#literally most of the major characters are queer

[pregnantsecondo]

Of course I don't think that every person who plays dishonored is queer. However, it must be noted that dishonored is a very queer game.

[fiona-fififi]

Call me homophobic, but I don't actually think it's great representation to stick a complex, dynamic, newly-realized bisexual character permanently with a flat, boring, underdeveloped love interest just because that was the first guy who showed interest.

[gamebunny-advance]

Huh...

I was writing my list of LGBT+ headcanons and stuff for pride since I completely neglected to finish any art for it again, but I dunno what y'all are gonna get out of it when over half the characters in my list are labeled as "genderfucked."

[vasquez-rocks]

i know most ppl haven’t seen it yet but wanted to write something abt how annoyed some of the critical discourse abt I Saw the TV Glow is making me. MAJOR SPOILERS below the break, be warned!!

so idk i’ve seen so many reviews of the film positing that it’s about the dangers of obsessive fandom and overidentification with fictional characters, esp vis a vis real life self-actualization/coming out. (like, essentially every review has some of this in it, from what i’ve seen.) and, like: i don’t think that’s wrong, but i also think it’s massively underselling what schoenbrun is doing here. the metaphor of the show’s bleed-over is so smart because works in both directions at once.

like, in one direction: when maddy asks owen to come into the show by burying himself alive, you can read it as her asking him to abandon his real-life responsibilities, and the material facts of his real life body, in favor of a fantasy life where everything is already fixed. she’s inviting him to skip over the hard, messy work of transitioning and to sink even deeper into the analgesic obsessions he uses to numb his dysphoria. in this interpretation, it’s, like, the equivalent of overprioritizing “transition goals” instead of actually medically/legally/socially transitioning if that’s what you want, living forever in the ideal instead of taking difficult steps to change the material. (also, uh, if you don’t think she’s literally correct about the nature of reality, she is in fact asking him to kill himself. there’s that.)

BUT! it also works the other way. when maddy tells owen that the show is real, that their lives are just the buried dreams of dying girls in another life, she terrifies him by confronting him with something he’s always known about himself: he was supposed to be a girl. what she proposes is radical, dangerous, seemingly unhinged, and based on a childish fixation: all the things scared closeted trans people worry transition is, basically. on a more figurative level, too, the feeling she’s telling owen is real – that his real life is just a dream within a dream, that his home is not his home, that he belongs somewhere else, that he is supposed to be SOMEONE else – is something so, so, so many closeted trans people have felt before, myself so much included. when he sobs in the shower, yelling “this isn’t my home!” at his dad, i felt a sense of identification stronger than i’ve almost ever gotten from art before. when maddy finally calls him isabel, it’s the gentlest thing i can imagine.

in this read – which i do love, while thinking the other one is simultaneously true – it’s less “come sink deeper into delusion with me instead of dealing with your own life” and more “it’s going to be terrifying, but that childish dream of being a girl you once held wasn’t childish, and it can be real if you’re courageous enough.” he says he runs away from the football field because he thinks maddy’s not mentally well; it takes very little analysis of subtext to figure out he’s running away because he’s afraid of how much he wants what she’s offering. and, of course, the idea of the visible world being an illusion laid atop the world in which one is one’s truest self is a classic trope of trans cinema going all the way back to the matrix. (also: while i’m pretty death-of-the-author-pilled in most media analysis, it kinda seems like schoenbrun themself has interpreted the film in this way, as they’ve spoken at length in interviews about how, to them, transition felt like asking to be buried alive.)

all of which is to say: i think the film IS commenting on fandom, obsession, overidentification, and the ease with which queer people can sink into art as a way to dissociate from real life. but i think it makes the film so much more cynical and so much less tender to treat it as the ONLY read of the film’s relationship with the pink opaque. art, especially the sort of slow, metaphor-laden art schoenbrun makes, is best when it is complex and productively contradictory. the pink opaque is a problem, and an escape, and a fantasy, and it’s real, and one day isabel is going to wake up.

[greenfiend]

The Significance of Lover’s Lake and Byler (Theory) Part 2

Sequel to this post

(Warning: mentions of sex and drugs)

Okay so first of all, if you haven’t seen my previous post on my theory involving Lovers Lake and Byler, please read it first. I go over my theory and predictions for Byler and the heart shaped lake. This is a secondary post to it, outlining some VERY interesting details involving the owner of the lakeside house, the lakeside house itself, and all the romantic and sexual elements present. I’m saving the best for last here.

Let’s start with the owner of the lakeside house.

Reefer Rick

So I recently made a silly post arguing that the most queer coded character in Stranger Things is not Mike nor Will (nor Robin, Henry, Eddie etc), and I stand by this statement. The most queer coded character is: Reefer Rick. Now, I know we never see the guy, but literally all the information we have on him is either queer coding or drug references.

Synonyms of his name are literally f*g Dick, with a shared last name with the famous tea company founder who so happens to have been a homosexual: Lipton.

We know he doesn’t have a family, thus he’s a single man who occasionally has his buddy/fellow dealer Eddie stay over. Hm, not very heterosexual of him.

Then we have his movie list.

Now, as many of us know, the movie “Fast Times” is used within Stranger Things as a way to gage if someone is attracted to women or not. We have Steve, Dustin, Lucas, and Vickie all confirmed to have enjoyed this movie… specifically for that shot at 53 minutes and 5 seconds. Sure, Reefer Rick rented the film, but why is it the only movie he rented that was returned on time? For context, he’s the only character who had films listed as “late” returns. So, he obviously enjoyed Cheech & Chong a lot more. Two guys doing drugs is more interesting to him than a sexy lady. Okay, noted.

