about anything except “here’s a thing I like, and here are its (I thought) very obvious themes.” So I shelved it. But, in the years since, I have seen multiple video essayists on this here website claim that these movies are about growing up and taking responsibility. (I say “multiple.” It’s not a lot. But it’s more than one! And that’s enough.)

These people are 100% wrong.

Lemme lay it out: the Cornetto Trilogy is not about growing up. It is not about taking responsibility. It is the exact opposite, and that’s not subtext. It is three movies about stunted manchildren thrust into extraordinary circumstances, and each, in the end, is saved - is redeemed - by abandoning his character arc and failing to grow or change. It is a three-part love letter to immaturity.

And I guess I have to set the record straight.

Sometimes making a video about a thing you love is an act of appreciation. And sometimes it’s out of spite.

The Cornetto Trilogy is three movies: Shaun of the Dead, Hot Fuzz, and The World’s End. All three are written by Simon Pegg and Edgar Wright; Pegg stars, and Wright directs; all three center on a relationship between Pegg and real-life best friend Nick Frost, which makes each film a reunion of the core team behind Spaced (excepting, but for a small role in Shaun of the Dead, Jessica Hynes). The three films span three genres: zombie apocalypse, buddy cop, alien invasion; each features a Cornetto ice cream cone: strawberry to represent blood, original blue to represent the police, and mint to represent little green men; this is a joking nod to Krzysztof Kieślowski’s Trois Couleur films, Bleu, Blanc, and Rouge, which were based on the colors and themes of the French flag (I don’t care what you say, Emily: #TeamRouge); that nod is funny because Trois Couleur is high-art drama and these are comedies. All three are parodies of, tributes to, and actually surprisingly good executions of their respective genres. And the hook, the gag at the center of all these movies, is that Simon Pegg plays a character wholly unsuited to be starring in this kind of film.

Shaun, the burnout, is the wrong person to survive the zombie apocalypse; by-the-book British bobby Nicholas is the wrong person to lead an American-style bombastic actioner; and alcoholic asshole Gary is the last person to save the world from aliens.

And I think that’s where people get stuck. Because “schlub finds himself protagonist of a genre film” is the elevator pitch for like a dozen Adam Sandler movies. The genre trappings may be as mundane as parenthood or mandated anger management classes, or as high-concept as action movie, whodunnit, or time travel It’s a Wonderful Life if Clarence were Christopher Walken as the angel of death (that… that makes it sound good, it’s not, don’t see Click; leave Frank Capra alone, Adam). But all these movies have the same basic shape: an extraordinary situation forces a guy to confront his shortcomings, which always stem from having never grown up. And you probably haven’t seen all of these movies, but if you’ve seen any, I bet you have assumptions about how the rest end: even though “Adam Sandler acts like a child” is generally the selling point of an Adam Sandler movie, they all end with some lip service toward becoming an adult: hey man, grow up a bit; appreciate your family a little more; square your shoulders; clean your room. This is so standard, it was parodied mercilessly in Funny People.

And this was a formative microgenre for my generation! Whole universe turns itself upside down to teach some shitty dude to, like, do the dishes and pay his wife a compliment now and then - Liar Liar, Bruce and Evan Almighty (all directed by the same guy, by the way). So I don’t blame people of a certain age for seeing the first act of Shaun of the Dead and thinking “I know where this is going.” And when, at the last minute, it swerves and goes someplace else, you could read that as a gag, a final subversion of expectation, still the same basic shape. But no! No! Once is a gag - thrice??? Thrice is a thematic statement!

So lemme make my case. I’ma take you through these movies one by one - we’ll talk about the manchildren and the expectations set by the genre, and then we’ll talk about that last-minute swerve and what it means. And then you’ll tell me I’m right and apologize!

Shaun of the Dead:

Shaun is a man in his twenties. What kind of manchild is he? He’s the slacker.

What is his problem? He needs to sort his life out. Shaun doesn’t know how to take action. He hasn’t advanced since college - he’s been working the kind of job a teen takes over the summer for like a decade, lives with the same best friend, has the same petty fights with his stepdad, goes to the same pub every week with the same group of people. He can’t make a reservation, he can’t manage a calendar, he’s a washup. This makes his girlfriend, Liz, feel stifled, trapped; he is a weight around her ankle, taking her on the same date week after week, keeping her from living her own dreams, having her own adventures. She gives him one last chance to prove he can sort his life out, and he blows it, and she dumps him.

And then: a zombie movie happens.

The genre forces him to confront his shortcomings: to survive, and save his loved ones, he’ll have to take action, make plans, be decisive. This is a common fantasy: when you feel ground down by the mundanity of life, you might imagine, oh, if only a crisis would happen, like a zombie virus outbreak, where my normal-life problems like “am I gonna make rent,” “is my girl gonna take me back,” “is my roommate gonna kick out my stoner buddy who’s crashing on the couch” become meaningless, and it’s immediately clear what’s really important, what matters. Then I’d know exactly what to do. It’s why disaster movies work as escapism: a necromantic plague - or at least the fantasy of one - is sometime preferable to normal life.

Hot Fuzz:

Nicholas is a man in his thirties. What kind of manchild is he? He’s the hall monitor.

What is his problem? He can’t switch off. He is a hypercompetant police officer with a rulebook where his brain should be. He’s so good at being a cop that he’s spotting and unraveling crimes even on his day off. He can’t maintain a relationship, has no friends, all his coworkers hate him because he keeps finishing their work for them, and his stats show up the rest of the force so badly that they scuttle him out to the country.

Now you might be thinking, “Mmm. A fastidious police officer who can’t have fun? How is that a manchild? Sounds pretty grown-up to me. You’re reaching, bud.” Ohhhh ho ho, smartass, do you remember this scene? [bar scene] Yeah! Nicholas Angel has a five-year-old’s notion of law and order. He’s still playing cops and robbers.

