#my joke is that my gender is less of a presentation and more of a lie by omission

[charredcheddar]

God people really fucking hate trans people huh

[kazumirambles]

THIS.

UNPOPULAR OPINION: Comparing Vil Schoenheit to Trans Characters in Anime, Manga and Games — Forceful pushing of headcanons and why Vil is a better character in canon as a cisgender (gay) male

DISCLAIMER: this essay is aimed at those who find it entirely acceptable to shove their headcanons down others’ throats with the threat of crying wolf (i.e., “if you dislike this hc you’re transphobic”, etc.) should they not comply. For those who simply headcanon Vil as trans and acknowledge that canon and other headcanons can exist with (and without) their approval, this essay is not aimed at you and you are perfectly valid.

Notes: Title may be slightly misleading as there’s really only one comparison, and being a cis character does not necessarily make one “better”. However, given Vil’s character, the mun views that Vil has a far bigger impact in terms of plot, hence the title.

Many of us like to suggest headcanons for our favourite characters, some to make the character even more interesting, others simply to relate to the character further. While there’s absolutely nothing wrong with fun headcanons here and there, the forceful insistence of fans in recent years that their headcanons are absolute to maximise their own comfort has become a glaring issue across many fandoms. In particular, the subject of LGBT+ headcanons has been especially touchy, as minorities use the discrimination against them to their own benefit and, ironically, suppress the opinions of others. One such headcanon is that Vil Schoenheit of Twisted Wonderland is transfemme, or even a trans woman, as he uses the pronoun “atashi” (typically used by women and girls), and is perceived to be traditionally feminine. However, such a headcanon not only fundamentally ignores the very basis of Vil’s character — breaking gender stereotypes as a cisgender white male — but can even be taken as sexist. To prove this controversial statement, a comparison with other notable transgender characters, either confirmed by canon or heavily speculated on by fans, in other anime, games and manga is needed.

First and foremost, the idea that Vil is transfemme or even a trans woman is shallow and unfounded. While Vil indeed uses the pronoun “atashi” in referring to himself, a pronoun typically used by women and girls in Japan, “watashi”, the pronoun that “atashi” is (presumably) deprived from, is a gender-neutral pronoun used by both genders, though for men, both “watashi” and “atashi” are usually used in a casual context by stereotypical feminine gay men or drag queens. Throughout the story, there was absolutely no indication that Vil has issues with his own gender. In fact, it seems to be the very opposite, he is incredibly comfortable and confident in his own masculinity, which is why he has no problem doing things that are traditionally seen as feminine:

“Next, lotion. As guys (lit. with us being high school boys, アタシたち男子高校生), our skin tends to be oilier so applying too much only makes things worse.” (Main Story Chapter 5, translated by j-mee on Twitter)

“There’s no such thing as “men only” or “women only”, whether it’s clothes or dance.” (服にもダンスにも「男専用」「女専用」なんかない。) (Main Story Chapter 5, rough translation by patchy)

Epel provides as a foil character in this case, having stated his dislike for his cute and “girly” appearance multiple times, as well as wanting to be in Savanaclaw due to the athletic nature of the dorm rather than Pomefiore:

“I really... I really wanted to get into the wild and brave Savanaclaw instead!!” (Ceremonial Robes story, chapter 1, translated by twstarchives)

Epel clearly thinks that Pomefiore is too feminine for him, and only puts emphasis on his unwanted cuteness. While Vil being transfemme or a trans woman would certainly be progressive for Japan considering its conservative nature, Vil being a fellow cisgender boy is certainly far more powerful in delivering this response to Epel. They’re both white and cisgender, yet while Epel only sees his adorable baby face as a weakness, Vil sees his own beauty as his strength and capitalises on it. It is precisely why he is so careful to maintain his appearance through dieting and impeccable makeup:

“I've not once neglected my health. And no one on my Magicamera account, which mind you has over five million followers, has said anything about it.” (Vil’s Lab Coat SR, Part 1, translated by kibadreams)

Having grown up in the entertainment industry and showing no sign that he wishes to retire from it, Vil’s “otherwordly” beauty is one of his greatest assets, and as such, he complies with the industry and all its standards, and is unashamed to do something like dancing if it can potentially further his career. Vil is no Azul, but he is still a businessman in the sense that he knows how to advertise, promote and market himself to the masses. To insist that Vil is transfemme or a trans woman erases the meaning to his actions, and instead reduces him to a shallow figurehead based on how traditionally feminine he acts (use of pronouns, way of speaking, behaviour typically seen as “feminine”, etc.) instead of focusing on his relationship with gender presentation and his rejection of traditional gendered labels as a whole.

Arashi Narukami from Ensemble Stars, while not officially confirmed to be trans, provides a good comparison, though many often compare them on a surface level to try and force Arashi’s character onto Vil’s or vice versa. Aside from their shared use of pronouns, professionalism and both having careers in the entertainment industry, the two characters cannot be any more different. Unlike Vil, Arashi has stated her views on her relationship to gender identity multiple times, albeit they are rather inconsistent due to the different writers of Ensemble Stars having varied interpretations of her character. She repeatedly calls herself a “maiden”, a “girl” and a “big sister”, and insists on others using the “-chan” suffix for her rather than “-kun” (the only exception seeming to be fellow unitmate Izumi). She has also stated her internal conflict with her gender, which one can interpret as Arashi wanting to transition but unable to do so due to her career in the modelling and idol industry, as well as the unwelcoming attitude held by Japan in regards to the LGBT+ community:

“I’m honestly envious… No matter how much I want it, and no matter how hard I try… I could never become the beautiful woman I dream to be.” (Gacha story “Beasts — Centre of the World” part 7, translated by euni2319 on Dreamwidth)

Due to the ambiguous nature of the “okama” label, a derogatory one used for both drag queens/crossdressers and trans women alike, it is not clear whether Arashi truly is a trans woman unless canon states otherwise. However, there is certainly enough evidence in the story to argue such a case, especially with the English localisation of Ensemble Stars using she/her pronouns for Arashi. In contrast, Vil’s behaviour is more in-line with an “onee” type character, or a stereotypical feminine gay man, which is surprising considering that the Twisted Wonderland fandom, in all their hope for LGBT+ characters, fails to pick up on. As stated above, “atashi” is a pronoun often used by drag queens/crossdressers and stereotypical femme gay men, the latter of which Vil seems to fall into the category of due to the homoromantic subtext of his relationship/friendship with Rook Hunt. Many of their interactions can be perceived as romantic, even more so due to the stance that both Disney and Japan have on homosexuality, mainly either with unvoiced distaste or being acceptable as a fetish/strange interest due to the forbidden nature of homosexuality in Japan:

“Nevertheless, Rook's eyes are more accurate than any scale. Even more than a mirror, perhaps.” (Vil’s Lab Coat SR, Part 2, translated by kibadreams)

While Vil and Rook’s relationship does have homosexual undertones, on Rook’s part more so than Vil’s, Vil at the very least relies on Rook and trusts him greatly. The above quote is just the tip of the iceberg.

Vil’s character can be seen as a twist on the stereotypical “onee”, one that is written and taken seriously as a direct comparison to how the character type has been commonly used for comic relief or otherwise unimportant side characters in past works (Garfiel from FMA, Magne from MHA, though a trans example of the stereotype, and Otokosuki from DBZ). The implication that Vil is gay by partially conforming to behaviour expected of feminine gay men yet being a serious and hard-working perfectionist (i.e., having a personality not centred around comic relief) is arguably a big step in Japanese anime, games and manga.

Sexism and even ageism in the Twisted Wonderland fandom is unfortunately nothing new, towards all genders. Non-female creators and yumes struggle to garner an audience without yumejoshis, particularly unusually possessive ones, feeling threatened by their very presence. Adult fans are criticised simply for playing the game despite that their in-game payments are what make the game profitable enough for younger fans, most of which do not earn income and thus cannot fund in-game transactions, to continue enjoying Twisted Wonderland. Yana herself has become the scapegoat for Disney Japan, being blamed for any issues regarding the game’s storyline despite that not only are the Disney Japan executives the ones giving the final approval, Yana has been working while ill due to the gruelling and even abusive nature of the anime, game and manga industry in Japan, where artists, animators and other staff members are overworked to produce the smallest bits of content. Fans, especially those often discriminated against in their own countries, have developed an unfortunate habit of using their statuses as minorities to avoid criticism and responsibility for their own actions, going as far as to deflect criticism of their irresponsible behaviour onto the critics and paint them as the aggressors. Anyone who does not view Twisted Wonderland in the same view of unrealistic progressiveness more commonly expected of Western cartoons is shunned and their actions deemed discriminatory. The fandom has evolved into a space where the prey become the predators, the hunted become the hunters, and the oppressed become the oppressors, all in the name of establishing equality and equity.

Ultimately, we are all fans of Twisted Wonderland trying to enjoy the game in our own ways. Our comforts are unique and distinctly different from one another, and no one’s comforts should be prioritised above that of others simply because one is in the minority. While the fact that people have become more and more comfortable taking pride in their own identities is certainly something to be celebrated, we should not be taking this as an opportunity to alienate those we so much as remotely dislike just because they belong to a certain race, gender or age group, particularly twisting oppression against vulnerable minorities to do so. Frankly speaking, none of us have the right to force our own interpretations of canon onto others, minority or not, and doing this simply reinforces one’s narrow mind and self-absorption.

[poisondionaea-art]

For anyone who wants to write fanfics or comics, ect about characters from Louisiana (Gambit, alastor, ect.) with accuracy to Louisiana and any French we speak here.

⚜️There's a lot of information after the phrases just an FYI ⚜️ I add a few things that I forgot about.

Common phrases used in Louisiana are:

Sha

(pronounced like it's spelled) this is a gender neutral term used for all ages, it's a friendly term used to address someone, most people use it for everyone. Inflections and sentences can change it to be more familial or romantic but it's often just used when addressing someone else. A lot of people use this term and say it for everyone they meet. This is used to replace cher and cheri, no one uses cher and cheri ever, have never heard a single person in Louisiana use those terms in my entire life.)(commonly said at the beginning or end of a sentence when addressing someone also typically accompanied my 'oh' or 'mais/man'

Examples :"oh sha, can you grab me that bottle right there." " How you been sha" "man sha, you seen what that man did over there" "oh mais sha, eat, you must be starving"

beaucoup

(boo•coo) very much, plenty/ plentiful, very, much, an exuberant/ large amount of something. Each of these can be used it just depends on the context, it is often used in 'thank you' or in jest or exasperation to emphasize that someone has a large amount of something. Sometimes people also use it in a jesting manner to make fun of how little someone has when they are trying to pretend like it's a lot. Extremely common to hear in New Orleans slightly less use in the rest of the state but is still used often. Commonly said as "beaucoup much" (younger generation born late 90s to present mainly use this one) or by itself

Examples: "did you see the amount of bread loafs that guy had in his buggie, he had beaucoup things of bread"

Merci also "merci beaucoup" or "beaucoup merci"

(mer•see) thank you, thank you very much, plenty thanks, very thanks. Still widely used across Louisiana rather commonly. Not everyone says it but it's just a personal preference, the people that do use it often still say thank you in English from time to time, they just also like using these terms as well. These phrases are also used for everyone it doesn't need to be reserved for special times/ people.

Example: " merci, have a nice day" kinda self explanatory

Adieu

(a•doo) kinda like goodbye I think I've heard a some people say it but it's definitely not the most common. They said it in place of good bye so I've just always assumed that's what it meant.

Petite

(pa•teet) small, little, tiny. This is already used in the English language show I don't really have to explain it much but it is commonly used among Cajuns and other Louisianaians to address a person affectionately especially when you add another word behind it. Sometimes people will say "mon petite ___" or "petite ____" sometimes shortcutted to "te" sometimes just say patite if it's an nickname the additional thing will most likely be in French and be something that the person likes or enjoys. I've rarely heard it used otherwise unless talking about clothing.

Examples: my grandmothers used to call me "Mon petite papillon" (my tiny butterfly) and "petite minou" (small kitty) because one grandmother's favorite animal was a butterfly and the other's is a cat.

Nanny and parrin

(nan•ee) (pah•ra) god mother and god father, most people call them by these terms so if you here someone from Louisiana talk about their nanny they don't mean someone their parents hired to look after them they mean their god mother.

Couyon

(coo•yaw) fool or idiot. Typically used in rather jest or scolding but typically when joking around. More common in Cajun areas than New Orleans. Sometimes if someone does something foolish especially after being told not to or is just being really clumsy or acting stupid/ rude then people will just call them couyon and walk away or laugh at them.

Example: " will you stop acting like a couyon? We need to get a move on."

Mais

(mah) but . See Sha for example of use mainly used with Sha .

Allons also "allons dan ser"

(ah•law) (ah•law don say) let's go and the phrase commonly used with it is "let's go dancing" more Cajun area use then New Orleans.

Beb also bébé

(pronounced like it's spelled) babe or baby also typically used in a neutral manner when talking to people, can be used for anyone but is most commonly used among family or close friends especially for people younger than you. Can also be used in a romantic connotation like babe or baby usually it is generally affectionate no matter how it's used. Can be used for strangers typically said by women but men do say it.