Now, how is he perceived by the people of Hawkins?

Oooof. Okay. He’s not well liked it seems. He apparently is causing some fear and anger amongst the Hawkins residents. Kind of similar of a reaction these people would have towards an openly gay man during the 1980s.

Also I have to include @/conflictofthemind ‘s excellent point that injectable drug use and unprotected sex (specifically between two men) were both commonly associated with HIV/AIDS… a major epidemic during the 80s and a major subtextual theme within the show.

Now, where’s this guy live while outside of jail?

I don’t blame the guy for “hiding” when the town is not too fond of him. Of course he is a drug dealer so there’s that as well. But interesting they used the word “hide”, which has been associated with queerness within the show already (plus this line was said by Robin (featured in the middle of the shot!!!) who is queer herself).

(Both of these screenshots are from 1x02 interestingly enough.)

Wouldn’t it make sense for these two “hiders” to hide out in “a perfect place to hide” together? Seeking refuge in a fellow gay man’s secluded house?

I will say it’s also worth noting that he does not have any women featured on the walls within his house. Also, he has a phallic shaped bong (we’ll get back to that soon).

Phew okay so that’s Reefer Rick. Are you still with me? Hopefully I didn’t bore any of you with this. I promise you this all leads back to Byler.

So, moving on to his house.

So as @/therainscene kindly pointed out, this poster with the smiley face can be related to rave culture and ecstasy in the 1980s. So a drug reference, in a drug dealer’s house… shocker I know. But I gotta say, ecstasy is also a term often related to sex. I also have to add this little tidbit from one of our favourite directors of Stranger Things, Shawn Levy. Keep in mind, he knows what’ll happen in the next season… and he’s directing episodes after 3 and 4…

Interesting word choice, no?

So, back to the symbolism within (and near) the house.

Let’s talk about the phallic symbolism that appears in pairs in these shots. It’s a choice, isn’t it? With two males in each shot. We know the Duffers love details and foreshadowing… I doubt it’s a coincidence. Also, anyone else notice that phone in the background? Just had to mention it, since our boys are frequently associated with phones and calls.

Then, of course, I gotta bring back this shot.

The bed. Blue meets yellow. You know it! We all heard it a thousand times by now. Let’s look at what else is in the shot. A closed closet. Another reference to our boys. To the right, you’ll see a toilet paper roll. Now, if you have a brother, you might see the same thing in his room. Sure it can be used as a tissue for your nose but let’s just say there’s usually another use for it. I’ll call it “self love”. So, basically, another sexual reference.

To sum up this house: lake/water, drugs, and ecstasy/smiley face. Now, let’s go back to a scene featuring our boys with all these elements in the background.

Makes you wonder doesn’t it?

I must also point out the “Paris” poster in the background. City of love, anyone? Plus the fireworks. They’re really trying to tell us something here.

Also, @/foodiewithdahoodie pointed out how Paris specifically was one of the first places to decriminalize sodomy.

You know, I also wouldn’t rule out every aspect of Murray’s prediction here.

Shout out to the Hylers out there!

Perhaps after a lot of stressful days of fighting interdimentional demons, these boys want to wind down and de-stress in their hiding spot. I can see Reefer Rick as a fellow Nintendo player, leaving his console behind, as well as his weed, for our boys to use. I also wouldn't be surprised if Eddie left a few of his beers behind. I mean… Murray has a pretty good track record for predictions. This would also really double down on the message that Mike and Will “aren’t kids anymore.”

Also, wouldn’t it be fun to look back at Murray’s predictions and realize that they’ve all come to be?

Okay, now let’s finally get to the romance elements!

First thing I want to start with is this shot:

So… they had to show us a mailbox, didn’t they? With that name “Lipton” which as I mentioned in my previous post… is associated with Thomas Lipton who had a lover named William Love.

1 point for #lettergate

And…

“Hope Our Love Lives/Lasts And Never Dies”

WWII solders used the acronym H.O.L.L.A.N.D. to convey a love message in a letter. The whole love letters association with Mike and Will never end, do they?

2 points for #lettergate!

As for the “2121”, I think it’s possible that it’s referencing multiple things… number references are tricky like that in my opinion. But I will say that @/thestrangestthing89 brought up the fact that “2121” could be a reference to “Twin Flames” which is yet another reference to romance.

Continuing on with the romance…

Let’s return back to the scene where Reefer Rick is first mentioned. After Max mentioned him, we are cut to Steve talking about a movie.

A movie filled with action and romance, you say?

So… Doctor Zhivago.

Basically a tale of two people in love during a difficult time (Russian Revolution) being separated, with other people, then finally reunited. Not completely unlike our boys. Notice how the “adult” sign is noticeable in the background. Not kids anymore.

He mentions action, which I’m sure there will be some of as well at the famous lake.

Okay enough with the silly details, let’s stop and look at the bigger picture.

Our beloved lake. Look how gorgeous it truly is. Plus the fact that it’s a literal heart? You can’t get more “on the nose” than that.

Now, who else is known as a heart? (Tough question I know…)

This boy is, without a doubt, narratively tied to the lake. He is “the heart”… he is THE LAKE (symbolically).

Thank you to @/everaster for bringing attention to the fact that after Mike was pushed to deliver that monologue to El by Will, Max “died”, then the gates opened WIDE. One of those gates, as we know, is located within Lover’s Lake… known was “watergate” (term coined by Dustin).

So, as of now in this story… Lover’s Lake is literally broken in two. A broken heart in need of mending.

Who better to accomplish that task than the boy who has known him for a decade and loves him completely and selflessly?