And that’s a problem, because then: an action movie happens.

It doesn’t happen all at once: he goes out to the country and finds they do things a bit differently there. They are (ostensibly) less concerned with rules than what than the rules are for: if the purpose of drinking laws is to keep the streets safe and orderly, and letting some people off with a warning or allowing kids drink so long as they do it inside achieves that end, the rule can be bent. That’s a judgment grown-ups can make; I mean, they’re the ones who wrote the rules in the first place. So be lenient with shoplifters, don’t hassle people for speeding; this isn’t the Big City, you can use your better judgment. But Nicholas never got past doing whatever Mom & Dad said; obedience, and trusting whoever’s up the chain, is his entire moral framework. He can’t accept that bending the law could be more righteous than following it.

But also maybe there’s a criminal conspiracy murdering people and writing it off as accidents and the police chief might be in on it. Or maybe Nicholas is so desperate for a big case with no moral ambiguity that he’s seeing things where they aren’t. 

The genre forces him to confront his shortcomings: either there’s nothing going on and he needs to chill out about procedure, or the department is corrupt and he’ll have to go rogue like it’s Point Break - and this is how he experiences Point Break. [“paperwork”]

No matter what, he’ll have to bend the rules, which he constitutionally cannot do.

The World’s End:

Gary is a man in his forties. What kind of manchild is he? He’s the delinquent.

What’s his problem? Pfffft. What isn’t his problem? Gary is a manipulative, narcissistic, lying, self-destructive, ignorant, violent, thieving, shit-talking, unapologetic asshole who peaked in high school when being all those things was still kind of badass. The greatest night of his life was the drunken pub crawl after graduation he and his friends didn’t even finish, and he’s been tumbling downhill ever since. He’s spent his life ruining everyone who knows him until there’s no one left to ruin but Gary King. So now it’s time to bully the old gang into going back home with him to relive that night by finishing the pub crawl, because, in his own words, it’s all he’s got. And he and his friends have to confront how home has changed since they left - the bars have gentrified, not everyone recognizes them; the defining, epic deeds of Gary’s youth have been forgotten. You can’t actually go back because that place doesn’t exist anymore.

And then: a sci-fi movie happens.

Turns out the town’s been taken over by aliens, and all the people who couldn’t conform to their new order have been replaced with robots! That’s why no one recognizes them! And that’s why the pubs all look the same: the aliens are homogenizing everything! And it’s clear, if they can’t get Gary and his friends to play ball, they’ll roboticize them as well! The obvious move is to get the hell out of town, but Gary keeps inventing excuses to stay and finish the pub crawl, and they sound pretty sensible because the group’s already five pints in. The genre forces him to confront his shortcomings: sooner or later he’s gonna have to give up on recapturing his youth and do what’s best for him and his friends now, even if it means running back to the city where all his problems live.

So there we have it: the characters cross the threshold into an unfamiliar world where an external conflict cannot be addressed without resolving the tension within. The slacker will have to get his shit sorted, the hall monitor will have to break the rules, and the delinquent will have to do what’s good for him. And, to an extent, all three know this! The movies Wright and Pegg pay homage to exist in these stories - Shaun knows what a zombie is, Danny keeps Nicholas up watching Point Break and Bad Boys II, and Gary and friends know bodysnatcher movies so well they have philosophical debates with the robots about whether “robot” is the PC term.

So, yeah, if you turned the movies off there, I could forgive you for thinking that’s where they’re headed. But you goofballs watched them to the end and then made content about them, what is wrong with you???

What actually happens in the second halves of these movies?

Shaun twigs that he’s in a zombie movie and, at first, tries to play the part - his survival plans are miniature hero’s journeys with him as protagonist, wherein he’ll save the day by neatly confronting all his flaws. He’ll resolve parental conflict by saving his mom from his zombified stepdad, resolve romantic conflict by showing his girl he can come through when it counts, and resolve internal conflict by being a man who saves the day. And all his plans suck! It’s just the same plan he always comes up with! Dragging around the same useless liability of a bestie, collecting the same group of people, and holing up in the same pub! He doesn’t save his mom: his stepdad apologizes, resolving their conflict for him, and then survives in zombie form but Shaun’s mom gets killed; most of the friend group gets killed because the crisis does not actually suspend but in fact amplifies their personal grievances; and he doesn’t save the day, just manages not to die long enough for the military to show up.

But… well, Liz wanted adventure and now she’s had enough for a lifetime, so… she’s down to just be boring with him for a while - sit on the couch, watch TV, hit the pub. Beats running for your life. Tensions with the roommate are gone cuz roommate died, but rent is covered cuz Liz moved in. Zombies don’t get eradicated, just folded into normal life, so Shaun can mindlessly play video games with his bestie forever, and it’s not a problem that bestie doesn’t have an income cuz he doesn’t need food or shelter.

The zombie apocalypse doesn’t make Shaun sort his life out, it changes the world til he doesn’t have to.

When Nicholas discovers that, yes, there is definitely a murderous criminal conspiracy inside the police department, he recognizes the only way to bring about justice is to become what Danny has always wanted and go Dirty Harry on the town. It’s either that or just swallow the crimes. But he does neither. He and Danny go on an epic shooting spree, recreating famous movie scenes, taking out the entire criminal organization against all odds, and spouting badass one-liners… but everyone who helps them is a cop, they don’t actually kill anyone, all perps are formally arrested, and they fill out all the paperwork. I think he even properly signs out the weapons. He never switches off, never breaks a rule, does absolutely everything by the book, only… louder. And this violent showdown saves him from the chill town with lax rules he thought he’d moved to. Now he, with his five-year-old notion of right and wrong, is in charge of the police department.