Example: "bébé can you go to the kitchen and get me a soda"

Just please please don't use cher or cheri no one says that around here it's almost always specific nicknames rather of things the person talking likes or the person listening likes. Please see petite for example.

Gambit is likely to say card related nicknames since he likes gambling, I know a few people who like playing cards who call people things like king and queen quite often as well as like 'my heart', 'little diamond'

In French those would be "reine" (Queen) or "dame" (lady/ queen) , "roi" (king) , "Mon cœur" (my heart/my core), " petite diamant" (little diamond)

For Alastor I'm not sure that there's anything radio related that people would use, my family has been in the radio business for a while and I've never heard any from any of my family members or my parents. He is likely to use deer related ones especially if they are puns.

Examples: " Mon biche" (feminine) or "Mon cerf" (masculine) (both mean my deer) , and "petite biche" (fem) or "petit cerf" (masc) (both mean little deer). He also likes music and that would be more like "Mon musique" (my music).

Any of these can just be said in English not every nick name or pet name is said in French.

Everyone is different so some people throw in more French some people less, nowadays people don't really speak fluent French unless they're old or rich.

Gambit was raised in a cult basically so he does get somewhat of a pass to speak more French if you want him to but it's not super common in New Orleans.

Alastor would have spoken French being from 1920s but being a radio host he probably would have also learned English and went through vocal training to get rid of his accent. ( My family has been in the Louisiana radio business for decades and they all had to train to get rid of their Cajun accents when they started working for the radio stations) Also Alastor is creole not Cajun I will explain the difference more towards the end.

If you want to add the characters speaking French you can just use Parisian French (French spoken in France) no one is gonna be upset if you do there are also no translators on the internet that I know of that have Cajun or Creole (Canadian is also acceptable if your Canadian or know Canadian)

There are a lot of different accents in Louisiana not just Cajun (called flat talk by locals most of the time) .

Some people speak with southern accents, some have Cajun but most talk like stereotypical Americans or have an accent that comes along with speaking AAVE.

Creole accents are like French and Jamaican accents combined it's pretty rare for people to have the accent nowadays though and for some people it can be slightly different

You don't have to write out accents if you don't want to.

Which leads to my next point most people in Louisiana speak in AAVE (African-American Vernacular English) especially closer to and in New Orleans.

The farther away from the 1930s-1940s the character(s) are the less French they will naturally speak and put into everyday encounters. Most people in present day Louisiana especially in areas like New Orleans don't speak French and only add in what few words they do know or are still within common use in day to day conversations.

After this point it is random facts about Louisiana ⬇️

Why did people stop speaking French in Louisiana after this specific period of time?

Great question, the answer is that there had been a law put in place at the time, that declared that everyone had to learn English as it was assigned as the official language of the United States. From what I've been told by my grandparents the law makers cited that they wanted Louisiana to be more welcoming to tourists and the large incoming crowd of refugees and migrants as the reason for the law being inacted.

My grandparents stated that it was probably so that the refugee and migrant crowds wouldn't isolate themselves to only people who spoke their languages. In order to keep unsavory groups from forming (if there were any n@zis among the German crowd, other axis power supporters among the Italians or Japan's crowds as well) they forced everyone to learn English.

I don't actually know what this law was but my grandparents have talked about it since I was little. They were forced to learn English when they hit elementary school and my great grandparents were forced to learn English or possibly lose their jobs, in some cases they were threatened with arrest or their children getting taken away.

This created fear that caused parents to decide to stop teaching their kids French. When my parents were born my grandparents barely taught them any French and mainly taught them English. Rarely anyone in my parents generation could speak or understand full French.

Some parents didn't want to teach their children French only for them to never be able to speak it outside the house.

I also have a feeling that this law was also partially put in place because of Quebec, Canada as they fought for their right to keep speaking French and threatened to become their own country if forced to conform to English like the rest of Canada. So the U.S. was probably trying to stop that from happening with Louisiana.

Also New Orleans has been regularly speaking English since before the rest of Louisiana was mandated to, because it is a port and always has been. It's also been a high tourism area for quite a while as well.

What is the difference between Cajun and Creole ?

Creole means French or Spanish settlers that came directly from the "motherland" (France or Spain) originally this term was more or less used to establish elite status as most of these people were from rich families and paid a lot of money to secure their position in the new colonies belonging to France the term was extended to the Spanish when they had control over Louisiana.

This term eventually came to blanket over slaves and their descendents as well that were under the control of these people, the current Creole culture was mainly shaped by these families as well as the families of Haitian slaves and their descendents that were also brought into Louisiana to serve the Creole people.

This is where voodoo and hoodoo become a part of creole culture because the enslaved persons brought their culture and religion with them from Africa to Haiti and then to Louisiana when they were forced to change location again.

Creole people lived mainly in New Orleans and the surrounding area, most of them owned farmland slightly farther out from the city but lived in the city center while things were tended to by enslaved persons and a person or persons designated to watch over their daily activities

Creoles didn't just enslave Africans they also enslaved impoverished European using manipulation tactics, most of these Europeans became freed people before African Americans and at some point we're given their own slaves which kept them from revolting surprisingly but in surprisingly. Creoles enslaved Cajuns when they first got to Louisiana by order of the king and then freed them when they realized they knew how to farm but gave them their own enslaved persons.

Most Creoles now are African Americans and lead an intricate culture different from Cajun culture that is mainly a mix of French and various African cultures with a little bit of Spanish culture as well.

Creole food and Cajun food aren't too different but some Cajun food has okra bases as to where creole dishes have a tomato base for most dishes as it was an over abundant resource of the New Orleans area.

Cajun people are from a French group of settlers that were originally supposed to create their own nation in Nova Scotia, Canada. They were a bunch of farmers sent there for the purpose of creating an agricultural specific nation using Canadian soil and plants.

Their county was called Acadia and they were called the Acadian people, they technically were not ruled by the king of France and were their own nation, this in fact caused problems especially because they were a young nation and were composed of farmers with no military or combat training and little to no weapons.

With no support from the king or way to form their own military, England forced them to pledge allegiance to rather the king of England or the king of France so they knew where Acadia stood, Acadia asked for help from France, France refused because they were their own nation and they didn't want to pledge allegiance to the king of England

So in true English fashion they burned the nation of Acadia to the ground and forced the Acadian people to leave, the Acadians went to Louisiana in hopes that they would help, the Creoles enslaved them and stuck them where they believed the land was uninhabitable and they would perish because of the order of the king of France

The Acadians being farmers were able to pick up on how to properly farm the land after being shown by natives (my tribe yay) and when the Creoles checked on them and found them alive the king of France made them free people's and gave them land from Acadiana, their new area of living in Louisiana to the what is now the lafourche parish area.

They were given enslaved persons and were put in charge of helping make Louisiana's exports a larger market. Cajun culture and dishes come from a mixture of Acadian, native American and African culture put together with the resources of the area, these dishes spread to the Creoles and were changed to match the resources of the New Orleans area and imported goods.

Cajuns are called Cajuns because the English misheard the name Acadian and so everyone started calling them Cajuns.

Cajun and Creole today doesn't nearly have as many connotations as the past, it mainly just means your family is from this Acadiana area or from New Orleans and you're a descendent of one of these groups

Do Cajuns and Creoles have beef with each other?

Nope, any beefing is mainly joking, and is specifically about the differences in the same dishes between the two cultures.

Does it matter if someone is Cajun or Creole?

Once again nope, Louisiana is a big mixing pot of cultures so no one really cares, everyone loves celebrating the different cultures in Louisiana especially of the newer groups that have joined over the decades through immigration.

I only specified with Alastor because I've seen people call him Cajun when vivzy has stated multiple times that he's Creole.

Enough about Cajuns here's some info on Mardi Gras:

Mardi Gras is one day at the end of the carnival season.

It's on a different day each year because it is a Catholic holiday and goes by the Catholic calendar which changes every year.

Mardi Gras means "fat Tuesday" which is the Catholic holiday the day before ash Wednesday which is a day of fasting and sobriety.

You don't have to be Catholic to celebrate.

Even though it's a Catholic holiday all of the parades are based on Greek and Egyptian mythology

The carnival season is different every year and lasts between 1-2 months before Mardi Gras day, Brazil has a similar celebration at the same time called carnival as well for the same reason.

The carnival season is typically in January- February or March.

All bars close at midnight on Mardi Gras day once it hits ash Wednesday and very few of them are open on ash Wednesday later in the day.

There are family friendly Mardi Gras parades which are most of them and specific parades for adults, typically at night, please don't flash your boobs that's illegal and makes people uncomfortable, the adult parades mean that they might give out alcohol and beads or other float throws that will contain adult symbols like marijuana or nudity. Some of these they throw things like purses and shoes and that's why it's classified as adult.

Anyone can join the parade even people not from New Orleans you just have to pay a fee for whichever parade you want to be in to secure a spot on a float and buy the beads and stuff that you throw, some parade you have to have a specific amount of items, to be allowed on the float

Some people go to other parades to get beads and other stuff for them to throw at their own parades (my family does this with the radio station vans lol)

People on floats throw beads, plushies, party favors, hand clappers, cups, dablooms , recorders and other plastic instruments, bouncy balls, other types of balls, inflatables, candy, chips , ramen, hair clips, plastic swords and plastic tomahawks

Most of the balls for specific parades are closed events for people on the committee but there are masquerade and non masquerade balls and parties held across the city throughout the carnival season, there is even one specifically for Neuro divergent people.

There is a kink parade, that is called "southern decadence" it is a gay pride parade that focuses on sex, kinks, drag burlesque and finding people to hook up with this happens typically around august. If you tell people your going to a gay pride parade they will side eye you because they assume it's this one and not the family friendly ones that happen in June.

The only other parades outside of carnival season and pride are a Christmas parade (krampus), a Halloween parade and st Patrick's Day parade (Irish and Italian American heritage parade)

A king cake is basically a cinnamon roll log that doesn't get cut into individual cinnamon rolls and gets formed into a ring and baked then has vanilla icing with colored sugar on top. There is a baby inside but if you pre order it you can ask for the baby to be put on the side or not included at all. The baby means you buy the next king cake and you will have luck.

It's encouraged to wear costumes to parades but you don't have to, it does get you more beads.

Have a bag or something to put your beads in if you wear them throughout the parade it will be painful and it will get you less stuff thrown at you.

Other random things about Louisiana I think are important:

It's warm throughout the year because this is a sub tropical area, in the summer it is constantly between 89°-115° please don't put characters in long sleeves or tons of layers in the summer.

It rains a lot like 50% of the year it rains

Not every part of Louisiana is swamp

There is no deep woods of massive swamps in the middle of the city of New Orleans, there are a few in the surrounding area but those are an hour -hour and a half out of your way by car at minimum

Hoodoo is magic , voodoo is a religion they are connected but not the same thing not everyone that practices voodoo practices hoodoo and vice versa. PLEASE DON'T MESS WITH THESE RELIGIOUS OR MAGICAL ARTIFACTS WITHOUT SOME WORKING KNOWLEDGE OF IT OR CONSENT/ PERMISSIONS, PLEASE FOLLOW THE RULES IN THE SHOPS.

There are also many practicing pagans and wiccans in New Orleans same rules apply.

Yes there are second lines (marching bands for parties) constantly going through the city but most of them are for funerals don't join them unless you're told you can.

Most people from Louisiana have pretty bad seasonal allergies

There is way more to the city of New Orleans then the French quarter, the French quarter is only like 10 streets

We have a ferry that goes from Algiers (west bank New Orleans) to New Orleans proper (east bank, actually main part to the city) it lets out at the aquarium. There is another one that goes from Algiers to Chalmette (part of the greater New Orleans area)

The greater New Orleans area is the area around New Orleans where most of the people that work and hangout in New Orleans actually live, this includes Jefferson parish and st. Bernard parish. There is still a high population of people who live in the city itself.

Baton Rouge is the capital of Louisiana it is about an hour and a half west of New Orleans by car

People go to Grand Isle, Louisiana or to Biloxi, Mississippi to go to the beach

There is a water park outside of Baton Rouge called blue bayou that's really popular the other water park in the area is Jellystone but most people call it yogi bear because it's a yogi bear theme park

Fairs happen in Louisiana between May - June and then again in September - October

Around Christmas most parks have Christmas lights displays that you can drive or walk through or Christmas villages

People actually play jazz music on street corners in New Orleans, it's not every street corner and most of them are concentrated to being closer to the French quarter

Most bars have a mixture of live music and a dj more upscale places with stick to jazz but most other places have rock, hip hop, r&b, rap and bounce, closer to Lafayette they play zydeco more often then jazz

Louisiana is the state with the second highest gambling rate behind Nevada, there are multiple casinos in Louisiana and even private gambling clubs that you have to know someone to get into

Street cars are like busses on set rails, basically an above ground subway system. You have to pay a fee to ride and can find out the various paths that these take through the RTA (New Orleans public transportation) system or station

You can get electrocuted if you stand on the street car rails if the street car is close by and not stopped, if you see one coming towards you get off of the rails so you don't get hit it takes a little while to stop the car.