💌📬❤️‍🩹

Hope you enjoyed these posts as much as I enjoyed making them! It’s honestly so much fun looking for evidence and finding such interesting stuff. Some of it may be reaching, and that’s okay because it’s all in good fun! That’s what fandoms are all about.

The level of attention to detail in this show never ceases to amaze me! There’s so much depth and clues to look for and play around with. I hope to have sparked some inspiration and creativity for some people! 💛💙💚

As always, would love to know your thoughts!

[animentality]

Dude I'm so confused

Why are the redditors refugees here-

Whats up with the tag 196

AND WHY IS EVERYONE BEING SO NICE WITH THE TWITTER REFUGEES CAME WE GAVE THEM HELL (almost)

The Reddit refugees are here because several subreddits have gone private in protest of reddit's new policy of charging third party developers for access to its API.

Hence the term reddit blackout.

196 specifically was a very queer friendly subreddit that had one rule: that you post before you leave. 196 is trending because those Redditors have come here and they're basically sharing their memery here instead as they protest reddit's greed.

As for why we're welcoming them when Twitter refugees were seen with a little more irritation, well.

Think of the culture similarities.

Tumblr and reddit have far more in common than Tumblr and Twitter.

Twitter is about clout and manipulating algorithms and discourse in 280 characters or less. It's about bad takes that reach the right people and it forces you to see things you don't want to see and it's crawling with the worst people imaginable and you're forced to see them, all the time. They also brought bad tagging and 2016 Tumblr discourse with them, because Twitter culture really involves starting fights for clout and braindead opinions that no one really wants to come back to Tumblr culture.

There was a time when Tumblr did the same thing, but worse, with more words...but nowadays, it's really calmed down.

The worst people...went to Twitter after the porn ban. Ironically, it made the site less toxic and hostile.

But then they came back.

And it was like...hm. no thanks. Stay back where you came from.

But Tumblr and Reddit have much more in common.

Both have a more streamlined way of customizing your online feed. You can choose what subreddits you see on your home screen, just like Tumblr only shows you the content of your followers, on your dashboard, and in chronological order rather than what's trending. You can join a very specific weird niche group of freaks with a shared obsession, and not care about the rest of the site at all. You also don't have a character limit on either site, which lets you ramble more and share weird detailed stories.

Reddit might have karma, but like Tumblr, the majority of people are lurkers and not posters. It also allows you to downvote bad opinions, and moderators who have to adhere to certain guidelines of behavior, which means a lot of banning disruptive people.

Granted, sometimes their mods are power hungry, but. You know.

It does more to control its users than Tumblr do, and that's a good thing in terms of keeping toxicity and illegal shit off its subs.

Reddit also has a way more leftwing attitude than you would think.

It has a reputation for being full of incels but I honestly think that's outdated.

It's cleaned up its act quite a bit since the old days.

I see way more vile shit from Twitter and TikTok. Like seriously.

Twitter is crawling with conservative bots and propaganda machines and just outright inflammatory lies. TikTok literally has the worst comment sections I've ever seen, like edgy teenagers cracking racist and misogynistic humor and acting like it makes them different and special. Its algorithm also spoon feeds you garbage and is designed to be as addicting as possible.

At least reddit's culture, while chauvinistic and regressive in certain subcultures, is mostly on the tech positive, atheist libertarian side.

It can be a little pretentious and caustic about certain subjects, and a little full of itself. Some reddits are also very male leaning and disregard female concerns in favor of moaning about how men have it worse than anyone else on earth.

But for the most part?

...well.

I welcome them here, because if they left reddit in protest, then we always support protests. But 196 specifically is also a queer subreddit, and we support that even more.

Plus they're funny as fuck.

What's not to like, really?

You should welcome them with open arms too.

[bugsbenefit]

who's getting books and who isn't?

tells you a lot actually

in lieu of us getting a Dustin companion book soon i'm doubling down on my point about how insanely telling these books are about where the story is going. especially if you look as who is getting books. and i'm saying this both about El and Will (where it's already kind of obvious why s5 is important for them) as well as Mike (where it's also kind of obvious why s5 is important for his character but it hasn't reached mainstream awareness yet apparently lmao)

as of now Lucas, Max, and Dustin (about to come out), as well as Robin and Eddie, and even Hopper and Terry have one. and they all explore things outside of the main canon by doubling down on what filmed canon already established and adding a bit more layers since they have the time to focus on a single character (like exploring racism and how Lucas deals with it in his book, something the show doesn't dwell on, or exploring Robin's queerness, taking place before the events of s3)

and the focus these books have makes sense since they're mostly written by commissioned writers. so obviously they want to skirt any topics that delve too much into plot heavy areas where the writers a) wouldn't know where the story is going or b) even if they got notes, you don't want important lore drops that impact the later story dropped in companion books

in short we're getting extra story's about no spoilery topics the main story doesn't have time to/want to explore

which makes it all the more interesting we're already getting books about someone like Robin when you know if you asked fans what povs they'd like to see someone like El would rank significantly higher if you trust favourite character rankings. but for some reason El, Mike, and Will have never gotten one

and some of these reasons are just really obvious, especially when it comes to El and Will

1) they obviously can't just drop a book on El yet. on one hand, because her backstory with the lab is a major plot point of the show and they can't spoil it in a book (even if they tried excluding it, writing 200ish pages for a character who can't remember what happened before they turned like 8 is one of those things that would be kind of hard to avoid coming up). even post s4 there's still so many questions about her past and time at the lab, they just shouldn't give unlimited access to her inner monologue about it yet. and on the other hand, El finding her place in the world is quite literally one of her characters main recurring motives, even a companion book as innocuous as "El tries out hobbies" would be exploring something we'd kind of want to see on screen since it'd be a resolution to her character growth and not a fun side quest