The buddy cop actioner doesn’t make Nicholas bend the rules, it changes the world til he doesn’t have to.

Gary knows exactly how a movie of this sort is supposed to go and spends the whole movie running from it. Friends and secondary characters keep sharing these poignant moments with him, because they know this story, too: yeah, he’s gonna reject help at first, but sooner or later he’ll hit rock bottom and then someone will get through to him. And, as the night goes on, and the characters get drunker and drunker, and Gary passes up more and more opportunities to abandon the pub crawl and go home, these moments take a tone of desperation. They start to sound more like interventions; like, Gary, we all know you’re going to come to your senses but could you hurry up with it??? How many of your friends need to literally die for you to shape up? Are you gonna get them all killed?

And the answer is: Gary will never shape up! To Gary the Human Dril Tweet, his friends trying to save him, psychiatrists trying to treat him, and aliens trying to assimilate him are all the same thing. He doggedly makes it to the end of the pub crawl and confronts the alien overlord who tells him all the technological advancements of the past few decades - all the efficiency and homogenization that’ve changed the face of his home town - are their doing. The Information Age is an intervention on behalf of Earth, a pan-galactic effort to save humanity from itself. And the reason they’ve been replacing people with robots is some people are too fucked up to go along with it.

And here’s Gary, King of the Fuckups, brashly declaring that fucking up is what makes us human. There is no freedom without the freedom to ruin your life. We are endowed by our creator with the right to be drunken, ornery pieces of shit.

He tells the aliens to piss off and he’s so fucking annoying that they do, and they take the Information Age with them.

Now… I know… ugh… I know a lot of people love this movie, say it’s the best of the three. Some friends who’ve struggled with mental health or just being an adult under late capitalism really identify with Gary, and the valorization of being a mess. I see you, you’re not wrong, I get it, I really do. But can we just… not “but” but “also” can we… can we also admit that this ending is… this is Space Brexit.

Like, literally it’s an alien invasion but symbolically this is Gary rejecting the adult world of rules and authority and doing what’s best for the community and that’s how Brexiters view the EU. And people keep telling him “Gary, this is in your best interest” and Gary says, I don’t want my best interest! I am registered in the anti-Gary’s Face Party and I will cast my vote by cutting my nose! I choose to do what’s bad for me.

And, like a true Brexiter, he chooses for everybody.

Now tell me that’s a movie about growing up. Gary collapses human civilization in its entirety rather than change, and in the world that follows, he thrives… by being an immature, irresponsible bag of garbage.

To Wright and Pegg, growing up is death, and these are movies about being alive. These characters don’t cross the threshold back into the ordinary world with the ultimate boon of character growth; all three stay in the extraordinary world. The zombies remain, the robots remain, Nicholas is offered his London job back and chooses to stay in the country. These are stories about normal life spontaneously turning into a genre film, and they are made with deep love for those genres; why would they end with leaving those genres behind? Because it’s what Adam Sandler would do?

So there you have it. I rest my case.

“Okay Ian. Why does this matter?”

…what was that?

“You’ve made your point: these movies aren’t about growing up or taking responsibility. So what?”

Uhhhh.

“Bring it home for us.”

…

“Why do you care so much?

[breath]

I wrote the first draft of this script when I was around Shaun and Nicholas’ age, and “so what?” is why I shelved it. Now I’m Gary’s age, this video’s been in the back of my brain the whole time, but I got this far and “so what” is where I got stuck, again. This is why the CO-VIDs came out quicker, cuz I let myself end with “so that’s interesting!” and got on with my life. But there’s clearly something sticky here, more than “someone is wrong on the internet.” (Also, to the YouTubers I’m vaguebooking, who said these were movies about growing up - I’m way more annoyed at the folks I’ve argued with on Twitter about this, you just made a better rhetorical device; you do not owe me an apology!) (Also, to the commentariat: I am not extrapolating this from like two data points, this is chronic and recurring and has been bothering me for years.)

There are a few directions I could take this to give it some “cultural weight.” I could put on my social justice hat and talk about how the “crisis of adulthood” doesn’t play as broad comedy unless you look like Adam Sandler or Simon Pegg, or put on my class analysis hat and talk about how signifiers of adulthood are, traditionally, ways of spending and accruing capital which are, today, often inaccessible to people under 40.

And that’s all legit, but here’s the real deal: I’m just mad at Gary. The world changed around Shaun such that he could stay a child. And Nicholas ended up somewhere he could stay a child. If you missed that, you’re wrong, but whatever. But to say that Gary grew up grinds me, because Gary chose this. The whole movie is people telling him to grow up, and he says no! He says it out loud! He says it to the literal end of the world. To walk out of the theater and say “that’s a movie about growing up” is more than a mistake, it’s a refusal. It’s trying to “fix” the movie by fitting it into a more familiar shape, so it doesn’t say what it says, so Gary isn’t who he is, who he chooses to be.

I’m being cheeky when I say this because he’s a fictional character, but saying Gary grew up is enabling.

Gary says there’s no freedom without the freedom to ruin your life, which is the problem with alcoholics and libertarians: it’s not just your life, Gary! You live in a community, a culture, and an ecosystem! Your actions - everybody’s actions - impact other people! That’s just the way the world is! You can’t shit yourself at the bar without other people having to smell it. We’re all fuckin’ connected, man! You don’t want anyone’s will imposed on you; you spend the whole movie imposing your will on everyone else! You say humans don’t wanna be told what to do, and then you decide humanity’s future by yourself with no input or consent from anyone!