Hurricane season begins in May and ends at the beginning of November

People in New Orleans keep pet chickens and some of them just let them roam the neighborhood. So it's not uncommon to see a chicken walking around in a residential neighborhood

Some people in Louisiana have houses raised on stilts because of flooding, their are stairs to get to the house (I've had tourists ask me about this before that's why I'm mentioning it)

Yes we can tell when you're a tourist it's pretty obvious (typically it's because they try to hard to fit in or they wear beads outside of Mardi Gras and get drunk at 12 pm)

New Orleans is the largest city in Louisiana

You will find many different cultures in Louisiana not just Cajuns and Creoles because of immigration, these cultures are all very much celebrated in Louisiana

The most common non English languages spoken in New Orleans are Spanish, Vietnamese and Arabic as currently.

Here's some food from Louisiana:

A quarter of New Orleans (not the French quarter) smells like coffee because of the community coffee plant and during certain times of the year with strong winds the whole city smells like coffee

We eat red beans and rice on Monday's to honor deceased enslaved persons as they would typically eat red beans and rice once a week because they were only allowed to eat protein once a week. Not everyone knows that, I learned about this from Whitney plantation they might have information about it on their website. Not everyone eats red beans and rice every Monday or only on Monday's that's just tradition.

For creole version remember to add tomatoes

Seasoning blend is onions, red bell pepper, celery, parsley, and garlic

Jambalaya:

A dish where you cook down meat and seasoning blend and seasonings, typically the meat is chicken and sausage together then add rice and water into the pot and cook until rice is soft.

Sometimes people add cubed pork or beef, peeled shrimp, peeled crawfish, or other left over meats they have on hand.

Gumbo

A thinned brown stew with seasoning blend, at least chicken and sausage and seasonings, served over rice with fíle (a ground sassafras seasoning)

Other meats included peeled shrimp, peeled crawfish , deshelled or soft shell crab, and oysters

Cajuns sometimes add smothered okra Creoles typically add stewed / smothered tomatoes, I've seen some people add both it's up to preferences and family recipes.

Often served with potato salad

Étouffée

Peeled shrimp or peeled crawfish, seasoning and seasoning blend served in a cream shellfish flavored gravy served over rice

Sauce Piquante

Chicken, shrimp or catfish stewed in a mixture of seasoning blend, seasoning, Rotel , crushed tomatoes, diced tomatoes and tomato sauce, served over rice

One of few dishes that have no changes between Cajun and Creole recipes

Boudin

Rice dressing in a sausage casing, typically steamed or smoked

Cracklins

Extra crispy fried pork skins with some meat still attached covered in spices

Po-boy

Warm deli meats or fried seafood, sometimes in gravy on French bread (not baguettes) with mayo, lettuce and tomatoes

Sometimes has cheese, pickles or mustard typically left to customer preference on this one

Beignet

Square fried donuts covered in powdered sugar

Typically eaten with coffee, tea, hot chocolate or chocolate milk

King cakes

Cinnamon roll log made into a ring formation with vanilla icing and colored sugar on top, has a baby inside that means you buy the next king cake if you get it and good luck

Can have different fillings

Seasonal to January through March

Natchitoches meat pie

Pie dough filled with ground beef or crawfish baked into a hand held pie.

Sorry that this is so much information I hope this is helpful for people who want to write about characters from Louisiana.

Hope this helps @lifes-line sorry it's so long.

[weeb-polls-with-pip]

Anime Awakenings Round 4 Side A Poll 3

Propaganda:

Haruhi -

"When I was a young kid she was sooooo gender to me and honestly she still is. Seeing someone who turned looks in both masc and femme clothing and be so comfortable being perceived as whatever gender made me hella envious. She'll be your handsome girl and your cute guy at the same time and little me wanted that more than anything. Also seeing her pull guys and gals of all types and her just being so nonchalant about not caring about gender whether it's hers, others, or who's attracted to really spoke to me. Now I'm a femboy trans guy and it's probably because of Haruhi and maybe her bisexual genderqueer dad, they're my icons."

"G E N D E R. I wish I could give as few fucks about my gender as Haruhi does about hers. Like, she does identify as a girl, but she genuinely does not care if people see her as a boy or a girl or something in-between, she just wants to be judged on her strength of character. And I was always so obsessed with that aspect of Haruhi's character literally from the first time I watched the anime five years before I started consciously questioning my gender."

"Seeing them disguised as a boy for most of the series (without being upset by it or seeing it as a joke even) made me understand I was transmasc better."

"Despite mostly using she/her, Haruhi's non-caring attitude about her gender helped me in my journey of learning my own nonbinary identity! She acknowledges she's afab but that means next to nothing to her! She doesn't care if people use he/him for her, she doesn't care if she's thought to be a boy by many others, she doesn't care whether she even presents as more feminine or masculine. Even if she's not canonically nonbinary, I consider her important to my journey in discovering I'm nonbinary."

"She gave me a deep desire to be a girl like her, because I've always wanted to be a tomboy when I transition, so she was a very early instance of that gender envy. Add in all the romantic situations she's in with girls as a host, really fed the lesbian in me."

"The fact I actually started the anime because I thought it was yaoi and I found the mc cute (because that's the kind of guys I was into at the time) and when I realized Haruhi was actually a biological girl the attraction stayed even when they were wearing girl clothes and I kinda had a bisexual huh. moment. Also not only did I want them I wanted to BE them, they looked good femme and masc and watching them be so chill about their gender was genuinely… enlightening? Idk all I know is I put less pressure in trying to be a "girl" after I finished the anime. Also just look at their big soft brown eyes, it had 12 y.o. me in a chokehold. Also, that anime was genuinely good when it came to fashion like there's some clothes trends there that no one wears today anymore for good reasons but the characters all somehow make it work still."

Utena -

"Her dressed as a knight and her relationship with Anthy made me even more sure that I was one of the sapphics."

[crimsonender]

Mikaila Orchard sucks at Paneling

I debated making this a video or not. But, I decided against it. If you guys are interested in me making videos about this sort of thing, let me know and perhaps it's something I could cover in the future.

So Mikaila Turkleson aka Mikaila Orchard has always made... questionable art. To me it seems like a weird amalgamation of Equestria Girls and Sophie Labelle's art. Anatomy bad character design bad etc etc. I don't however see a lot of people talk about her paneling.

Recently, Mikaila and presumably her partner, Lily Orchard started a new art endeavour. I assume to turn over a new leaf and bury the now-infamous Pokemadhouse. You can find it over at bhaalspawnfunnies. It appears as if the blog will focus around the player character of Baldur's Gate 1, Gorion's Ward, and their half sister, Imoen. This is the first entry.

Source

Where to start? My first impression is that this is very poorly drawn, and low effort even by Mikaila's standards. The speech bubbles are low contrast against the background. The ground/floor blurry blob looks extremely bad. As a fellow artist I get the distinct impression that Mikaila did not want to draw this piece.

Moreover, there's a huge issue with the panelling and pacing. Comics are really cool in that you can kind of use panelling and negative space to "time" jokes, leading the eye where you want it to go and using framing and other art tricks to make a punchline land a little better.

This "comic" has none of that. There is no pacing, there is no comedic timing. It's all bland and presented as a block. I took it upon myself to re-panel this piece, and I've made two versions: One, with Mikaila's art style and visuals, but with the panelling slightly adjusted to be more punchy and effective, the other I completely redrew, using the same joke.

Excuse the sloppiness. I'm not going to expend too much energy polishing and gilding this turd.

That being said, this is already a huge improvement. Even if Mikaila isn't at the technical level of a professional artist, this is very attainable with only a few more minutes of effort. The timing is punchier, the speech bubbles draw your eyes down the page, and even without colour coding, it's clear which of the characters is talking. This isn't exactly a hot take but in my opinion you shouldn't need colour coding on a comic page to denote who is speaking. It should be very obvious! Moreover, speech bubbles should be included in the composition, not added as an after thought.

I'm guessing the original comic took her less than an hour to make. I think I'm being generous here, honestly if this took her more than twenty minutes I would be concerned. Being generous though I gave myself one hour to make a version completely redrawn.

This was again, very quickly put together and of course is in no way perfect, but its to demonstrate what a little bit of thought can do to improve a comic page. I decided to change the pose of Gorion because making family guy references should be a a cardinal sin for artists, as well as make the characters a little more recognizable. "Aryana" is, notably, Lily's OC and bears little resemblance to the canon character of Gorion's Ward, but considering Baldurs Gate does allow character customization and dialogue choices, I decided to make their gender a little more ambiguous so players of any gender could see their version of Gorion's Ward in the comic, but kept the elf with long dark hair appearance from Mikaila's original. I also looked over the pic after I was all done and ready to upload and noticed some small flaws I could easily fix, and went back and did those things. You should always go over your pieces when you're finished them with fresh eyes before you submit them as a final piece.

Again, this certainly isn't perfect and I'd probably put more effort into a piece with characters I care about and a joke I actually find funny, but I hope this demonstrates that pacing and expression really are everything in comics.

[milfygerard]

shout out to todd for reminding me of how much of a fucking knockout anti hero is as a song

idk if its depression or a pots flareup but all ive done today is watch old todd in the shadows end of the year videos and feel vaguely bummed

[lesbiantism]

Nadja, Autism, & Womanhood (aka, me using the writers woman allergy to project on Nadja)

Ok here’s the highly demanded (by one person) Nadja autism + womanhood analysis. Before I start, I wanna note that I’m a rambly bitch. This whole post is basically me just putting down thoughts and loosely stringing them together. I don’t know if this will be coherent. I have Really Big Thoughts on characters like this but I never know how to really lay it out in a coherent way. So idk maybe none of this will make sense but it does to me so. Autism essay under the cut.

So, I’m a nonbinary autistic person, but I still identify With womanhood. Just not As a woman if that makes sense? Like I Experience womanhood but I don’t Identity with it, not entirely. It’s hard to explain idk. But for me, autism and gender are inextricably linked. I’ve thought a lot on how, when I masked as a young girl, a lot of it was just me over-performing femininity, desperately trying to fit in with other girls but always feeling like I was stumbling through the performance. Reaching out and tripping over my feet.

Women are expected to be a lot of things in society. They can never be too loud, too bold, too impolite, too dominant, too rough. Too much. I was always too much for others. When Nadja told that story about other kids finding her too loud growing up, so her teachers made her sit outside, I identified so much because school was such an isolating thing for me. My voice was something always criticized, and my big emotions, so I learned to quiet myself, to dull myself. I’m unlearning it now, and I think that’s one big reason I’m drawn to Nadja’s character, because she’s so many of the things I learned Not to be, and she makes me want to fully embrace them again. She’s a woman in a way I understand and relate to.

Getting more into Nadja and less about me—I don’t necessarily read Nadja as nonbinary per se, but I do think when it comes to other women, she sees herself as Something Else. (I think there’s something to be said about Nadja doll, as some kind of metaphor for depersonalization or dysphoria or something. I can’t really articulate it but if anyone else has thoughts feel free to). It’s like there’s a wall of glass there between her and other women. She wants to reach out, but that wall is there. But when it starts to slip-which is I think is what was happening with Guide—she puts it back up.

It’s interesting to see her when she actually Tries to reach out to other women. Like this season, being in the human workforce, trying to befriend Lisa, and getting So Excited that this girl liked her stupid banana phone joke that she just did it over and over, completely unaware that she was starting to annoy her. Kind of like how Guide was with her, and maybe that’s part of why she pushes her away. Because there’s a part of Guide she can relate to, that longing in her. It’s like that wall of glass is a mirror now, a mirror into the parts of herself she’s afraid to really look at or evaluate. And the fact that she can relate to another woman is New and scary. I think Nadja comes off as very confident, and that’s definitely true, but I do also think there’s that part of her that’s Afraid, that carries the pain of a lifetime of rejection, that she hides under an armor of stone. The part of her that has go bags made because she’s afraid of being exiled again. That part of her who, in many different ways, has never really felt like she’s had a place to belong.

I also think another thing that’s interesting is her relationship Jenna. How she saw this young girl being pushed around by others, desperate to belong, and she Understood that feeling, so she wanted to take her under her wing and help her find confidence. It’s a different kind of relating than with Guide. Jenna is a vision of herself in the past, but Guide is a reminder that those feelings—that part of her that Cares what others, particularly women, think—are still present in her. And it makes her feel threatened. She can’t look at Guide without having to look at herself.

Idk. Maybe all of this is projection but what is a blorbo if not a canvas for your own issues. I think I’m extremely correct about all of this though.

So yeah! That’s all my thoughts for now. Feel free to add on!