2) they also just can't drop a book on Will. the fact that we never found out what actually happened to Will in the UD is already reason enough, the show clearly wants to explore it on screen later on. (now even more obvious since there's already confirmed s1 UD Will in the s5 official teasers). you really can't write a book from someone's pov who's main trauma and life changing moment is something you don't want to get into yet. just doesn't work

there's plot points the show obviously saved for later so both Will and El are pretty unfit as book topics

but with Mike that doesn't actually apply in the same obvious way. Mike not getting a book despite being the leader of the party, having the most on screen defined dynamics with the other kids, and being part of the shows "main" ship would be really odd. like. Really odd. on paper he'd probably be one of the first choices for an easy book protagonist for a fun party side quest. of course unless one of the two book deal breaker reasons applies also:

they can't give his pov because giving his unfiltered inner monologue would spoil s5

they want to explore something relevant to his character themselves on screen and it's not fit for a companion book

but again, in comparison to Will and El where the why is really obvious Mike sticks out because we don't officially know what he's got going on yet. he has no mysterious absence where we don't know what happened to him like with Will and no open ended origin story like with El

it just makes it a bit funnier to me how many people are still fundamentally unconvinced Mike has something going on that's important for the outcome of s5. post s2 the show tries to get some distance from Mike's head and he's joined the club of main characters who don't get books alongside major canon event magnets El and Will. and yeah, obviously you wouldn't want a book from the characters pov who's feelings and sexuality you're actively hiding. it's also a bit of a no brainer you don't want a companion work going into how he's not been doing so great over the past few years because the reasons for that are kind of relevant to the main story. Mike feeling guilty for El dying all the way in s1 is something that might be more fit to bring up in show when their relationship is being addressed instead of in side material

but all in all? the fact that out of all the kids El, Mike, and Will are the only ones who don't get secondary material yet is probably the biggest give away that the three of them are who s5 is planning to give the most insight on even all the in show build up aside. they're being skipped as book povs despite existing public interest and seeming like conventionally easy picks for book side stories

in the current economy around shows franchises, going against what'd be a good marketing decision is always a dead giveaway something is going on

[ifyouknowmenahyoudontt]

i genuinely think that the shift from the old marauders to the new one where every straight ship even the canon and most important one (i.e jily) and that whole jegulus/all the other made up ships that make no sense come from a place of fetish. yall LOVE to turn characters into little stereotypes and that whole constant obsession w homosexuality is not helping any cause. most of view view homosexual/queer relationships as more angsty or interesting in a way that’s so strange to me. ships could follow the most standard plot line but still be considered angsty cus they’re queer and why is that? this fandom has taken such a strange turn.

you are making sexuality such a strong and central point in a character importance more than any other trait of their character. and those head canons just end up erasing the most important things about these characters

james potter was a strong and good man. he developed from his arrogant teenage self into a good man fighting for a good cause. but now you made him into a twink that is in love with a death eater/ a member of the family that abused his best friend all his life. james and sirius’s relationship was a central point of their characters. and james’s love for lily is a central point as well??????

sirius being turned into a overly feminine gay drama queen, even though what WAS important about him was his loyalty his strength and his honor??? but all of that was forgotten. HE CAN BE GAY WITHOUT ERASING HIS ORIGINAL PERSONALITY. stop painting him into a stereotype of a gay man.

regulus black is getting the recognition that is to be given to sirius. his character was not some brave rebel vigilante that fought for justice. he was a pureblood supremacist.he was a deatheater. yes he is important to the story but he was not what you made him.

lily evans is the most important character of the series. she’s the reason it exists. her and james’s love is the center point. but it was pushed away by you people to focus on your strange fetishized view of gay men. this MAJOR character whose love for her son and husband literally MADE the story got cast away as a secondary character.

important topics like sirius’sabusive family, lily and james’s courage and love….was remplaced by ridiculized view of characters

make characters gay cus we don’t know anything about them yes okay that’s why wolf star was a major part of the fandom. but the complete shift of every single characters identity is just bullshit.

[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.

[canichangemyblogname]

Hot take? A show with queer people in it from the beginning was never queerbaiting and— very literally and technically— never could. In the first episode, a gay man comes out to his family. And he doesn’t stop being gay after that; it’s a major plot point and part of his character going forward. You’ve had a married lesbian couple from the jump who are proud and unapologetic about their love for each other. The story has also portrayed several queer couples and stories in episodic plots, including featuring queer weddings.

Buck didn’t suddenly “become” bi. Queerness is not when straight people “turn” queer. He has been attracted to men the entire time; he has always been bi. Understanding yourself and your sexuality as a queer person is often so difficult under heteronormativity. Sometimes, it takes time.

Hell— Buck checking a guy out some time in season 3 or getting flustered by the idea he might like a guy, etc, etc, are not even examples “queerbaiting,” nevermind how the show already features queer stories.

I genuinely think some of y’all are just mad that he’s not sucking face with the man you want him to, and are being weirdly homophobic about it. “Buck kissing this man is kinda off-putting, lmao.” “Buck and his bf’s relationship is awkward. IDK, but it weirds me out.” “There’s something so cringe about Buck’s relationship—” “Who dates someone they haven’t been friends with for years first? It’s kinda creepy…” “I think their relationship is a weird mess. It’s not as meaningful as a slow burn.”