People point to Gary ordering water in the last scene instead of beer as evidence that he got sober, like that’s proof that he did grow up in the end, which are you fucking joking??? Getting sober is a shorthand for maturity the way buying a house is, it doesn’t signify anything in and of itself! Gary drank to escape the adult world of rules and responsibilities! So, yeah, under normal circumstances getting sober would mean he’s made peace with that world and is ready to integrate. But that’s not what happened! The thing he was escaping doesn’t exist anymore! He literally destroyed it!! People died! Probably millions! Now he lives a happy life LARPing as Omega Doom - no I don’t expect you to catch that reference! He doesn’t need to drink! He is literally reliving the best day of his life forever. And even if it did mean personal growth, the idea that a person could make what would be, unequivocally, the most selfish decision in human history, and then spend his life celebrating the outcome, oh but if he overcame a personal demon in the process then on balance that’s maturity? That is lightspeed solipsism! Who are you if you think that way? Are you all Adam Sandler???

And none of that makes this a bad ending, or Gary a bad character. I mean, he is the reason The World’s End is my least favorite, and I don’t like the ending, but I don’t think it’s bad that I don’t like the ending. Rather than watch another addict pull his life together or destroy himself, we watch a downward spiral with so much gravity the whole world self-destructs alongside him. And that’s why The World’s End is the most interesting of the three: it is a bold choice, and I think we are free to feel however we want about the conclusion Gary engineered for himself. I don’t think it’s valid to pretend it didn’t happen.

In the context of the trilogy, we see that Shaun’s immaturity is mostly a problem for Shaun: he would be, at worst, a footnote in the lives of the people who love him; “yeah, I liked Shaun a lot, but I couldn’t carry him through life anymore.” Nicholas is the kind of overachiever that is useful if pointed in the right direction; juvenile code of ethics aside, he is, empirically, helping the community (within the entirely fictional framework where that’s a thing police do). If the world hadn’t changed to turn their flaws into strengths, they would still be relatively harmless. Gary is what happens when immaturity isn’t harmless, and shows us how a world built by that immaturity would look.

There is an appeal to Gary King, a wish fulfillment. Letting your id fully off the leash because you no longer care what anybody thinks - it’s why some people drink, and it’s why some people would like to drink with Gary. But if that’s not just your Friday night, not just your twenties, but that’s your life? There is a destination at the end of that road, and it’s Gary doing something truly ugly. And we see that ugly thing the way Gary sees it: as awesome. But then you see the reality: the Monday morning after the Friday night. We went out with Gary and he did something terrible.

And I’m not telling you to hate Gary for it; I’m not saying Gary can’t be forgiven. In fact, seeing it for what it is is the only way Gary could be forgiven, because, if he “grew up and took responsibility,” there’s nothing to forgive.

I think this is the only way the trilogy could have ended. I mean, you make stories about boys who get older and older and don’t grow up, it eventually becomes a problem. There’s only two ways to resolve it: you either end with a guy actually sorting his shit out, or you go for broke and show what happens if he doesn’t. And I think some of us boys saw that and said, “no, noooo, they did grow up! all three of them!” rather than say, “haha! hahaaa! ……………shit.”

[thankskenpenders]

I know Ken is notorious for his, um, odd creation habits, but even I’m shocked that it’s been over 10 years of work and THIS is all he has to show for it. I would maybe be a bit more lenient if each new page was hyper detailed or something like that, but as you pointed out in your review, he reused the same images across plenty of panels and so many of his backgrounds are just stock photos. The only way I can reconcile this to myself is wondering if maybe a bunch of that time was eaten up by extensive rewrites to his plans for the whole series, but even then, I’ll be even more shocked if the next volume ever comes out.

So I didn't get into this in the review because I really just wanted to focus on the book and the weird copyright situation that led to its creation, not Ken's personal life or his other endeavors, but he did make something else in the time since The Lara-Su Chronicles' announcement 13 years ago. That being his independent film: The Republic. Because after he left Archie Ken figured he'd move on to a career in Hollywood.

I think this was originally supposed to be a TV show, the pilot episode for which was released in 2010, but then in 2016 he decided to retool it as a commentary on Trump's immigration policies. I think the movie is still somehow not out despite being shot a few years ago, but he put out a trailer here:

Yes, the trailer really opens with 30 seconds of footage of Trump from CNN. I know writers who use subtext and they're all cowards etc. etc.

At least the cast is clearly trying their best in spite of the material. It's not Birdemic bad. And yes, that's Sean Young. THE Sean Young! Rachael from Blade Runner! I guess Ken's really eager to flex the fact that he's friends with a couple lower-level Hollywood producers.

Anyway, I think he's still looking for a distributor for this. It's truly a mystery why no one was eager to pick this up.

Ken's also said some stuff about how he waited years to put out TLSC: Beginnings as part of the 4D chess game he's playing with the copyright stuff. He has a general idea of what he can do based on the terms of the settlement, but he's eager to push it as far as he can. He tested the waters with things like a few small pieces of TLSC merch and an NFT announcement, to see if Sega would take legal action. In particular, the announcement that he was going to sell an NFT of Shade from Sonic Chronicles was a stunt designed to see if Sega would challenge his claim that Shade is legally the same character as Julie-Su. Since they haven't gone after him, and now it's been a few years, he's taking that as evidence that Sega isn't actively exercising those copyrights and isn't going to fight for this stuff.

There's some logic here. Part of the reason Dan DeCarlo lost his battle with Archie over the rights to Josie and the Pussycats is that he didn't take action against them sooner for making merch and whatnot. It's "use it or lose it" with copyrights. But it mostly just comes off as an excuse. If it was purely a waiting game and he had all this extra time, why did he need to recycle art so much in Beginnings? Why is he only releasing 30 new pages of material instead of a whole graphic novel? Where's the app? Why didn't he spellcheck the damn book?

[three--rings]

You Should Watch The Spirealm/致命游戏

What is it?

A 2024 cdrama based on the danmei webnovel Kaleidoscope of Death. It's a censored version of a BL novel, with thriller, mystery, and horror aspects, 38 45-minute episodes.