[sl-walker]

Booster's Queer af

Something I wrote on Reddit on a thread asking 'what's your DC hot take??', because if you're gonna kick a hornet's nest, kick it with your best steel-toed boots and then smile:

Booster's queer. That man hasn't come across as straight-- ever. Like even when I started reading DC in 2003, he came across as queer to me, pretty much from his inception. Seriously. He comes across like someone closeted and decidedly not-straight who just stays in the closet initially because it was a very bad time to be anything other than heterosexual when he landed in the past and later because it's habit and expected of him. I don't think he's gay, I think he probably leans pretty pansexual or maybe even demisexual, but any which way, you'll never convince me he's not at least a little bit queer. He's had one in-universe romance that hasn't been retconned (Firehawk) in his entire time existing and one that was a joke and maybe not even real canon (Gladys). After almost four decades. His thing with Firehawk lasted, I think, like less than a year, too. I'm pretty sure you can count his on-panel kisses on one hand, but not more than two. He's never had a 'morning after' scene. The one seriously emotionally intimate relationship he has is with another guy. When he does flirt or attempt to, it comes off as being awkward and a bit desperate and a bit like a man who is kinda using it as cover. And like-- that really makes way more sense for him than anything otherwise. I'd sincerely hope by the 25th century that we'd stop giving a damn who loves or wants whomever else based on gender presentation. It also makes for a pretty compelling tale, a guy getting dropped into the middle of the AIDS epidemic learning a very quick and ugly lesson about what happens to queer folk in this time period. I dunno how hot a take this is, though, because at least some people up top agree (he's canonically hooked up with Ted in Teen Titans Go! and like-- any time Tom Taylor writes them, he all but says it aloud), but if TPTB were brave, they'd finally confirm it mainline. Like you don't even have to ship him with Ted (though that's my preference), just confirm he's queer. Here's my essay. What's my grade? LOL!

--

Since it's relevant, tho, here's a few pieces I wrote from a long email back and forth (since us old people still do that) with another very long-time fan of his a couple weeks ago:

But anyway, to me, he acts about like how a kid who got dropped into the 80s during the height of the AIDS panic and rampant homophobia and the wholesale death of gay men might, especially if he were queer himself. I'd probably try to straight-wash myself, too, in his boots. (I remember that time period, if distantly. I didn't realize I was queer myself until I was well into my 20s, despite falling in very desperate and intense love with another girl when I was 12. I do remember being in high school when a boy was murdered for being queer by being tortured and left tied to a fence to die, though. It was that kind of world back then for people like us. In some places, it still is.) Still, where Booster fails at any hetero romance (oh god does he), he's so devoted to Ted that a big part of his second solo was dedicated to him either trying to save the man or actively mourning him. It's heartbreaking and amazing and really actually quite good stuff, from a literary POV. Whether DC meant it or not, somehow they managed to write one of the greatest love stories I've ever seen in a comic across most of twenty years, no kidding, and I've read a lot across a lot of companies, even back when I was a twelve year old girl and ridiculed for it. And not just a great queer love story, it's a great love story period. A person can make a credible argument for it being a one-sided -- romantic and therefore non-platonic -- love, but it's pretty hard to argue it's not a very intense one regardless.

And

I guess what I'm trying to say is: This is another read on him. And I think also a very valid one. He's one hell of an amazing character, I wish DC had handled him half as well post-Flashpoint than they did pre-Flashpoint, and I don't think a queer reading of him detracts anything from how amazing he is. If anything, I think it makes the older stuff several shades deeper (and so, so relatable, god), and I think if they decided to write him as explicitly queer now, not too many people would actually be all that surprised. With or without Ted. I can't really identify with Alan Scott, love him though I do, even though I can acknowledge that a generation of gay men likely could quite strongly. But I can identify with Booster Gold, who grew up poor and wrecked his future in part for love of family, who clawed his way out of poverty and fell back into it, who has brilliant and shining moments of courage and heart, and moments where he lands on his face, who was tough enough to survive a lot of shit but devastatingly vulnerable to exploitation, and who looks like a fellow queer kid who might've fallen for his best friend, but was surrounded by homophobia and hate and terror and buried that part of himself because the alternative might have been getting beaten and left tied to a fence to die.

[ladyriot]

Once upon a time, I used to believe that the reason I read Rizzoli and Isles' Dean arc as queer was the way he came up in the fight that Maura and Jane have in the first episode of season 3, wherein Maura directs specific vitriol at Jane's "boyfriend" in her anger at feeling betrayed when Jane shoots Paddy. I've realized recently that it all starts much earlier. As in... the literal first episode. And it's actually, subconsciously, been one of the major reasons I ever interpreted Jane and Maura as potentially queer for each other.

In Jane and Maura's first scene on screen together, Dean makes an appearance that reveals a tension between the two women and plays off of their earlier intimacy.

First, Maura and Jane display their close, intimate relationship as they survey the crime scene. Both Maura's immediate defence of Jane as she chastizes Korsak for not warning her it was a Hoyt-like crime, and Maura setting Jane's broken nose present them as intimate.

This is placed almost immediately next to their meeting Dean for the first time, reinforcing him as a stranger, even an interloper onto that scene of intimacy. Maura indicates her interest in Dean non-verbally (which reads as intimate too), and further, she reads the potential for Jane's territorial behaviour to emerge and both gives a little warning and phsyically steps between them.

Because of Maura's displays of intimacy and knowledge of Jane, Jane's response of outright aggression becomes more meaningful. Her posture shift does not only indicate a desire to threaten Dean's intrusion onto her crime scene but also Dean's intrusion into her intimate connection with Maura. Jane slants herself as if she's offended she's not an option.

Um... what is that thing about how you point your feet at the person you're most engaged with in a social situation? There has to be some meaning about where you point your pelvis...

Anyway, later scenes show us what Jane looks like when she's inviting romantic attention from men, and that involves her making herself smaller, making herself look less sure and aggressive, and leaning into traditional femininity. It's quite the opposite of what she's doing here, which I read as laying a claim... on the crime scene but also on Maura.

This is fascinating because, at first, I'd mistakenly believed it was Maura's queer jealousy that cropped up first, but this reading actually presents the opposite scenario.

This kind of framing comes up again, in this same episode, when Jane flees her apartment to stay at Maura's for the night. In Maura's guest room, Jane spies to see who Maura's nighttime visitor is, and then they have that exchange on the bed. The question of Maura's potential attraction to Jane comes up in the same brief span as the question of whether or not Maura has ever had a crush on the same guy as her best friend, intermixing these two potential attractions in such an interesting way.

It's almost like Jane is giving mixed signals here. She's asking Maura if she's attracted to her only in joking terms... because for some reason she doesn't feel like she can ask it seriously. But as their conversation turns towards Dean, and their supposedly shared attraction to him, I'm instantly reminded of the concept of some of Eve Sedgwick's work on homosociality and erotic triangles and how those theories have impacted my own understandings of love triangles in media. I'm going to way oversimplify it here, but essentially when two people of the same gender are vying for the attention of the same different gendered love interest, I'm more interested in the bonds presented between the two of the same gender — whether it's rivalry, intimacy, potential sexual attraction (especially when it's wrapped up in taboos, social norm violations, and repression), or some complex mix of the three. And just, wow, this connection between Jane and Maura is ripe for that kind of reading. It becomes really easy to read Jane's "pursuit" of Dean as a way of attaining conventionality through a connection that also engages her potentially unconventional attraction to Maura (and a resistance to admit that) by being with someone Maura finds attractive. Jane isn't really showing attraction to Dean, but she is very much going for the closest conventional relationship she can that partly expresses her repressed, "taboo" attraction. (I wonder now if this contributed to my reading Jane specifically as a lesbian, rather than bisexual, through most of the series, but that's a bit besides the point).

Doesn't this just make it so interesting how Maura had physically insinuated herself between Jane and Dean?

It's also significant for me that when Jane does pretty herself up with lipstick to go see Dean, she rebuffs him and is consistently iffy about him despite the so-called attraction she admits to Maura. It's also very much giving that repressed queer experience of having a crush on a girl and being so jealous of her relationship, but not being able to conceive of yourself as queer, so mistaking that for a crush on her boyfriend. You know?!

Later on in the show, when Jane is with Dean, there is still so much to this dynamic. Maura calls Jane on a date with Dean and she immediately runs to meet her, choosing her, prioritizing her. It's what makes it so sick-inducing when, after Maura reveals that she doesn't know if she wants Jane to catch Paddy, Jane goes on to tell Dean the FBI agent with a hard-on for catching criminals at all costs about his presence in Boston in a specifically romantic scene. You know, which then causes a chaotic scene that requires Jane to shoot Paddy after feeling up his daughter to set her up on a sting... There was so much wrong with that, I'm honestly surprised there was a moment in Maura's tirade for her queer jealousy to slip in, but it does.

Hell if they're not in big fat queer love with each other, whether they admit it or not.

[ericksensensen]

"They should've made an emphasis on Sallie May being trans before" "There should be things that openly indicate she's trans aside from the horns" "The merch shouldn't show her with a bulge if she's trans, logically she should hide it"

My brother in Christ shut the fuck up

Aight, I get where most of you are coming from but let me just say that Sallie May is a big breath of fresh air from a lot of canon trans rep I've been seeing in the internet about big projects such as Helluva Boss, let's go point from point

This contains spoilers from Hell's Belles

Sallie May is a transgender Imp, this is not something that was decided just now for the short as her first appearance in the moon harvest festival already shows her with the thick line horns (Which are exclusively from AMAB (Assigned Male at Birth) Imps

If there's only one point these people made that I agree with is the fact that the horns thing should be something implied in the show, not specifically with the intention of outing a trans character but something simple that could give more context for those who do not check the wikis or the social medias that often

Other than that, I feel like they haven't actually meet a trans person irl because they believe that her being trans should be something that everyone should catch the first time they see her, that someone should inmeditaly point out she's trans, yet, they get upset at the fact that she's proudly showing a bulge on the merchandise They want the show to scream verbally about her being trans but not casually

You have no idea how relieved I felt when, at no point in the episode, her being trans was mentioned or outed, none pointed out her horns or voice and instead the problem was her feeling left out of her sister's life, and, again, not because she's trans and feels like Millie doesn't view her the same or some bullshit, but because Millie doesn't go home as often and felt a bit mad when she had to do her work In fact! Her not getting genitalia reconstructive surgery is also a thing that is cool about her, she got tits but didn't chop off the dick and is not insecure about it, most of times trans people are put between not getting surgery or getting ALL of the surgeries AND being extremely insecure about their genitalia, and yes, there's a lot of trans people that feel that way, but I think that aspect of her is really good representation for those that don't want to get surgery or only want to either reduce or enlarge their chest, not everyone gets dysphoria the same way and this doesn't make her less of a woman for that

Even if it's okay to have characters where one of the main issue of the comes from being trans (I have a few myself), It's also nice to see character that are trans but the main issue with their life comes from something completely different and not related

So for people upset about her passing so well you can't immediately tell she's trans Surprise! That's a lot of us want, that's what a lot trans people irl try, to just be a person of the gender we really are, to be normal and not needing to always out of ourselves, to be treated the same no matter what I make a lot of jokes about my lack of dick and my excess of tits, I only out myself as trans when formally presenting to someone and that is just because I'm not allowed to be trans so I don't pass as a boy at all and need to specify, but me being trans is something that most of my friend only bring into the conversation to make a friendly joke or when I bring it up

Sallie May is not only good representation, is one of the best I've seen in a while in the modern adult media, because she's subtle yet obvious You may not like Viv (Me too girl /non gendered), but I got to give it to her, the lgbt+ representation she does is on point

Anyways now that I tackled down that issue is time to actually talks about this short as a whole see ya

[literary-illuminati]

2025 Book Review #9 – Y: The Last Man - The Deluxe Edition Book One by Brian K. Vaughan and Pia Guera

In 2025, I am trying to read a comic or graphic novel collection every month (for basically arbitrary reasons). As next Saga hardcover has not quite been announced, I figured I would go back and give Brian K. Vaughan’s other big breakout hit a try. Against my better judgment, really – everything about the premise sends alarms blaring in my mind, but many people have enthusiastically vouched for it.

I should have trusted my gut.

Set (and written) in the early 2000s, the story follows Yorrick, the 20-something failson and aspiring escape artist of a congresswoman and an English lit professor. Due to unclear divine wrath reasons related to either a magical talisman or scientific hubris and the birth of a cloned child, every animal in the world with a Y chromosome dies, suddenly and messily – except him and his pet monkey. Over the next several months, he disguises himself and travels to DC by foot to check on his mother – and recruit government help to get to Australia and find his (working abroad) girlfriend and/or possibly fiancee. Instead he gets conscripted into trying to save the species – which involves travelling across the country to a lab in California, accompanied by the biologist behind the cloned child and a secret agent-turned-bodyguard. All while being hunted down by a murderous cult of radical feminists, who aren’t about to miss their chance to finish wiping out mankind.

Far more than any comic I’ve read recently (..ever?) this is a comic with a single protagonist, whom the entire narrative is centred around. And I just cannot stand him. Like someone tried to cast Philip J. Fry as the lead of a thematically weighty action series, except without any of the likeability or charm. Or – okay, that’s a bit harsh, but still. What were clearly supposed to be his endearing traits and jokes were, in the context of the whole societal apocalypse, just grating. And what are supposed to be his flaws are less sympathetic or compelling and more just make me wish we could be following basically any other guy instead.

Which isn’t really his fault, I suppose. I just got tired of the whole Gen X nerdy slacker failing-to-launch failson archetype a long time ago. The series does little to redeem it.