Life isn’t fanfiction and fanfiction tropes don’t make good writing. Most relationships start out with a “hey, I’m interested in you, let’s get to know each other.” You’re just transparently uncomfortable with two men expressing that interest in each other outside the arbitrary rules you’ve established to make a mlm relationship “legitimate” or “meaningful.”

[Fanfiction] tropes— from “there’s only one bed” to “we’re forced together, but fall in love anyway”— are responses to the sex-negativity and purity culture norms forced upon gender and sexual minorities. They provide a workaround for these norms but never a direct challenge. It’s like the Family Guy episode “Prick Up Your Ears,” where conservative Christian abstinence-only sex education leads to kids having ear sex. Ear sex is the workaround to the abstinence and purity rules they’d been taught, not the challenge. We still have stringent rules around who can touch whom and under what circumstances. Tropes reflect this. So, a trope like “there’s only one bed” provides the characters with a justification for their intimacy without directly challenging why it is taboo.

You’ve convinced yourself that shipping— and thus the tropes it employs— is more subversive than actual representation, and the people caught in the crossfire are actual queer people.

Also— for the love of fuck— stop comparing every mlm relationship to RW&RB.

[olderthannetfic]

I have really mixed feelings about the small proportion of F/F fiction (original or fanfic), because yeah sure, people have their desires, they should write what they want, I get it. It all works out when I hear it from person to person. But somehow the logic only ever applies in one direction? "There are more male protagonists because men only care about male characters! Women also mostly care about male characters, because that's the majority of characters they get!" And then somehow we also yet kvetch when men write female characters (because it's incorrectly or something, nevermind if women are writing male characters correctly). Why don't we expect gay men to feel compelled only by femslash for the same reasons (but gender swapped) as the lesbian slashers/fujoshi? All of those very rational justifications are applied selectively, "for me for not for thee," and it all only leads to "idk I just don't wanna write femslash", for Reasons. Do we get to call them microaggressions yet?

--

No, you don't get to call other people's fantasy life a microaggression.

That is indeed "for me but not for thee" in the sense that you get to want what you want but other people aren't supposed to follow their id.

Do you also police gay men who spend too much time on drag and obsessing over female divas? That's an actual real world behavior that's somewhat equivalent. It frequently goes unchallenged, at least by progressives, because men are allowed to do whatever they want with chick stuff, while women are "stealing" if they dare to stray into dude stuff.

(God, I've seen so much more policing of drag kings being ~problematic~ for acting out stereotypical gender than policing of drag queens for the same. It's nuts!)

Fujoshi are often queer, but it's absurd to think we're mostly lesbians. We tend to be bi or asexual women with gender stuff going on, though there is a mix of everybody, including lesbians. There are also a lot of AFAB non-women who get lumped in with us. On the rare occasions I find a man willing to admit to being a similar demographic, he usually does like gender play in his hobbies and entertainment. It's just that men face even more pressure than women do to fit into tidy categories. Bi women get told we're whores. Bi men are told they don't exist.

Yes, I know plenty of lesbians who write more m/m than f/f, but in the big picture of all of AO3 or all of fanfic or all of media, they aren't the demographic driving these numbers. They're vastly outnumbered by the bi women, the asexual women, and the straight and gnc women.

The men we should be looking at as an equivalent aren't cis gay men but bicurious soy boys and the like.

Do most of us fujoshi object to equivalent men doing an equivalent thing? I've seen it sometimes, and I agree it's hypocritical. I'd like us to afford men the same ability to play and take on identities in their art. I remember enjoying Ranma fandom back in the day and reading quite a lot of f/f that was probably by men. It had some of that same sense of distance and fantasy that I so enjoy in m/m aimed at fujoshi. (I do consume some by-cis-gay, for-cis-gay content, both m/m and f/f, but it's often too literal and too bound up in specific named identities for my taste.)

On average, the people I see complaining most about men producing f/f material are the same people who think that because I have a clit, I should center my life around women exclusively. In other words, people spouting radfem ideology, perhaps on purpose or perhaps without realizing.

I do agree that some of the ways of expressing a lack of desire to write femslash can get pretty douchey. I want us to move away from some of the less accurate ones like "There are no compelling female characters" because of this.

But the reason for all these jerkass explanations is that women and people perceived as women who like m/m are constantly asked to explain ourselves. These aren't usually microaggressions: they're openly hostile. People get defensive and try to answer with important-sounding reasons about identity and pain because society at large won't accept "I like this" as the true explanation.

Pleasure is never enough of a reason for a woman to do something.

[aroaceleovaldez]

one of the things i'm most disappointed in HoO with is how the series sets up a really beautiful continuity to the first series but now extending from a primary focus on disability to a wider focus on intersectionality (which in itself is a REALLY fascinating place to discuss particularly Percy's character and the overlap between his experiences as a disabled student and how many readers interpret his experiences as him experiencing racial bigotry in part due to his racial ambiguity and how those experiences have overlap and what does that look like for specifically a disabled student of color, etc etc) - like, there is so much set-up for so many things: we have the introduction of a bunch of new major characters, the majority of whom are explicitly not white. We have set-up for queer intersectionality topics (Nico, Jason's bi-coding, Piper being mspec as well eventually). We have set-up for gender intersectionality (all of the girls and the intersection of their disabilities and gender and for everyone other than Annabeth also the intersectionality of gender and race). We even have other forms of disability than just the primary focus of ADHD/dyslexia coming to the table with stuff like Frank having dyspraxia coding, Frank and Hazel both having childhood terminal illness survivor coding, Hazel having seizure coding, Leo having autism coding and Nico's autism coding making a comeback, Percy's book 1 PTSD even gets some references in Son of Neptune, Leo and Nico's depression get big spotlights, also Nico's general grappling with becoming weaker and new physical disability. Heck you could even dive into Jason grappling with gifted kid syndrome and how that plays into his experience with ADHD/dyslexia versus someone like Percy whose same learning disabilities present differently. There's so much set up right at the beginning of the series to dive into...!