What's it about?

A young man accidentally gets drawn into a virtual reality video game that involves passing tests in a series of doors. Once you start playing, you cannot stop and if you die in the game, you die in real life. He meets a frustratingly mysterious, competent, and attractive man in the doors who recruits him to be part of his game solving team. Well, specifically to be his partner. Lots of gay subtext ensues as they fight through door after door seeking to get to the final door in order to end the evils of the game. (The book is a little different, as it's more supernatural.)

So basically it's a infinite flow deadly game situation, with m/m romance.

Main Characters:

Lin Quishi/Ling Juishi (novel/drama versions of his name)- Our protagonist. A smart graduate in computer science, good at games. Well meaning but a little naive to start out.

Ruan Nanzhu/Ruan Lanzhu - Our love interest. In the novel he crossdresses often and he presents as a woman for the whole first arc. Super intelligent, expert at the game, extremely flirty but reserved at the same time. Got one look at Lin Quishi and said That One.

Other Characters, aka the Found Family:

Ruan Nanzhu's team consists of a pair of twin brothers (one young and dumb and one uptight), a hot doctor vet, a woman whose main job seems to be cooking dinner, and a not-so-stable dude.

Then there's Li Dong Yuan, a rival player who becomes reluctantly-tolerated friend, and his cute female assistant. And Tan Zao Zao, an actress who hires the team to help her in the games and also sticks around persistently.

They're pretty much all delightful and some may start off silly/annoying and end up breaking the hell out of your heart.

Okay, but what's the VIBE?

Big Guardian vibes. The team of lovable scamps investigating weird supernatural (?) type mysteries? While the boss and the guy he fell for have a situationship? Totally. This definitely has more of a horror feel than Guardian, though, even though they tone things down from the novel.

Each door is its own setting, and some are more scary than others. So one is a mental hospital, one is a traditional village, one is a gothic manor, etc. Lots of tragic female ghosts who have been wronged and are getting revenge. The one that really creeped me out was the one with the children with the eggs. It does a lot of creepy rather than really horror. It's not truly gory at all, as it was made to air on Chinese TV and they have strict limits to violence.

The camerawork and set decor is really nice, actually. It looks great most of the time and a lot of the effects seem to be practical. It looks a lot better than Guardian is what I'm saying, if not quite to a film level.

How Gay is It?

Oh MY GOD. Okay look, this show was NOT supposed to be released, but thank whoever put it up for that two hours. It's really incredibly blatant, like really as much as Word of Honor was, although because the plot is focused elsewhere it's maybe not quite as in your face. But the actors UNDERSTOOD THE ASSIGNMENT and there's so much longing and SO much implication. After a while, everyone basically just treats the main couple as a couple even thought it's never talked about.

I mean episode one there's Only One Bed and at the end of their first meeting Ruan Nanzhu gives Lin Quishi a RING. I mean, the flirting is also BLATANT. I also just find this a really romantic show, despite the Not Talking About It thing.

Is it a Happy Ending?

So, It's Complicated. I'm trying not to spoil anything and this show is pretty easy to have spoiled for you. There's definitely a good bit of tragedy in this show in general. Characters die and it's really sad. Like, this is a plot with stakes and if no one we liked ever died, it wouldn't be the same.

I will say I consider this show to have a happy ending, but you do go through some pain first. Essentially the main couple does have a separation, but there is a reunion before the end. There's also a scene that will give Guardian fans fucking PTSD, but the show does a fix-it on its own, okay? I do feel that I have to warn for that, though.

Where can I watch it?

The show is legally available on Viki with a subscription. Obviously there are other ways to find it as well, and links went around before it was picked up by Viki so check tags if you need those.

I really hope this encourages some people to watch this show, as it's really well made and a great time. It's one of a very small number of danmei adaptations we've gotten, but a lot less people have watched it since it's modern and had a weird release. Honestly, it's well written and acted and filmed and you should give it a shot.

(All gifs by @ruanbaijie, thank you very much for allowing me to use them. Check out their blog, there's such gorgeous stuff there!)

[theraprism]

Class subtext thoughts on Gatsby, Flatland, and Bill.

So broadly speaking, we've had some idea of what Bill's home dimension was like since the 2015 in-character AMA, when the idea that it was nearly (if not fully) identical to the world of Flatland was first introduced. During the Weirdmaggedon 4-parter, we finally learned that Bill had obliterated his home dimension and called it liberation. (From what I recall the fan concensus on this information was that it was a malicious act of evil on Bill's part -- up until the Book's release, I don't think the idea that it was a tragedy or accident ever had much ground to stand on.) Journal 3 picked up on this again when it established the existence of Exwhylia, which (importantly!) also reinforced the hierarchical nature of existence that Flatland presents.

I'll own up to the fact I've never read Flatland myself (it is on the neverending list of classics that I still haven't gotten to yet) and will be instead be relying mainly on Wikipedia and Sparknotes clones for this analysis, but the good news is that canon Gravity Falls materials have given us the basics of how Bill's home dimension operated at this point, and so knowledge of the work seems less required and moreso recommended. Similarly to Gatsby (the book as well as the character). More on that later.

To be more specific, the important info that Hirsch has given us about Euclydia is that it was repressive in the extreme. The exact ways that it maintained this are left up to the imagination, to an extent (e.g. there is no evidence of the upper echelons of Euclydia carrying out public executions against the lower classes, as there are in Flatland), but the Book does directly pull an image from Flatland that illustrates the class hierarchy there.