The rest of the main cast is mostly fine, but few get the space to really grow outside their role in the plot and broad archetype. Which is an issue, because there’s not all that much else to hold your interest as you read.

Gendercide stories have just never held that much interest for me – certainly not longform ones with ambitions beyond ‘thought experiment short story’. Even when the politics and worldview necessarily on display isn’t hideous (often! And difficult to ignore, when it’s so foregrounded), they inevitably to be very proud of themselves for being profound, cutting social commentary and rumination on the nature of humanity. I have yet to see one that actually deserves its self-regard.

Y isn’t nearly as offensive as I’d worried, I suppose? The gender politics on display probably did even seem fresh and cutting in like 2001. It’s fascinating how cursory and incidental a mention lesbianism and transness both get, compared to the modern discourse (hell, compared to Saga), but otherwise it’s a lot of focus on the shocking imagery of, like, woman being capable of brute physical violence or actually having conservative religious beliefs around sexuality and abortion or any of a dozen other things that might conceivably have seemed novel and shocking during the early Bush Administration.

From 2025, the ‘daughters of the amazon’ as villains are kind of funny because quite literally everything about their presentation, ideology and just general vibe is nowadays something I associate specifically with TERFs. It’s honestly a bi bewildering to see them in a story that has functionally zero interest in transness or grey areas on the gender binary in general, where the whole ‘a word without men will naturally be an egalitarian paradise’ 2nd wave radical utopianism is just presented straightforwardly as ‘so obviously they’re gonna make a whole crusade out of killing the last cis guy in the world, right?’ As far as scenery chewing four-colour cult leaders go, their leader is a pretty well-drawn one, though.

The cultural distance with the text was honestly one of the bigger surprises reading it, and one of the more interesting ones. Just one reminder after another of all these vague cultural preoccupations and references and subjects of discourse that I vaguely remember from my childhood (and the Abortion Debate, which does not seem to have noticeably changed). But like yeah, people did used to have a really idealizing-and-or-fetishizing obsession with how tough and badass Israeli female soldiers were! And ‘secret agent/assassin from a super secret spy agency that is only known about or accountable to the President’ really did used to be a much more straightforwardly uncomplicated heroic archetype.

Honestly I might have forgiven all of this and just kept reading to see if it gets better, if it weren’t for the art. Or the interior art, I guess – the covers are all quite striking and unsettling in a very compelling way. But once you actually open them...

I think I have just been incredibly spoiled by the comics I happen to have read (Monstress, 20th Century Men, Wicked and the Divine, and of course Saga). All of them are doing things with their art, are making the visuals a key part of conveying the story and themes (not to mention just usually having a page or two every issue that’s an aesthetic pleasure to regard in its own right). The page-to-page art, on the other hand is...fine. The style is a bit ugly, but it gets the job done and conveys the action. It just never does a single thing beyond that. It’s neither beautiful nor interesting, and you could rewrite the story as prose without losing a single thing of import. I’m not sure whether the credit technological changes in art production in the last 10-20 years, or the particular genius of other artists, or just the size of the production team for this one tending towards mediocrity. Whatever the case, it leaves the idea of reading any more of this just feeling like a slog.

So all in all, this was a bust. But hey, at least it didn’t include a bunch of monologues about the essence of masculinity that made me incapable of reading Vaughan’s work again! So could been a lot worse.

[wordsandrobots]

IBO reference notes on . . . queerness

How has it taken me this long to write about this aspect of the show? (He asked rhetorically, staring at the enormous amount of fanfic that basically stands as a thesis statement on how very queer this part of the Gundam franchise is [as opposed to all the other terribly straight parts, he added, sarcastically].)

Anyway, let's do it. Full spoilers up to the end of the show will follow, together with discussion of child abuse and exploitation, since that is what IBO is all about.

Special thanks to @lilenui and @prezaki for their invaluable assistance in locating sources.

Statement of caveats: this work is an amateur analysis of the English-language localisations (subtitled and dubbed) of a piece of Japanese media. I do not speak or read Japanese. I am myself bi, which qualifies me to be attracted to more of the cast than the average viewer, and have a working knowledge of LGBTQ+ history in the UK and USA, which tells me nothing about the cultural and historical context in which this anime was made. As such, I will not be addressing the behind-the-scenes production or the corporate mandates surrounding it but will focus narrowly on what I perceive to be present in the text (hereafter meaning both the script and animation, and any additional fictional details provided elsewhere).

Queerness in Gundam

Some background before we dive in. To my knowledge, the first character in the Gundam franchise to be intentionally depicted as LGBTQ+ is Guin Sard Lineford from Turn A Gundam (1999). An ambitious young aristocrat who spends the series on the line between hero and villain, he is infatuated with protagonist Loran Cehack and the show makes little attempt to play this as anything other than one man falling in love with another.

This is entirely one-sided and not appreciated on Loran's part, although that seems to have less to do with it being homosexual attraction than with Guin's high-handed and entitled attitude to life, filtered through heavily gendered social norms. For plot reasons, Loran spends several episodes cross-dressing as 'Laura Rolla', corsets and all, and Guin continues referring to him as 'Laura' long after the deception is no longer required, saying it 'suits him better'. Guin is eventually called out on this by a third character, who accuses him of forcing an idea of feminity on the other man rather than stoop to place himself in the position of a 'wife'. Objectifying Loran is presented as of a piece with Guin's overall flaws as a person, to whit, putting his own views about how things should be above the material reality and desires of those around him.

Guin is also the only explicitly gay character in the show (I'm honestly not sure how to classify whatever Dianna Soreil and Kihel Heim have going on, but it's certainly not labelled in the text). Therefore no counterpoint is provided to demonstrate healthy queer relationships. I don't state this to dismiss his inclusion: he forms part of a smart, nuanced plot thread, and Gundam creator Yoshiyuki Tomino had to fight to get Guin's homosexuality clearly included. But even so, Guin is a palpable step forward rather than a watershed moment, and the end result veers close to some nasty stereotypes about queer people imposing their desires on others.

There are other examples of characters transgressing gender norms in Turn A, most especially Loran's aforementioned cross-dressing. He is comfortable playing the part of 'Laura', in ways that mitigate viewing this situation as the extended joke it might be in another production. Funny moments do come up – particularly in the lead-in to his 'debut' as he acclimatises to the female attire of the show's pseudo-Edwardian setting and takes posture lesson – but he and the concept of a man in ladies' clothes are never made a subject of mockery. The same cannot be said for the character of Sochie Heim, whose attempts as a young woman to fulfil a gung-ho masculine role often turn comedic. This is part and parcel of her assaying militaristic modes of action, which are soundly mocked across the board. It nevertheless stands out next to Loran/Laura.

Further, Loran's status as a literal moon-child carries implications for his attitudes. His dismissal of existing social standards on Earth is very much presented as correct, and in keeping with what I know of Tomino's other writing and stated beliefs, but it dovetails unfortunately with a treatment of queerness as otherworldly, not something that may be found among an average population. We get another example of cross-dressing in the next-but-one series, Gundam 00 (2007, not a work Tomino helmed), where the usually male-presenting artificial lifeform Tieria Erde switches to a female presentation (in a ball-gown, no less) during a covert mission. This sufficiently parallels Loran's case, I assume it was a deliberate call-back, being as it is a disguise enacted by someone even less typical than a boy from the moon.

What I am driving at is that while Guin, Loran and Tieria may be characters who are queer or perform queerness in some manner, they do not necessarily represent an outright embracing of queerness as a mundane facet of everyday life.

Fast-forward to 2024 and the latest mainline Gundam show is a lesbian romance.

If you have been following my blog for a while, you will know I do not hold The Witch From Mercury in especially high regard. I think it is annoyingly messy, frequently half-baked, and, broadly-speaking, exactly as frustrating as I'd expect from the guy who wrote Code:Geass. It's still an explicit love story that opens with a clangingly blunt statement about the acceptance same-sex relationships and ends with the two female leads happily married to one other. For all its flaws, I genuinely think the central relationship between Suletta Mercury and Miorine Rembran is a nice piece of story-telling, not to mention admirably open about what it is doing. Like it or lump it, Gundam is gay now, properly, with a protagonist and co-protagonist who can be definitively labelled queer and whose romance appears entirely unremarkable for the setting (in terms of being same-sex; clearly there is a lot to remark upon otherwise).

I would be remiss if I did not mention that the conclusion of the series was accompanied by a certain amount of corporate arse-showing, with hollow attempts to walk back the ending seemingly for the sake of appeasing homophobic elements within and without the companies that produce Gundam. The frankly laughable nature of these actions stands testament to how unequivocal G-Witch is. It is flatly impossible in my opinion to interpret as anything other than flagrantly homosexual, and that's great.

Between this interesting but limited start and the full-throated present lies Iron-Blooded Orphans (2015), my absolute favourite and the show that got me writing slash fic after years of… not doing that. So: what is the deal with queerness in IBO?

Natural for a human

By my count, including all present spin-offs, there are three characters stated in-text as being attracted to people of the same gender (Yamagi Gilmerton, Iznario Fareed, Deira Nadira), two who are at the least open to the idea (Norba Shino, Mina Zalmfort), two whose mutual attraction is stated within the context of polyamory with a third person of the opposite gender (Atra Mixta, Kudelia Aina Bernstein), one whose sexuality is briefly hinted at (Chad Chaden), and one male character who is possibly not attracted to women (Orga Itsuka).

Let's get Iznario out of the way first, because the less time we spend on the actual paedophile, the better.

Lord Iznario Fareed is a rich, powerful aristocrat who sexually abuses young blonde boys and inadvertently sets large parts of the plot in motion as part of quasi-villain McGillis' backstory. In a lesser show, Iznario would be the embodiment of the 'predatory queer' stereotype Guin skirts the edge of. Here, however, he is very much not the only 'gay' character present and his proclivities demonstrate one of the many ways the world exploits vulnerable children, a core theme of the series. Early on, we see fleeting glimpses of young girls being pimped out on the streets of Mars. Iznario shows this social failing extends to the much richer Earth and although he is portrayed as the worst among the Gjallarhorn elite, they all abuse their power for personal gain. Thus, as much as the reveal of what he has done carries a certain shock value, it is not present purely for cheap impact. (This isn't the essay to discuss it, but the flashbacks to McGillis being abused as a child are a masterclass in how to frame such things around the victim, clearly communicating what's happening while avoiding gross voyeurism.)

I don't know how deliberate it is the canonical gay character who is shown in an entirely positive light fits the profile of Iznario's victims to a T, but it does underscore we're looking at a case of power allowing people to get away with hideous things, not a stand-in for queerness in general. To an extent I resent having to spell this out, since it seems so obvious Iznario is not fulfilling the role of a homophobic cliché. Sadly, the cliché exists and the point is worth discussion.

Moving swiftly on: Yamagi and Shino.

Yamagi Gilmerton is a small, quiet teenage boy with a somewhat withdrawn and acerbic personality, who spends much of Iron-Blooded Orphans nursing a hopeless crush on mobile suit pilot Norba Shino. Like the majority of the cast, Yamagi is a child soldier, but a mechanic rather than a combatant. Additional backstory commentary reveals that he struggled on joining CGS mercenary group due to his physique. Indeed, while this detail is not directly referenced in the anime itself, he is indeed drawn noticeably thinner than the other boys.

Again, we veer towards stereotypes, where a queer character is portrayed as weaker and more effeminate. Yet in spite of leaning this way in looks, Yamagi is an eminently capable person, never treated as lesser for fulfilling a support role rather than being a fighter. If anything, IBO goes out of its way to highlight how vital good mechanics are to mechanised warfare, and we see multiple examples of Yamagi being both assertive and kind of badass. At one point, he scales, unaided, an 18 metre tall mobile suit that's collapsed to its knees. When he and Shino are revisited in spin-off game Urdr Hunt (soon to be some form of animated production), he pilots a spaceship within an active battle-zone, flying escort for a damaged freighter as it retreats. In Season 2, he's comfortable ordering Tekkadan's new recruits around and is the first person to properly chew Orga out for his failings as a leader. Far from being an outlier among the protagonists, Yamagi is equally brave and dedicated to the cause, irrespective of his sexuality.

To be fair, he does tend to clam up and grow more awkward around the object of his affections. To be equally fair, he has the misfortune of having fallen for the most oblivious himbo on God's red Mars.

Shino is a big, boisterous warrior, the polar opposite of Yamagi in personality and physicality. He embodies Tekkadan's machismo, eagerly anticipating the chance to prove their strength and generally being a standard bearer for becoming the biggest, baddest group around. Things are not as straightforward as they seem on the surface, however. He shows a good awareness of when the group is in over their heads – going so far as to suggest retreat in the face of bad odds several times – and he is not nearly as sure of himself as he might first appear. He displays a wide streak of insecurity about his abilities as a soldier, reacting badly to people questioning his dedication or competency. And he crumbles completely when some of his comrades are killed as the result of a split-second mistake on his part, stating a wish to have died in their place. Thereafter, he acts in ways that read as choosing to take all the risks on himself rather than go through more loss. It makes him an interesting mix, someone who acts as a cheerleader, boosting everyone else's morale, while swallowing his own doubts and personal fatalism.