...and then Rick does literally nothing with any of that. and it sucks. and then in TOA he does even less with it and just drops nearly all of the disability stuff in general which sucks even MORE. Also it's all made even worse by dropping or magicing-away the existing disability coding because Rick changed his mind about it (Frank's dyspraxia and Hazel's fainting episodes going away, etc etc)

Like, TKC emphasized the themes about how the Kane Siblings grapple with colorism a lot! MCGA talks about queer topics and disability and how those intersect with homelessness! The entire first series has SUCH in-depth metaphors about disability! But HoO and TOA just totally drop the ball about it and don't even try! The most TOA ever gives is the world's blandest directly-spoken-to-the-audience one sentence blurb and pretends that qualifies as representation and that they've fulfilled their quota. TSATS is even worse about the disability erasure and speaking directly to the screen and calling that representation, not to mention how little the TV show erased the majority of references to disability from TLT alongside Percy's PTSD and made Sally an autism speaks mom while they were at it. And while I haven't read it yet I hear CoTG is equally not great about how it handles Percy's disabilities (or Annabeth's).

HoO could have given us so much but it didn't and i will never forgive it for that 😔 also the fandom could stand to talk more about intersectionality cause it's a really interesting topic and there's so much opportunity to explore it in the Riordanverse that does not get nearly enough discussion.

[kifkay]

Winx and their Favourite Literary Tropes

Bloom: Found Family. The girl is queer, most likely a fan fiction enjoyer, if not a writer, and has been bullied. She is THE target demographic for this trope.

(plus, she literally went on and created her very own family of Winx)

Musa: Other than the very obvious choice of Your Crush is Mean to Everyone but You (ahem, ahem, Riven), Musa would love the Soulmates trope. It’s very comforting, to believe that there exists a person cosmically tied to you — someone who will have to love you, in spite of your flaws and hurts. Belong to you fully.

Aisha: although Aisha is usually a very calm and compassionate person, I think she would find Revenge narratives cathartic. Let the girlie read about a vengeful princess cutting down her past abusers, she deserves it!

Stella: definitely a romance girlie. I could see her either obsessing over a litany of romantic cliches (Prince in Shining Armour, only One Bed, nursing each other’s wounds (but only in theory, blood is disgusting), forced proximity, enemies to lovers, etc) OR hating them all due to how predictable they are. BUT she would definitely despise any toxic romance tropes Musa seems to love: the Mafia ones, the sunshine x grumpy, the “he’s cold but actually cares”. If both people are not whole-heartedly into each other, she’s not into it.

Flora: she is definitely a fantasy girlie (what is even fantasy for the society of Magix?). Particularly, she loves world-building and lore, brimming with their own unique biomes and freaky little creatures. She also likes Anti-Heroes or Misunderstood Villains. They play on all of her emotional strings.

Tecna: contrary to what you may expect, I don’t think Tecna would like sci-fi very much. What is sci-fi to the majority of the universe, to Zenith is reality. She would most likely find fantastical elements of these books cheesy or over-the-top. Tecna would like Heists: dynamic, fast-paced, high stakes. Puzzle pieces coming together to form a brilliant plan, complete with witty banter and colourful characters.

(I also think she would like Dysfunctional Families. Her parents interacted with her only when necessary; she was an only child. She would be fascinated by messy and tragic interactions between people who should walk away, but just can’t part with each other.)

some other characters I thought of:

Roxy: Supernatural, Talking Animal Companion.

Brandon: Hopelessly Devoted, Mutual Pining, Martyr.

Sky: Reverse Damsel in Distress/Distressed Dude? (the heroine saves his captured ass; he’s into girls that can snap him in half).

Nabu: the Chosen One, the Robin Hood, switch-and-bait.

Helia: long journeys as metaphors for a soul search; tending to the other person’s wounds; cosmic or eldritch horror.

Riven: the Princess and the Peasant, Hero saves the Day, Grumpy Mentor who cares.

Timmy: the Headquarters, Secret World, outsmarting your enemies.

Mirta: a fellow enjoyer of Doomed by the narrative, bonus points if it’s sapphic.

[bitterkarella]

Midnight Pals: Moonflow

Bitter Karella: hello, fellow esteemed authors! King: wow it's bitter karella! Lovecraft: bitter karella! Koontz: WOW bitter karella! Poe: OMG it's THE bitter karella! Barker: Barker: what the fuck is wrong with you guys

Karella: yes it's me, bitter karella, beloved bon vivant, gadabout and real author Barker: well, i've never heard of you Karella: Barker: wait did i say that? i meant to say bitter karella is the kindest, bravest, warmest, most wonderful human being I’ve ever known in my life

Karella: [sitting backward on chair] you know me as a very cool & also good-looking goblin Karella: but i'm also the author of such luminary works as The Ballad of Horse Girl in Split Scream 5 (currently available from Tenebrous Press) and Moonflow (coming soon from Orbit US!)

Poe: i see you're wearing an "Ask me about Moonflow" badge Karella: You mean the latest masterpiece of horror storytelling from Orbit's™ Bitter Karella™? Why it's an extraordinary adventure with an interface of eldritch folk horror, queer squelchcore splatterpunk and raccoons!