Since Flatland was written originally as a satire of the stratification in Victorian society, the work goes to great lengths to specify and elaborate on the different social roles of each shape (for example, women as lines, though the gender stratification isn't relevant in Bill's case). More relevant is the way that the work considers upward mobility through generations, and the fact that isoceles triangles (working class) are considered among the lowest beings in existence, just above irregular shapes. Bill has been referred to and drawn inconsistently as both isoceles and equilateral, but based on what we learn from Exwhylia in Journal 3, it's possible that this distinction is not relevant in the GF multiverse's reinterpretation of Flatland. See:

I'm sure a part of this reduction of the hierarchy in the original Flatland has to do with the work needing to be at least somewhat accessible to younger readers, but it does textually ensure that, regardless of the specific details of Bill's geometry, he comes from a background where, in spite of his exceptional ability to see the third dimension, he saw those around him receive resources more freely. His singling out of irregular quadrilaterals reads to me as a form of internalized classism; he needs someone to punch down to.

And earlier:

He describes his regular shape as an out-and-out "power". Bill explicitly carries with him the classist ideals and values of his home dimension despite its destruction. The way he internalizes different ideas about himself and who he is is probably a subject for another post, but the point is that these qualities Bill is emphasizing aren't simply a matter of arrogance. Bill is trying to sell himself as a gentleman, a respectable individual from an upper-middle class position.

This is where Gatsby becomes relevant, because The Great Gatsby is all about a man who wants more than anything to cross the threshold of inborn greatness and become a true upperclassman. Bill appealing to his innate biological qualities as evidence for his own greatness relates back to the notion that such greatness is an ontological trait which cannot be given, but can also not be taken away. Note what he explicitly says here about the themes of class in Gatsby:

If you walk up to any college English professor and ask them what Gatsby has to say about the American Dream, I really do not think you are going to hear them say the word "bittersweet". The American Dream is a false idol and illusion; Gatsby himself is utterly miserable and meets a miserable end. There is nothing "sweet" about it.

At the same time, it makes sense that Bill would describe it as bittersweet, because for all his powers of sight, Bill cannot imagine a future where he is happy. Throwing crazy parties every night (for Gatsby at his home, for Bill on the Earth's remains), staring at an unreachable desire far out in the distance -- that's his end goal. He emerged from a position where he was repressed and since then his life has been a steady climb/crawl in the direction of power and control. Both Gatsby and Bill seek to reclaim a lost sense of fulfillment and purpose through this ascent, and both seek to become untouchable as gods are, but both are brought down in the end due to the consequences of their own actions, stemming directly from the violence they bring into their worlds of their own volition. In case you've forgotten, or if you've never read it, Gatsby's money is not clean. We may not see Bill use money, but his social currency is not clean either.

I think it's telling that Flatland can be understood as it relates to Bill's character through summary, but with Gatsby, there is so much subtle incentive to actually read the thing. From the GIF originally posted by Hirsch that I included at the top of the post to the PDF link on ThisIsNotAWebsiteDotCom.com to the fact that the gag in the Book itself goes on for multiple pages when it could have ended after one or two, the intertextuality is paramount. I think that's really cool. It's rare to see intertextuality this well-considered in genre fiction, and I think it makes the whole analytical process more fun.

[bowtiepastabitch]

Deeply Transgender and Vividly Pornographic: a deep dive into what makes a fic queer

This is a response to the wonderful @ineffabildaddy making this post, which it was originally going to just be a reblog to but once I started approaching a thousand words it was a bit unwieldy so we're just going all the way. If second base is reading their fics and third base is actually talking to your mutuals, I have no clue what this is.

Here's the prompt text that started it all:

Alright, well I am nothing if not a scientist (narrator voice: they were, in fact, a humanities major), so I spent several hours of my weekend putting this together because I'm a burnt out academic and this is the enrichment in my enclosure. Readers, this is going to contain experpts of some very spicy stuff, so stop here if you're not interested. Me bringing porn? To your tumblr dash? It's more likely than you think.