He is also presented as one of the most sexually active members of Tekkadan, using his wages to visit brothels to sleep with women. Indeed, he is frequently found extolling the virtues of the opposite sex, referencing collections of pornography (at least in the English dub), and generally being a very typical teenage boy about such matters.

Given this, you might assume Yamagi is longing hopelessly for a straight man. That is indeed the idea the show teases us with for much of its run (can something be straight-baiting? I feel if anything ever earned that title, it's this). OK, Shino's fond of Yamagi as a friend and frequently relies on his assistance in improving his fighting ability, and per ancillary material, is the one who got Yamagi transferred to the mechanics corps in the first place, rescuing him from struggling in the infantry. And sure, Shino spends an awful lot of time in very close proximity to Yamagi, including literally pulling him into the cockpit to assist with a mission. And yes, Shino is absolutely a flamboyant creature, sporting gold ear studs and an attraction to the colour pink, ensuring his mobile suits are painted all over magenta in order to stand out on the battlefield. And certainly, Shino is extremely empathetic, adjusting his attitude depending on his impressions of other people, such that he dials his boisterousness down in Yamagi's presence, displaying a far more gentle affection than he does with his other friends.

But clearly he hasn't noticed Yamagi is head over heels for him.

Right?

Well, towards the end of Season 2, during another moment where Yamagi is literally sitting on Shino's knee, Shino proposes the two of them drink together all night long once the fighting is over. Not only is this an unambiguously romantic overture (he's asking while pushing aside the fringe that normally covers half of Yamagi's face, in order to look into his eyes properly), it comes after a joke several episodes earlier in which Shino has to explain to a less worldly comrade that a girl inviting you for a drink is not a request to go out with the whole gang but a far more intimate gesture (I say explain, it's more expressing incredulity Akihiro didn't realise Lafter was asking him on a date). Later, it is revealed Shino did indeed work out that Yamagi 'likes' him (to his friend Eugene's exasperation that it took him so long to notice), and he reacted with amazed delight to discover there was someone in Tekkadan who'd fall in love with 'a guy like me'.

He'd assumed because Tekkadan is a family (a description provided by their ally Naze, which everyone just kind of runs with), romantic love wasn't possible between them. Having worked through this mental block and finally realised the blindingly obvious, he renews his desire to protect Tekkadan as long as he lives, refuting his previous view of himself as an expendable human shield and heading out with every intention of surviving all the way to the end.

And because IBO is an exquisitely-written tragedy, he is promptly killed while attempting a futile one-man attack against their enemies, his advances on Yamagi forming part of a long build-up whereby the boy who loves him provides the tools he needs to charge into a suicide run.

Right then. *drags out the reading comprehension soap-box* I have seen some people refer to this as an example of the 'bury your gays' trope, and there is nothing more likely to get me manifesting behind you in the form of an irate shoebill than to do likewise. 'Bury your gays' refers to a tendency for queer characters in fiction to disproportionately suffer tragic fates. This is a writing choice usually rooted in the idea queer relationships are inherently tragic, either because they are viewed as a perversion of 'correct' forms of love, or because of some misguided idea the prevalence of homophobia means queer joy is impossible. I am going to be charitable and concede this is indeed a case where one half of a budding homosexual relationship dies horribly. But, as always, the context matters.

All but one of the romantic relationships established prior to the epilogue of Iron-Blooded Orphans end in death. Of the two that survive in some capacity, one is a heterosexual background romance between two older characters and the other is a pair of women I shall be covering later. IBO is a story about child soldiers that does not shy away from the fact these are teenagers being fed into a meat-grinder. That the director's original intention of killing every named character was toned down (to the series immeasurable benefit, in my opinion) dos not change a narrative arc towards doom.

Within this, Yamagi and Shino aren't singled out for being queer. The coyness around Shino's eventually-evident bisexuality serves to generate an instant of hope and relief right before the rug is pulled from under everyone's feet. Where Shino's death does differ from those of other characters is in presentation: he dies alone and does not get any form of farewell or the passing-on moment afforded to others. But that is only to be expected, since we're talking about the point where it becomes clear there is no saving the situation. It's a cruel, abrupt moment of bad luck, puncturing the heroic idea of scraping victory at the last second. Shino flew out intending to live and he died anyway. A queer relationship forming part of what he was fighting for is an almost incidental detail.

(As an aside, I am aware of two other examples in Gundam fiction where a pilot and a mechanic have a doomed love affair. One is in Char's Counterattack, where a male engineer's romance with a female pilot ends with them both being abruptly killed, and the other is from Gundam AGE, where a female mechanic sacrifices herself for the greater good, leaving a male pilot to mourn her loss for the rest of the series. Shino and Yamagi reiterate this same concept.)

Stepping back from the tragedy, Yamagi's love for Shino is as delightfully underplayed as the other relationships in the show, with little emotional melodrama being wrung from the romance itself. Yamagi can't bring himself to declare his feelings, frequently turning cold instead and perpetuating Shino's misunderstanding of where they stand. Yet Shino ultimately proves enthusiastic for the idea, rendering moot any concerns Yamagi had over getting turned down (going beyond the text, a Q&A with the series' director confirmed Shino was written as bi). Equally, in the aftermath of Shino's death, Eugene comforts Yamagi by relating the truth of Shino's earlier realisation and even going so far as to rebuff Yamagi for implying there's something wrong with him for grieving. This and other interactions in the same episode imply those nearest to the pair were well aware of Yamagi's desires and had absolutely no problem with them. The prevailing attitude within Tekkadan is one of complete acceptance for its members and this is no different.

Indeed, for me, the most important part of how queerness is represented in IBO is that it is treated as just another aspect of the diversity of the cast. I've seen it stated that viewing homosexuality as a natural part of human existence was Tomino's motivation in making Guin gay. IBO presents us with the same idea, far more seamlessly and far more positively.

Now, let's leave the anime proper and look at the same-sex pairing from spin-off manga Iron-Blooded Orphans: Moon Steel.

Deira Nadira and Mina Zalmfort are part of the Gjallarhorn nobility and their marriage was arranged to strengthen relations between their two families. We see an example of a similar political match in the main show, where the heir to the Fareed family, McGillis, is betrothed to the second child of the Bauduins, the much, much younger Almiria. That this can take place regardless of the gender of the participants has big implications for the functioning of a bloodline-focused aristocracy. Presumably it indicates they are happy to use medical technology to ensure the Nadira family continues into the next generation, and if same-sex marriages are thus permitted, that means fewer factors to worry about when it comes to perpetuation. Whether male-male weddings are allowed too remains an open question; given the existence of real-world double-standards, it is possible Deira and Mina represent the only acceptable form of homosexuality. Nevertheless, that it is accepted speaks volumes. Gjallarhorn is not an especially progressive organisation, built as it is on rigid class structures and notions of human purity. Yet here we are.

Perhaps we should have expected that the norms around gender in this system don't correspond to strictly patriarchal patterns from the real world. Carta Issue, a key player in Season 1 of the anime, is the only child of the Issue Family's current leader and positioned as his sole heir, irrespective of the fact she's a woman. The logical inference is that any children of hers would count as Issues, rather than belonging to a potential husband's family. Deira is similarly the heir to her father's position, although intriguingly, it's not outright confirmed if she is his only child or simply the oldest. The possibility exists that gender is a non-factor in determining inheritance.

With respect to sexuality, Deira seems pretty obviously intended to be a lesbian. Her relationship with Mina is presented as one they are both happy with, despite it being an arranged by their parents, and Deira is depicted in the manual for Gundam Gremory's model kit as favouring the clothes of 'a handsome man'. She doesn't present that way within the manga' story, first showing up wearing the standard unisex Gjallarhorn pilot-suit, then wearing a formal gown for a meeting while in an official capacity. But she is depicted wearing masculine clothes in silhouette when initially mentioned and in a post-story panel at the back of the final volume.

(Another aside: the fan translations I use for this part of the manga refer to Deira using male pronouns when she's introduced. However, that could simply be down to the poor quality of said translation; she's consistently referred to using female pronouns in official materials and the game adaptation of this scene has her named as simply 'Lord Nadira', the standard appellation for Gjallarhorn family heads.)

Whether Deira's code-switching is the result of institutional expectations around her role or personal preference, it adds extra texture to her depiction. While civilian garb was designed for the adult version of Carta and closely matches conservative gender expectations for a woman, she's never shown wearing it, so we don't have a point of comparison to judge what's required of a character in Deira's position.

Regarding Mina, you'll notice I grouped her with Shino rather than the characters whose sexuality I consider to be stated outright. With Shino, the nature of his sexuality is not put absolutely beyond question in the text. This is splitting hairs due to the overt nature of what's on screen but the fact remains, the anime doesn't clarify if his being open to Yamagi's love means he already thinks of himself as bisexual, or if this is something he hadn't considered before. With Mina, it's more a case that I'm unwilling to label her one way or the other based on the available information. Deira carries sufficient signifiers, I find little room for doubt over the intention. We also have an outright statement that she holds great affection for Mina regardless of being obliged to consider her an eventual romantic partner. Indeed, she becomes so upset by believing her fiance dead, she runs off to Antarctica in a Gundam. But the exact depth of Mina's feelings in return is not discussed.

In addition, Mina is considerably younger than Deira. McGillis and Almiria's match takes place when he is (probably) somewhere in his late twenties and she is nine, with plans for the union made four years prior. This is not great, to put it mildly, albeit fairly typical of how such things have historically worked for nobility. Based on appearances and how they are treated by the rest of the cast, I would assume Mina to be in her mid-teens, and Deira to be in her early twenties (annoyingly, exact ages are provided for several characters in Moon Steel, just not these two). A less dramatic gap (and I don't believe Mina is meant to be quite as young as her appearance perhaps suggests), yet still significant when one of the people involved is below what we'd consider adulthood.

There is no indication of anything untoward going on, within the confines of the situation, similar to how we're given no indication McGillis is abusive towards Almiria. Any comparisons with Lord Iznario's activities lie purely along the axis of how children are exploited by adults even without suffering directly. All indications are that Deira and Mina have made the most of something they have little choice in. Regardless, I still feel more comfortable describing Mina as open to being in a relationship with another woman, rather than pinning her to a specific preference.

Continuing the theme of things where doubt or ambiguity exist, let's discuss some characters were there shouldn't be any: Atra and Kudelia.

I don't know about you, but I find it extraordinarily hard to read this as anything other than a three-way love-confession. Still, in the interests of fair play, let's review the wriggle room for declaring this something else.

Kudelia Aina Bernstein and Atra Mixta are love interests of nominal protagonist Mikazuki Augus, in an iteration of another tried-and-true trope, that of a male lead inexplicably being attractive to the female characters in his orbit. Or rather, it would be if the show didn't take such pains to demonstrate why these girls fall for him, setting up a long-established crush on Atra's part (rooted in him being the first person in the world to be nice to her) and a mutual respect on Kudelia's that gets spurred to more when Mikazuki randomly decides to kiss her because she 'looked cute' (Mikazuki has the manners of a feral stray raised on the streets, because that's precisely what he is).

Justification aside, this has the makings of a traditional triangle, that is, one without a connecting base, which we might expect to be resolved by either Kudelia or Atra 'losing out'. For a few episodes, this does indeed seem where we are headed. Then Atra discovers the concept of polyamory via the polygamous Turbines group and all bets are off.

Having realised it is perfectly possible for a family to consist of multiple romantic partners, Atra proceeds to work towards ensuring everyone gets everything they want. Strictly speaking, this doesn't mean she is attracted to Kudelia as well – even if she clearly recognises Kudelia as an attractive person from the start and…

You know what? Acknowledging that the information about their eventual marital status was only stated in interviews at live events with no official record and seems to have been framed around raising the son Atra has with Mika, I'm going to abandon the pretence of both-sided objectivity and go straight for the throat. Turns out my patience for soft-footing this lasts about as long as it takes to say 'bi-erasure'.

Over the course of Season 1, Atra not only decides the end-game is some form of three-person wedding, she also:

Shows no jealousy over Mikazuki and instead chides him for not providing the correct emotional support to the girl he kissed.

Spends a great deal of time with Kudelia and enthusiastically throws herself into furthering Kudelia's goals, without necessarily understanding the technicalities.

Covers for Kudelia by pretending to be her during a confrontation with Gjallarhorn soldiers, getting herself soundly beaten up in order to prevent them from chasing after the real deal.

Drives an armoured car through a battlefield for Kudelia's sake, safely delivering her to a vital rendezvous.

Leaps in front of a massive mobile suit to push Kudelia out of its path, physically shielding the other girl with her body.

As much as it pains me to resort to the 'if this were a man and a woman, would it read as romantic' crudity – yes! Yes it would! Especially since in Season 2, Atra presents Kudelia with a good-luck charm bracelet she has woven, something she previously did for Mikazuki explicitly out of having a crush on him. I'm all for embracing platonic love (which is why Takaki and Aston are not featuring in this rundown) and there's nothing in the above list necessarily entailing attraction beyond deep friendship. But when Atra consciously repeats her actions towards Mikazuki (someone she goes on to definitely have sex with) with Kudelia and it leads to the scene between them where they declare how they feel about each other and Mikauki, looking for non-romantic angles takes more effort.