Karella: Not to mention a psychedelic fantasmagoria of mushroom trips, terf cults, cop eugenics, fat sex, AND elegant point 'n' click control of characters, objects, and magic spells! Karella: Beat the rush! Go out and buy Moonflow™ today!

Karella: Moonflow has something for everyone! Scary forests! Mysterious gods! Gallons of blood! Exploding heads! Karella: and don't think i forgot about you ladies Karella: there's also multiple lesbian orgies

Poe: wow! Moonflow sounds incredible! i can't wait to read it! Koontz: what was that name again? i forgot Karella: it's Moonflow! And you'll have to wait Karella: CUZ IT'S NOT COMING OUT TIL FALL 2025!!!

Karella: yo yo yo they call me bitter karella Karella: i'm half joe camel and third Fonzarella! Karella: i'm a real cool goblin & i'm here to say Karella: i love reading Moonflow in a major way! Poe: wow that bitter karella is one outrageous dude! Koontz: he's totally in my face!

Mary Shelley: [reading cue card] "sup fuckers" Shelley: "are you ready for a nerd-shivvingly good time reading moonflow" Barker: [reading cue card] "i can't think of anything cooler than buying & reading bitter karella's moonflow" Poe: Barker: edgar Barker: edgar that's your cue

Poe: what? oh wait Poe: wait i've got it, i've got it Poe: uhhhh Poe: line? Barker: Barker: you're supposed to say "clive" Poe: right right "clive" of course Barker: like you always do Barker: it's literally your thing

What's this all about? IT'S ABOUT THIS!!

[yameoto]

yam love love love that analysis on cate you just posted and was curious what your thoughts are on queers (lesbians in specific obviously) reading her as a closeted lesbian going through comphet?

tbh i could talk about this for hours but would just like to say that she legitimately had queen maeve posters all over her childhood bedroom lol didn’t believe that soldier boy shit for a SECOND.

comphet reading of cate dunlap ft. mariecate

TLDR so u don’t have to read the whole thing; all of cate’s relationships with men are overall fake and do not revolve around love, rather the forging of an idealised identity formed around media (comphet Classic). cate’s only real raw genuine untainted relationship is with a woman. ft. mariecate

id love to my favourite hobby is looking at characters through a orangepinkwhite tinged lens. cate’s relationship with luke fits the comphet bill almost too well. firstly, cate being locked up her whole childhood means the formation of identity would be entirely based on media. a very heteronormative landscape of media, which aligns with traditional comphet. you could say her relationship with luke—literally golden boy—is comphet based, the ‘gold standard’ for a relationship cate’s drawn from all that she’s consumed in her childhood years. effectually, cate’s entire early life was robbed of her. and here, she achieves her perception’s ‘perfect’ idea of a life through luke, and forms her entire identity around him (hence her desperation to keep him). this is especially evident in the fact she changed her major to ‘hero management’ just to support luke’s career. to fully commit in shadowing him, for the rest of her life.

except, it’s fake. the entire relationship is fake. by the time of the show, cate has erased and changed and warped luke’s memory, his identity to the point where his mind breaks by the pilot. the fauxness and dysfunction of luke/cate’s relationship despite their image of unattainable perfection is probably her largest comphet indicator. maybe she loved him (not enough to remain faithful, however), but it reads as more of a subconscious love of what he represented, and something to anchor her identity to, which she’s never had a chance to form. as well as a means as to gain shetty’s affection and trust, no matter if she thought it was for his own good or not. her relationship with luke was poisoned, for a multitude of reasons.

(sidenote: cate/luke comphet reminds me of jiper comphet down to the false memories piper’s charmspeak and jason as the golden boy who literally explodes so like. there’s that’s free tidbit for anybody who is tapped the fuck in.)

cate has been so deprived of love she seeks it wherever she can find it. hence her stint with andre, which obviously ends in shambles because it’s foundations are already shaky, considering she’s cheating on luke with him, and andre is fucking his best friend’s girlfriend, but is also disingenuous, because cate’s compulsion powers arguably affect andre the secondmost to luke (though, by a wide margin). these are her two only romantic interests, and they suffer the worst consequences of it.

enter.. marie moreau. and cate’s relationship with marie is more genuine than any of her romantic relationships, which i think is the most telling thing. cate and marie serve as foils to each other: both in the manslaughter of their loved ones, the way shetty attempts to use them, and how can you NOT ship two reflections of each other?

in the finale, cate reaches out her hand, and andre can’t take it, because he doesn’t trust her. you can’t blame him. inversely, marie is the one always reaching out to cate, who is constantly defending cate’s intentions and her motivations to the others—when cate doesn’t deserve the benefit of doubt. partly, it’s because marie has known cate the least amount of time, making the betrayal sting the least. but also, cate’s relationship with marie is also the one least tainted by her compulsion powers; marie is the least affected by cate’s manipulations (to love her, to stay with her), and yet, despite marie not being compelled to do so; she still retains her faith in cate. that cate is good. that cate can be good, which is a fact not even cate believes in.

marie actively sees through cate’s compulsion, and later, nulls it. there’s a reason why marie is the one to discover cate’s betryal. there’s also a reason why marie is the one to blow cate’s arm off when saving jordan. in the same episode that cate reaches out and andre draws away, marie reaches out to cate, and cate draws away. that is a very direct comparison. it also speaks to cate’s larger unwillingness to accept love that is untainted, either fear she herself will ruin it, or because she doesn’t think she deserves it.

anyways, all this to say that yes, cate could totally be read as comphet. and mariecate is totally metal as they are, romantically involved or not.