All fics and such referenced will be linked at the bottom of the page.

~~~

Heteronormativity and cisnormativity, while unfortunately the dominant norm for mainstream pornography, make little appearance within the fandom writing spaces I myself spend time in. That's not to say I haven't read my fair shair of painfully straight smut in my lifetime, but simply that I have taste and am lucky to be neck deep in a fandom with very little of it. Nonetheless, as a card-carrying queer and writer myself, I consider myself quite familiar with the distinctive traits and patterns of queer and cishet pornographic writing. Beyond merely a focus on non-male pleasure or the subtle presence of queer or trans characters, the characterization of queer fanfiction is distinct and has entirely different mannerisms in dealing with conceptions of the body and pleasure. I'll primarily be citing Ineffabildaddy's work, for the sake of a focused analysis, who I will henceforth be referring to as Sam for the sake of pseudo-academic flow.

There are certain linguistic patterns that tend to distinguish heterosexual and heteronormative depictions of sex from queer ones. For instance, "cunt" is utilized sparingly within heteronormative contexts for its vulgarity and added obscenity, whilst queer writers use it pretty universally and without the same subtext. Throughout his writing, Sam works with this queer-coded vocabulary pretty consistently. In "Strawberry Scripture" (F/M), he describes how "Crowley's cunt... was damn-near swollen" and how Aziraphale has to resist "Bury[ing] his face in it immediately." No cis-het man has ever thought about eating pussy that way, and if you find one I'll eat my fucking hat. Likewise, vocabulary for the phallic tends to veer in the direction of "cock" over anything else. Interestingly, this creates a set of contrasting pairings. Heteronormative slang, from my obvervation, is more likely to use 'dick' and 'pussy', and, especially in conjunction, it creates a very distinctive mouthfeel that separates the two and poses them as opposites. 'Pussy', in particular, has a much more feminized feel when juxtaposed against 'dick', favoring much softer consonants and the english diminutive 'y' ending. 'Cock' and 'cunt', in comparison, have a very similar sound and feeling to them, distancing itself from hetero-cis-normative gender dualism of the language. There is, of course, plenty of nuance to this and the use of a variety of language in subverting cisnormative ideas about the sexed body as well, with phrases like 'boypussy' and 'girldick' being rather essential to the way many trans people describe their own bodies. "Fandom's Pornagraphic Subset," (yes I'm stealing sources from my research paper on monsterfucking, suck my dick) an article published in 2021 by Silja Kukka, describes how the "fleshy, hyperbolic descriptions of sex" that characterize this kind of writing are essential to what she dubs the "[creation of] a new genderqueer place outside of the gender dichotomy"(57). If you read enough smut, you know exactly what this is talking about. For example, in "Despite Knowing Better,"(F/M) we get vivid imagery to describe the way "streaks of her spit oozed from her mouth even as Aziraphale fucked it"(Ch5) and of "her walls quivering and clenching around him."(Ch3) This level of graphic sexual depiction goes beyond what would be considered 'tasteful' or 'sexy' in a heteronormative concept of pornography.

In terms of tropes, let's do a deep dive into "Strawberry Scripture"(F/M) to find what makes it queer beyond it's apparently straight pairing. To preface, this fic involves both foodplay and monsterfucking, but we're only gonna analyze one. The inherent queerness of monsterfucking is actually something I've written an entire academic paper on, so I suppose I'll start there. There's something very queer and often very trans about subverting the standard playbook of sexual acts, and while kink itself can easily be heterosexual, most monsterfucking falls far outside that category no matter what genital configuration those involved have. Monsterfucking tends to reject the phallocentrism of heteronormativity and mainstream kink by subverting the concept of the human body itself, giving inhuman and monstrous qualities to characters usually for sex appeal or general kinky shenanigans. While there's an argument to be made for heteronormativity still being able to creep into certain spaces, that certainly isn't true for this fic. There's something intrinsically transgressive about creating an erogenous zone out of a feature that would largely be considered horror or 'gross' in any other form of media, which is exactly what Sam does here as he describes the "cool, satiny sensation that the plates of her scales against his tip engendered." The scales are not merely called apon for their invocation of the unusual but to give them an eroticism in and of themselves, with Crowley reaching orgasm through their stimulation. We also slide gently into Monsterfucker territory in "Close (well you couldn't get much closer)" (M/M), where an argument could be made that the most trans-coded element isn't even Crowley's T-dick but instead the presence of a magic angel dildo. (sentences I never thought I'd fucking say but here we are.) There's something deeply transgender about the deconstruction of genital purpose in sex that recontextualizes the gendered body's role in pleasure. It falls into the same semiotic revolution and reclaiming of the body as the changes in language used by trans folks to rename and reidentify the literal physicality of the body by ones own standards (ie T-dick).

Another major trademark in departing from heteronormatized porn is the shift in narrative focus away from penetrative sex. That is, even in paragraphs where the main sex event is penetration, it rarely takes up even half the prose. The majority of narration is focused on surrounding or tangential actions: "the flowing movement of ... hips was sedate and wanton and lusciously provocative,"(1) "watching the muscles which resided there tense and relax alternately with pleasure,"(2) "his tongue stole past his teeth and slid over them,"(3) and "he whispered, his voice aching and curling and stretching for her"(4); all excerpts pulled from moments in which penetration is taking place, yet the concentration is anywhere but. Likewise, the act of penetration itself only takes up a small portion of physical sex acts in the grander scheme of Sam's writing. Instead, we as readers are presented with a vast spread of cock-sucking, pussy-eating, fingering, teasing, frottage, kissing, and more. Contrast this with the cis-hetero norm, where penetrative sex is the endgoal, and any other action is shucked aside to play second fiddle as mere foreplay. It's the reason virginity as a concept is directly tied to the mystical hymen and one's experience with penetration; a straight girl can suck dick a thousand times and still consider herself a virgin. As such, in a piece of pornographic writing where I have significant trouble finding lines to pull specifically and exclusively describing penetration (seriously, try it out yourself), the heterosexual influence is negligible. And yes, I'm talking about all of them. I had to restructure an entire argument that focused on comparing lines from different works because it was so difficult to find them.

So, in conclusion, Sam, love, there is not an ounce of heteronormativity in even the "straightest" of your writing. Congratulations.

Links, in order of reference:

Strawberry Scripture (3)

Fandom's Pornographic Subset, article by Silja Kukka and a great read

Despite Knowing Better... (4)

Close (you couldn't be much closer)

Many Different Ways to Eat an Oyster (1)

I'm Beginning to See the Light (2)

Author's notes, and then I promise I'll leave y'all alone: Hi! This started as a short analysis but quickly became a three(?)(maybe more?) hour labor of love analyzing the things I love most about both Sam's writing and the writing in this community as a whole. Please please please ask me questions, I'm an autistic little bitch and I like knowing things. My ask box? Open. Comments? Open. Reblogs? Open. If you've read this far, I fucking love you and I am kissing you on the mouth right now. Don't worry, my gender is just queer so it's gay no matter what. <3<3<3