After all, if we are to read Shino's openness to Yamagi's affection from the things he says and how he looks saying them, we can certainly do the same for Atra and Kudelia's use of the word 'like' in reference to one another and their reactions to hearing it said of them. (Obligatory note that if there is some nuance in the original Japanese the translation doesn't capture, I'd love to hear about it. The English scripts, however, leave little to the imagination.)

It is indisputable that Atra feels a strong affection towards Kudelia and while I have been focusing on her a lot (she is by far the most proactive member of the triad), Kudelia reciprocates at every opportunity she is presented with. Even if there truly wasn't an intention to portray this as exactly equivalent to Atra and Mikazuki, the end result manages to be on par with Yamagi and Shino. Consider Kudelia and Mikazuki, for example. In terms of portrayal and the two-girls-one-guy trope being explored here, they have the same level of chemistry and the same absence of overt consummation as Kudelia and Atra, and it would hardly be a serious position to claim the show does not place the two of them in romantic conjunction, now would it?

You may at this point be wondering why I am getting so defensive of reading Kudelia and Atra as romantic partners. Honestly, I am too. On reflection, I think it's because IBO is playing around with such a worn-out and insipid means of wringing drama from characters who should know better, I keep searching for the catch. And yet there isn't one. This show really did respond to a nascent love chevron by having the mousy, homely girl tell the governor's beautiful daughter to shut up and get in the polycule, and turned it into a true triangle.

That's wonderful. I cannot properly express the wave of joy and relief that came over me when I realised this was the direction they were taking. It ends in tragedy, of course, Mikazuki giving up any chance of a peaceful life to die in battle, far away from the women who love him. But their lives continue because of his sacrifice and by all appearances they remain together. In some ways, for the overarching message of hope persisting on the back of heartbreak, the precise details of that arrangement don't particularly matter. So why not take the gayest reading possible?

What an excellent segue into a blink-and-you'll-miss-it, probably-stretching-too-far, nonetheless-compelling potential bit of queerness: Chad in the series epilogue.

One of the many tertiary characters in Tekkadan, Chad Chaden has minor speaking parts throughout Season 1 and a larger role in Season 2. He initially appears during a particularly dire early moment when it looks like everyone is about to be killed by attacking mobile suits. His obvious resignation to this fate sets the tone for a rather dour personality, at least while on the clock. Chad starts out as human debris, a person enslaved after a space battle and sold to the CGS military group as free labour. This gives him a very matter-of-fact attitude towards fighting and the kill-or-be-killed nature of being forced into it – he voices the sentiment that even when facing other human debris, they can't afford to show mercy.

Off the clock, Chad displays a more sensitive personality. He seems studious, learning about interplanetary communications from Kudelia's maid Fumitan and later being promoted to leader of Tekkadan's Earth branch. He has some difficulty acclimatising to being treated as a free person, proving unsure about the concept of wearing a smart suit instead of his normal fatigues. And he grows anxious when he returns to Mars to discover nobody told him two of the few adults in the group (Yukinojo and Merribit) had started dating, worrying that he's no longer 'one of the guys'.

The most we learn about his relationship preferences prior to the series epilogue comes in a comedic sequence about a third of the way into Season 2, when Shino suggests a trip to a local brothel. Eugene responds by proclaiming that he's realised money will not buy him true love. This prompts Chad to ask Merribit if this is true and, on her saying she supposes so, opts out of the trip as well. Judging by his body-language in the next frame where he appears, this is possibly a decision he regrets – perhaps owing to his anxieties, since he just passed up the chance for some team-bonding.

None of this is directly relevant to the topic of this essay. If anything, the scene I just described suggests that, like Eugene, Chad has previously gone along with Shino in paying for sex with women, only to discover he wanted more than just physical intimacy. But then we get the exchange in Kudelia's office during the last episode, following a time-skip after Tekkadan's defeat and dissolution. Now working for Kudelia as an assistant of some kind, Chad notes that Merribit is shortly to give birth to her and Yukinojo's second child, saying he and Yamagi intend to meet up later to plan a celebration. Eugene reacts with amused disbelief, accusing them of just wanting an excuse to go out drinking, to which Chad retorts, 'what's wrong with that?'

And the thing is he's blushing when he does. Which may simply be because Eugene is accusing him of slacking off – IBO characters blush all the time and their embarrassment is frequently to do with being caught acting immature or otherwise against how they want people to see them. But given the weight that 'drinking the night away' carries in regards to Yamagi following Shino's actions shortly prior to his death, it is easy to speculate this represents something more specific.

As far as I can recall, Chad and Yamagi do not interact at all over the course of the show's two seasons, meaning these lines present a rather unexpected combination of characters. Eugene would have seemed a more likely candidate to associate with Yamagi. He's positioned as Shino's closest friend, he comforts Yamagi over his grief, and they are together for much of the climax to the series' plot. So what has happened in the years since, that Eugene's teasing should elicit a blush from Chad instead?

If we put on our shipping goggles, it's far from a nonsensical pairing. Chad goes through an arc not too dissimilar to Shino's. He is knocked into a coma while protecting an ally from a bomb blast and subsequently the Earth branch gets swept into a war orchestrated by one of the factions within Gjallarhorn. On recovering, he blames himself for the many deaths that result, echoing Shino's line about thinking it better if he'd died in place of his comrades. On returning to Mars, he jumps head-first into mobile suit training, determined to make up for his perceived failure as a leader and cheering himself up through rigorous activity. Different though their personalities appear on the surface, there are clear commonalities here. Further, Chad's responses to his traumatic experiences have a more measured quality to them than Shino's. He is not nearly as reckless and provides clear directions to his comrades even while acting as a decoy against a dangerous enemy, rather than abandon any attempt to be an effective leader. Taken together, and coupled to a more long-term view of romance, these qualities might make him a 'safer' version of things Yamagi loved about Shino, creating space for them to be drawn together.

Or perhaps they're simply the most logical points of contact between the ex-Tekkadan survivors at the Admoss Company and Kassapa Factory and intend to make that an excuse to get companionably plastered for no greater reason than it being a nice time. I am speculating over a couple of lines and an animation choice. Nevertheless, it does not feel like unreasonable speculation. When we already have a veritable gaggle of characters who are queer or may trivially be read as such, it's hardly a stretch to assume one more.

Chad/Yamagi doesn't appear to be a thread the fandom at large has pulled on much, likely because the pairing of Shino and Yamagi is so prominent, it eclipses a mere throwaway possibility. But I'm glad it exists within easy reach. And even if we take off our goggles, these lines demonstrate life for the characters has not stopped. The ex-slave and the gay kid are not stuck, trapped by the tragedies of their past. They have instead grown in both confidence and happiness and now have peaceful, stable lives where they're on going-out-drinking terms. That above all is why I wanted to explore this exchange: it reinforces Iron-Blooded Orphans' rejection of the idea the suffering people like Chad and Yamagi go through is perpetual or inevitable.

OK, one more character to look at. Let's talk about Orga and asexuality.

Orga Itsuka, leader of Tekkadan and instigator of the series' events, is notable for his charisma, his drive to provide a safe home for his comrades, and his complete unsuitability for the grown-up activities he attempts. Trying to party all night leaves him puking up his dinner. He forces himself into a suit and tie to handle the administration of a break-out paramilitary company, despite finding it stultifying and bewildering. His goals spin like a weather-cock, as he's surrounded by older characters possessing strong convictions while unable to stick to his own. And he is ultimately undone by an unwillingness to ask for help, having assumed that, as leader, he must decide everything alone.

I suspect his expressed lack of interest in women is intended to help convey overall immaturity. Orga is a good soldier and tactician, but he plainly isn't prepared for adulthood, lacking the grasp on the complexities of life that implies. Making him uncomfortable about sex serves to heighten the impression of a teenager trying to navigate circumstances for which he's not yet ready.

Relatedly, it should be stressed Orga stating he 'doesn't care' about woman is a response to Eugene asking if he agrees love and kindness are what's important, as opposed to Shino's endorsement of boobs. On hearing this response, Eugene proceeds to mock his commander for inexperience. That he himself has only just had his first sexual experience with another person and previously said much the same about not caring about sex simply proves hypocrisy is a fundamental aspect of Eugene's characterisation. The whole scene is very teenage.

Matters have not improved much when Orga and Eugene's dynamic is revisited in one of the side-stories released via the Iron-Blooded Orphans G mobile game. A year and change later, Eugene continues to act superior about having 'experience' where Orga doesn't.

Orga takes this rather poorly.

(Subtitles by @trafalgarlog)

Eventually Merribit has to shout at them to stop being brats, shaming them for behaving like argumentative children. It's funny – and then you remember they basically still are children and this is headed towards more carnage that will not spare them for being young. Such it is to engage with Iron-Blooded Orphans.

What does any of this tell us about Orga's sexuality? In principle, taking it as a device to convey immaturity, nothing. Orga's persisting virginity could simply mean he's not worked out this aspect of himself yet. He is a busy young man who likely hasn't had the time to try.

Alternatively it could mean he is gay. Mikazuki/Orga is an extremely popular ship in the fandom and we might take Orga's professed lack of interest in women as 'evidence' of him swinging the other way.

Or we could take my view, that Orga is asexual and his embarrassment is rooted in just not getting what the big deal is.

To immediately clarify, I don't think he is ace because he 'hasn't worked out what he wants', I think he's ace because he blushes on admitting he doesn't care about women and does not try to prove otherwise once he's in a position where he could easily do so. In circling back to the same joke for the side-story, the writers portray Orga as continuing to be uninterested in sex and sensitive over being needled about it. Again, a feasible interpretation is that he's into guys. Yet this is an argument with Eugene, whose response to the idea of Yamagi being in love with Shino is basically 'you mean you didn't notice?' Eugene is a dork and jerk; he isn't bigoted. None of the Tekkadan guys are. It's unclear if homophobia is even a factor in the setting. Sexism is, but when someone as superficially macho as Shino is comfortable with male/male attraction, and there are same-sex weddings inside Gjallarhorn, we cannot assume stigma exists around being gay. So why should Orga be worried, unless it goes beyond a question of who you're attracted to and into the answer being 'nobody at all'?

When you're surrounded by people who happily wax lyrical about how the joys of sex make you a real man, the absence of a libido might easily become a sore point.

Again, I'm supposing. Again, there is room to do so. As I touched on with Chad, it is easy to read queerness into the text when the assumption of straightness has been taken away, which is something this show does wholeheartedly and deliberately.

Orga Itsuka is one of the first characters I looked at and realised, not only shouldn't I assume heterosexuality, I shouldn't assume sexual attraction at all. I cannot credit Iron-Blooded Orphans alone with this. I do credit it with being a piece of media that applies itself to inclusiveness in ways quite remarkable for a show about giant robot fights, produced to market toys.

The word we want here is 'normalisation'. IBO has a lot to say about what constitutes 'normal' and a lot of it accords well with my own views, particularly those that have me twitching whenever anybody demands we 'be normal' about something. Normality is horrible. It is cruel and it is callous. 'Normal' is a world run on exploitation, on slave labour and on police savagery. Normal is children forced to risk their lives to earn the money required to feed themselves, because it is normal for their parents be gone, or incapable of supporting them. War is normal. Corruption of political systems is normal. Death coming more rapidly for those deemed expendable by society is very, very normal.

But so is protest. The drive to do something, to change things. The capacity for caring about each other. Love. 'Normal' is just a statement about what surrounds us every day, for worse and for better. In too many pieces of fiction, normality is narrowed, rendered a neater, cleaner picture, often excluding the kinds of people we might run into on the street, or walk past, or see on the news, distant and dehumanised.

Queerness is normal, yet for a long time it has been one of the first things to be cut out of fictional worlds. And when it is present, it's a big deal. An object lesson or a cry of triumph over breaking free of unfair strictures. I love stories about queer joy and victory. Heck, I'm a sucker for a good, soppy gay romance. But these aren't the only kinds of stories we tell. Sometimes we need to reflect the worst aspects of the world and what it does to normal people.

In attempting this, Iron-Blooded Orphans commits to an idea of 'normal people' that includes those who are gay or bisexual, those of colour and those we'd call white, the polyamorous, the illiterate, the desperate, the powerful, those who throw themselves into the fight with everything they have, and those who are simply kind. Those who are accepting, understanding and compassionate. Those who need to be accepted, who struggle to be understood, who suffer for a lack of compassion.

There are all sorts of people in IBO and – as a certain cheery, violent dumbass once said – man do I love it. I don't believe it is reading against the spirit of the thing to imagine more diversity than gets outright stated, to interpret one of the leads as ace or suppose another side character is bi or pansexual. It would seem entirely natural if they were.

Everyone's welcome here, down among the debris and the bloodshed, where hope is precious and fleeting and still somehow endures. So why shouldn't we raise a few extra pride flags?

Queer as in 'fuck you'

This all said, taken as a whole, Iron-Blooded Orphans is not a story about queerness or queer romance. Nowhere is this clearer than in its ending.