[portsandstars]

Revisiting Red Spring Studio's Interview with Blerdy Otome - Select Quotes

It's been almost a year since RSS had this interview, but I think that many people have not listened to it, or recently revisited it. I thought I'd highlight some quotes from it, though the entire interview is worth watching! Some of these quotes I have lightly modified for clarity or succinctness but the majority are direct transcripts.

23:30: "Touchstarved is a horror romance visual novel where the entire cast is made up of characters where you're like, "I can fix them!" but you actually can't. I think that Touchstarved is a very complex and mature story with really really complex themes and interwoven routes and obviously it's very sexy at the same it's a romance - and I think it's one of those games that I've always wanted to see exist and I think that a lot of the team has always wanted to see this game exist as far as being this kind of like dark, broody, moody, but also very deep, right, and authentic and honest exploration - Monsters, and the feeling of being a monster - feeling of being an "other", right, whether you're queer or POC or anything like that… we've created a game that's not only really fun and action-packed and bloody and all that kind of stuff… but very heartfelt in a way that I hope readers can pick up on.

Imo, this line of reasoning ("you can't fix them", and the cast's monstrous nature and how it intrinsically ties to/is an analogy for being queer, or POC) - makes me think that even in the good endings for the game, your character won't be minimizing the character's monstrousness. For example, even if your character has the Power of True Love, it's not going to make Vere nonviolent or absolve Kuras's guilt.

25:35: "These themes are pretty complicated in a way that's messy and honestly bloody and I think for that reason is why we're looking at a mature rating - that said, when we set out to make the game our goal wasn't really to be explicit, it was much more to focus on sexiness . . ."

Just clarifying that there won't be explicit sex scenes in the game.

28:55: "What are some aspects of the story that you are most excited to showcase?" "I'm so excited that people get to die terribly, that just gets me so pumped up. Like in previous jobs I have not been allowed to brutally murder . . . main characters permanently and it's very important to me that I now have the power to write really just messed up awful endings…Don't worry, there's also good endings there too, they just get as much passion and all that stuff as the bad endings… but the bad endings, oh my gosh, those are some of my favorites."

This line makes me curious about whether the main characters are just MC, or if the other characters will brutally die as well!

30:50 "A little while ago we posted Kuras's character reveal and people really like the fact that he can't cook so for me it's really cute and innocent seeing people obsess over that fact and I really just want them to see the contrast between that version of Kuras in their head and what he's actually like in his route. Like I just really want to see them react to like the terrible things he's going to do. . . They're all awful in different ways that I'm really excited for people to see it - it's very funny to see everyone be like _Literally name any of the characters of the cast and be like "they're my little meow meow" and it's like, oh. good. I hope this continues once they learn more about the characters. Obviously they're all wonderful - right, the characters are all awful but they're also all wonderful".

32:26 : "the theme of monstrousness and how each character kind of approaches it differently . . . because they're all monsters, even if they're not literally monsters . . .it also plays into each character's brand of horror in their own way as well that ties into their monstrous nature."

This line especially (to me) hints at how Leander is likely not SPECIFICALLY a monster, but a human with a monstrous nature.

34:30: - Ais was the first character they made and each of the other characters build upon him, so they spent a lot of time getting him right. Vere was the easiest to create and they made him in a weekend. Kuras was the hardest to create (especially visually).

38:00 "This is a romance game and a big draw of the game is making a love connection with these characters - do you all plan on including platonic friendship routes in addition to romance routes, or is it strictly romance?" The way that we planned out this game is that we wanted to focus on the intimacy of these individual relationships between the main character and the love interest and the route that they're on, right, so this is the way we had planned the game from the beginning. We really like poly romances, for example, and friendships, but we think that it wouldn't have made much sense for the characters in the story that we had written for them because this entire story - with who the main character is and why they're having to turn to these mysterious monstrous strangers - there's a level of intimacy involved in the themes and stories that we really focused on for how we're writing…

It's almost like a narrative design intentionality we did early on because each route that you'll be able to play from the main five cast is very driven and each character is like a ticking time bomb in their own way. So if you choose to romance Vere, Kuras's route still continues and you can see the effects of what not choosing Kuras is in Vere's route when you're playing Vere's route. So the world is meant to be very interwoven and interconnected where you can see the ripples of everyone's choices even when you're not romancing them and in that way we've designed this cast that's woven together. So if we did want to do a poly route, we would probably have to do entirely new characters . ."

43:30: "One of the fundamental goals of this game was to have, as you've been saying, a living world - a world that's evolving, and one of the ways that we wanted to communicate that was with the idea that these characters are not doing great… um, they're all in very very bad situations, uh, they're all essentially doomed if you do not go with them and it's seeing that carried out in each route that I hope will be really interesting for people.. it will be very sad, in a good way".

ARGHHH this is the WORST. This means that if you choose a character, you're essentially dooming the others. Though this will undoubtedly manufacture delicious angst, I'm soooo sad at imagining each of the other characters faltering and ultimately failing on their paths because you didn't chose them. Though, I wonder if there are some routes where multiple characters turn out ok, or if the entire cast is doomed as soon as you don't select them (in different ways depending on the route)?

54:30: "I also want to clarify too that even though we've been talking about blood a lot and all that kind of stuff and death and we love those parts of the story, um, if you get those endings there's a reason why, you know what I'm saying - you have to actively try to get those endings - poke the bear with a stick."

Definitely referencing Vere's bad ending in the demo. Personally I am too curious to avoid them, but it's encouraging that some of the MC deaths appear to be because you deliberately make dangerous choices, rather than simply "tricking" the player and surprising them.

Let me know what you think of these quotes, and the whole interview is definitely worth a watch if you haven't seen it!