[yurious-george]

For those of you who don’t know anything about Hollow Knight or its upcoming sequel, Silksong, there is some drama of astronomical potential that is going to be hilarious to see how it shakes out.

Three things. First, as you may already know, Hollow Knight is one of those hardcore games that attracts a certain type of cishet “gamer guy”: I’m sure you know the type. They can be more or less overtly bigoted, but either way, they’re all kind of That Guy. Second, Princess Hornet is one of the major characters in Hollow Knight, and the player character in Silksong. Third, every character in the Hollow Knight world is a bug, and aren’t depicted as having sexually dysmorphic traits that humans have: there are no insects with tits in this game, despite being bipedal and anthropomorphic. (Despite that, Hornet is frequently drawn with tits anyway, because the aforementioned demographic is outrageously horny for her. This is important later.)

In Silksong, Hornet is strongly implied to have a rival/deuteragonist, Lace! Not much is known about Lace, except she’s described as sadistic and set up as Hornet’s rival. And gamer dudebros hate her.

Maybe not full on hate, but they don’t like her. “Too mean and dislikable,” if memory serves. If I had to guess, they’re subconsciously picking up on the subtext and being homophobic about it: Hornet is the waifu of many a gamer bro, and between the subtext and Lace’s implied importance in the narrative/sadism/independence/backhandedness, Lace does not have a lot of love in that half of the community.

(As for the other half of the community, the player character of Hollow Knight is canonically agender. There are two canon gay couples within the game, and while not required, completing their side quests is essential to 100%ing the game. Despite being a couple of Cishet Male Gamers themselves, the Hollow Knight team is gracefully supportive of the LGBT+ community, and much of the fan base is LGBTQ+!)

But back to Lace: Lace and her subtext. Lace has insane amounts of wedding and romantic subtext despite only having 2 trailers and a demo’s worth of content. Off the top of my head:

association with white & gold, particularly white roses

Lots of church imagery, especially an emphasis on ringing bells

Lace’s and Hornet’s VAs are both Japanese, and Lace is straight up wearing a Japanese wedding garment while dressed head to toe in white

Visual design and presentation wise, Lace is framed as an equal and opposite to Hornet. Lace is likely to play the rival-won-over role that Hornet had in Hollow Knight, to the point of leaving the arena the same way as Hornet when her first fight ends

Calls Hornet delicious when first introduced. Then says she likes her when Hornet tells her to fuck off

Strongly implied to have saved Hornet in the opening trailer

And, last but certainly not least: the original Silksong announcement, with Lace’s introduction, came out on February 14th.

And that’s just off the top of my head!

I don’t want to get my hopes up, much less expect anything and get disappointed, but in my heart I am hoping gamer bros take the BIGGEST L when Silksong comes out. I hope Lace is complex and engaging and still sadistic. I hope Lace is the Vriska of Silksong. I hope Lace and Hornet have so much subtext it’s practically text. I hope the good end is locked behind a lesbian wedding.

I don’t hope for that last one specifically, but just imagine. Go on, pair off the one character that cishet male fans go “hhhurngh… female character” and draw with massive balloon tits to the character they hate the most. Do it. I believe in you

But seriously: The main character of the most wishlisted game on Steam confirmed in a wlw relationship, effectively alienating half or more than half of the fan base. Hollow Knight: Silksong has the potential to be the funniest lesbian W in the universe and I cannot wait to see how it all goes down.

[izartn]

What's good about KnH is (besides its main char and bc of Maomao) the way it manages the power dynamics and what life was as a woman without falling into utter pessimism and powerlessness or full romanticism; which is a reason I usually avoid like the plague historical/pseudo-historical fiction with female leads.

Usually I'd be super skeeved out by the power Jinshi has over Maomao but the way the series presents both of them, their personalities and their agency (limited as it is for Maomao but it's there and it counts very much) it brings out all the best and interesting parts. I trust this series to get twisty with them bc it establishes so well Maomao own character and understanding of her situation and the ways Jinshi can and does or doesn't take advantage of his power over her.

Like. It's presented as a problematic element, but also unavoidable given their social situation and the world they live in, so I can trust given everything else this show has done when solving the mysteries and presenting us the situations of other women, that the romance will be treated with that same weight.

Honestly if you've read over what I like to read/watch in my tumblr you'll notice that twisty and even toxic/unhealthy dynamics are very much within my favorites, but it needs to be told in a certain way. And I'm much more difficult to satisfy when talking about het romance.

So to watch KnH, notice it's primarily about Maomao life and the various misteries/medicines/palace intrigue and the romance is playing second fiddle riffing on all the themes presented on the plot? And it's complex, and plays with messy power dynamics of gender and class, but never loses Maomao her personhood? Wow.

Also. Jinshi is so BL chara coded omg XD like, he's very clearly based on a kind of shojo ML prototype (hello tamaki suoh!) but it also pulls from BL in his case (nothing to do with their romances but I think of Yan Xiaohan re:his relationship with the imperial power, from Golden Terrace lol)

And yet his romance with Maomao wouldnt work near as well for what is trying to say if they weren't a man and woman (which I love in their case, is what has me fascinated). Yes~! Get into the meat of how fraught it is for a man and a woman to be together when the man has so much power over her. Get into it!!!!

He's so so messy and fun as a chara too. Sheltered and not at the same time, you really notice all the things he misses by way of his privilege of being a noble born man (and specifically royalty, last ep (19) left that very clear he was doing a ritual probably by proxy for the emperor and also bay exchanges people. Maomao noticed and buried that thought far far below her subconscious but we all now who he is lol). Like. The way he fumbles and ends up essentially harassing Maomao at the start sometimes, which is both played for comedic effect and also upsetting. Mmm.

Like I said, I like complexity.

Also that part when he buys Maomao contract and he goes to collect her and she's all dolled up, and the clear implication by everybody but our mains (who clearly prefer to live in willfully blind land although for Jinshi I think the subtext of what he's doing lands when he sees her) is that in any other case she'd be his concubine/side-wife. It's not their situation wight now, and she's put to work as a live-in maid and apothecary and put to study (he wants her to assist him in politics lol I love that, but also he's so so lonely) but it's very much what the palace rumor mill says.

LIKE. I love the messiness! It could go soooo badly, but it also could not and there's Maomao living at the edge bc despite herself and what she says, she wants more from life, but also as she says the rear palace isn't all that different from the high class brothels and ugh. That tension. She has to depend on the favor of a man as a women of low class but she also could lose her head! GAH. And then there's feels involved! Aaagh.