I skipped over the framing of the final scenes of the anime when I discussed Kudelia and Atra. They form a striking contrast with the ending of The Witch from Mercury, where the conclusion is directly focused around Suletta and Miorine's love for one another, their bonds of wedlock, and the happiness they have found together. This follows from the show being primarily about their relationship. In Iron-Blooded Orphans, the ending focuses not on Kudelia's feelings toward Atra, but those she has for Akatsuki, Mikazuki's son, with Eugene even saying she's eager to go see 'the man she loves', setting up a brief moment of uncertainty over who the character with Mikazuki's outline actually is.

The nature of Kudelia and Atra's relationship post-time-skip is implied rather than stated: in the English versions of the script, they do not refer to each other using terms suggesting they are married, although Atra has dropped her habitual 'Miss' from the front of Kudelia's name. They do not have wedding rings (redundant as those would be alongside the charm bracelets) and Akatsuki does not call Kudelia 'mom'. That they are raising him together is suggested very strongly, in line with Mikazuki asking Kudelia to be guardian of his child if he died. There are non-romantic ways of taking this idea, though, and none of these are closed off as viable interpretations.

But why should we expect some definite statement about romantic status when the point being conveyed is how Tekkadan's legacy continues to shape the world? This is a story concerned with the exploitation underpinning the world and the effort required to make even the smallest wide-scale change. It is about how people trapped at the bottom of the pecking order are still people, still human, messy and complex. It is about their pointless deaths, they ways they struggle on until those deaths come for them, and why they matter, even if the world forgets them.

Mikazuki, the living weapon, the human sacrifice for Orga Itsuka's reckless ambitions, leaves behind a child who will grow up in a more peaceful time, in a society slightly better off than when he and Orga were starving on Chyrse's streets. He doesn't live to see it; Akatsuki does. For all the failures, the attempt wasn't a waste. Don't you dare disrespect the people who died by saying it was.

This is where the epilogue centres, on Akatsuki and on Kudelia's cherishing of the world Mikazuki and everyone else built. Atra and Kudelia's relationship is there, a part of the gentler life they now have (Atra's desires were always towards the version of her existence where Mikazuki retires to a farm; here she fulfils the dream with Kudelia alone). It just doesn't need to take up space for the ending to land.

Yet, as I pour over how queerness is incorporated into Iron-Blooded Orphans, I find myself considering the struggles queer people face in reality. The victims of the AIDS crisis, dehumanised by indifferent institutions. Section 28 and the attempted destruction of knowledge around non-heterosexual forms of love. Riots and campaigns, voices raised loud and proud. How we are equated with dirt and corruption, reduced down to facts others find disgusting. The name-calling. The petty, pathetic posturing that makes everyday existence pointlessly harder.

So it goes for space-rats and degenerates alike.

I am lucky. My life is about as far from that of a child soldier as it is possible to get. My sexuality has been largely invisible. My gender matches the one most favoured by my society. I still have more common cause with those born in poverty on the other side of the world than I will ever have with the aristocrats and billionaires who shape the direction of my country. Because we hold many causes of misery in common. Because we share the same capacities for joy and suffering. Because our humanity is so easily cast aside by those we will never be able to touch.

There is always a place for stories uncomplicatedly about queer love conquering all. Equally, it is important to recognise the places queerness overlaps with stories about the many other ways the world casts people out. It is vital to be able to explore loss, futility and heartbreak. It is essential to capture why we strive onwards despite how heavily tragedy might weight us down.

We may be doomed. Our lives still matter. To ourselves, to each other and, whether they remember or not, to those who come after us.

So, no: for all the queer characters it contains and the many more we might trivially imagine queerness into, Iron-Blooded Orphans is not gay in the vein of The Witch From Mercury. It is not a happy story.

But it is a tenaciously hopeful one and, from certain angles, that alone looks queer as hell.

---------

Happy UK/US Pride Month – in honour and memory of Marsha P Johnson and everyone else who refused to go quietly.

I shall leave you with one of the least straight things ever to be included in any Gundam show.

[Index for further writing]

[ashen-char]

back and forth

my masterlist, to check out my other works, is here

ship: max fox (better things) x gender neutral reader, though fem reader or paisley pov implied

warnings: mentions of a minor/adult relationship that was present in the show. fuck arturo!

summary: all max's boyfriends ever do is make her miserable and doubt herself. but you think your best friend is amazing.

word count: 1100+

notes: have some yearning :) inspiration/request is here

Max's boyfriend is an asshole. You've hated all of them, yeah, but this one pisses you off more than even the others did. Well, maybe except for Arturo. That 36 year old creep was the worst. You watched as Max was mesmerised by the man's supposed maturity and the thrill of dating someone so much older but she still 'clicked with'. Every time you saw them together, it infuriated you. You hated hearing Max go on about how he made her feel special when, in reality, he was just manipulating her. He wasn’t interested in who Max truly was. Not like you are.

From your spot on her bed, you watch as she paces back and forth, phone clutched tight in her hand.

Max had invited you over as she got ready for her date, pouring her heart into her makeup's little details, making you pick between her outfit options again and again. She looked beautiful in everything. Obviously. But now, an hour later than when he said he'd show up, he's looking like a no-show.

"Alright, come here," you say, holding your arms out. Max looks way too anxious and he doesn't deserve that. Not a bit of it.

"Wait, let me just-" Max taps out another text - a "where r u? lol" - her bottom lip tucked between her teeth.

You see her hand start to shake, her knuckles whitening. He's left her on read again. The look of frustration and hurt that etches across her pretty face makes your heart ache. You've seen this scenario play out with every boyfriend she's had, but this one infuriates you most. He never seems to appreciate her, always making her feel small and ignored. It's chipped away at the self-esteem and growth that you've watched Max painstakingly earn.

Max finally sits down beside you with a heavy sigh, her shoulders slumped in defeat. “I don’t get it,” she murmurs, eyes fixed on her phone screen. “Why can’t he just reply? Even an excuse would be something. It’s not like I’m asking for much.”

It's like when her dad couldn't be bothered showing up for her graduation. Max was shattered. You hate seeing her ask for less and less when you know she deserves everything. And you resent the men who can't even be bothered giving her the bare minimum. That they don't even know what they have.

Your hand reaches out to grasp hers, stilling its shaking. She's warm. Soft. The touch sends a shiver down your spine. You're half hopeful that she realises you've always been here and half shit-scared that she'll finally figure out how much you care. So you avoid her eyes. You hate seeing her like this.

"I'll break his fingers next time. Give him a real reason not to text back," you say, hoping the bitterness sounds more like a joke.

She laughs. You'd do anything for that laugh.

But then she looks at you, eyes filled with unshed tears, and it breaks your heart. "Maybe I'm just too much," Max whispers. Her honest fear, not just in this relationship but in life. "Too needy, too intense. Maybe he's right to ignore me. I mean, that'd explain the others too."

But you don't let her joke this away. Your hand squeezes hers, a silent showcase that you're here. That you've never ran. That she's not too much, not for you, not for everyone else that loves her. "No." She doesn't know how awesome she is because of shitty guys like Arturo, or Harvey, or her fucking dickhead of a father. "You're fucking amazing, Max. You're passionate. You care so deeply. Everyone who is loved by you is so lucky." 

Max squeezes your hand, offering a small, grateful smile. “Thanks,” she says softly. "I don't know what I'd do without you."

For a blissful moment, you pretend those words mean more than they do. Pretend that she'll finally see you as more than a friend, that she finally gets it. You’ve always been there for her, a constant in the chaos of her relationships and self-doubt. When the moment passes, you swallow that bitter pill that Max doesn’t know how deeply you care. You hate every one of her boyfriends, not just because they’re not good enough for her, but because none of them see her the way you do. They don’t see her strength, her vulnerability, or the way her eyes light up when she talks about something she loves.

You take a deep breath, deciding to take a risk. “Max, you deserve better." Sincerity, for once, rather than a joke so you could more easily brush it off as platonic. "Like, you're incredible." You gulp. These next words, you'd normally hold them back but she needs to hear them. You can see her vulnerability in those big brown eyes of hers. "I hate seeing how he makes you doubt that."

Max looks at you, an unsure, fragile expression crossing her face. Like she's apprehensive to believe it. “Do you really think so?”

“I know so,” you reply, your voice steady. “And one day, you’ll see it too.”

In that moment, Max’s phone buzzes, and her eyes dart to it as a reflex. You see the flash of disappointment as she realises it’s not him. But then she looks back at you, smiles, and throws her phone on the bedside table.

"Yeah, fuck him. I don't need him to have fun." Max's arms go to wrap around you, head nuzzling into your chest. "Thank you."

Her fingers tangle in your hair, playing with the soft strands of it. She's in your arms just like you've always been desperate for her to be. It aches. But it's the best you've ever felt. A niggling worry tells you that she'd hate you for wanting more. For thinking about kissing her right now.

"You're welcome, Maxie," you say. Because this is enough. Being her friend could be enough no matter how desperately, how passionately you burn for her.

Already dressed up, Max drags you along on a day out.

Every smile makes your heart skip. You love how you could always cheer her up, love how much Max brightens up every room she's in. You two walk hand in hand to a nearby park, one of Max’s favourite spots. The sun is shining, and the air is fresh, and you hope it's the perfect pick-me-up to help her. Strolling along the winding paths, the best thing about loving your best friend is that you can talk about anything and everything. You make her laugh with your terrible impressions of people you both know. The sound of her laughter is like music to your ears. You try not to think about how none of those men could treat her like you would.

Maybe, just maybe, she’ll start to understand how much she means to you. And until then, you’ll keep being there for her, hoping that one day she’ll realise you’ve been the one all along. You know you'd never say a word though.

[vinestaffery]

CAN WE GET SOME YOUNG B ZUKA X READER HEADCANONS? OR LEAST ZUKA HEADCANONS PLEASEPELASEPLSE

He makes me giddy

b. zuka x gender-neutral reader

content: secret relationship; mentions of trauma(?); mentions of blackrock; comfort scenarios; basically fluff; mentions of harsh training; insomnia themes; alcohol/drunk; i dont know what else to add!

authors note: i am back from my break! a bit slow still at the start but im doing better then before. i hope this fulfills your request!! :) again!! stuff will be slow so please be patient with me as i try to recover from some personal stuff. thankyou!

B. ZUKA , PRESENT

Zuka definitely is hard to impress, especially when it comes to his less expressive personality. With him being more kept close, he does have his moments of making you laugh with his stupid dad jokes; he does these more infront of Rocket to influence that embarrassment.

Rocket has no awareness of you and Zuka's relationship, since you both want to keep it in silence. But, this doesn't stop the interactions between you and Broker because he has a platonic-like for Zuka himself. He adores you though!

Though Zuka won't show it, he absolutely loves you. Adores you even. Something about you unlocked more then what he felt with Rocket, but he wouldn't compare his son against you. He would want to protect you both.

Sometimes he has really bad phantom pains in his amputated limb, so you'd end up massaging it and taking care of it. This embarrasses him but again, he won't show it.

More a listener, not a yapper.

He is a collector though! If he finds something that just shines you in any way, even in the smallest things, he will find himself giving it to you in small packages. It's like a free-surprise toy whenever he treats you things

There are days where Zuka struggles to recognize himself, making situations a bit harder to deal with since he would closet himself, and also shy away from interaction. You understand these, though you yearn for him to communicate, you give him time

It's the same with you, he won't treat you any differently. Need time to just spend with yourself? Go ahead, just make sure to take care of yourself. Need someone just to talk to about how you feel? Go right ahead, he's loud and listening. Just need someone to hold you? Say no more.

Zuka struggles MAJOR insomnia due to nightmares, some of his son and some of you. What if you lose limbs like his son? what happens then? He couldn't be there for him, what changes if it were you? What if you died? He couldn't handle the nightmares anymore. When you didn't live with him, they were horrible that his son started getting concerned.

Now, it just feels more safer. He knows your there, and he may cuddle into your chest. You don't mind, he's a big cuddly bear.

The harsh training he had recieved in Blackrock was enough that he has some scars across his body that paints it in intricate strokes. He gets insecure, but he allows you to see them and let your hands strive through. He doesn't care, your hands comfort the back pain he suffers and calms him down.

Zuka does get drunk, fair warning. There will be times where he may not even be able to understand whats he doing and gets reaaal touchy (romantically). He treats your like that one image where a cat is covered in lipstick and the caption spoke about being excited to see their cat. That's what he does when he sees you.

"Hooneeyyyyy!" Zuka slurred.

You turned to face your drunk-husband, gasping and nearly gagging at the strong alcoholic smell.

"Oooh, my preetty/haandsomeee partner!" He wrapped his hands around your neck, soon pressing his lips against your cheek and neck.

The strong stench of booze made you feel slightly gross.

"Baby, your drunk- please," You muttered, laughing at the ticklish feeling of his chapped lips against your face and neck.

"Buut I need 'ta 'ell mi loooove how much I loooooove them!" His thick accent ripped through his throat as he went to smearing all that he can across you.

You sighed, taking the big ol' grizzily bear up the stairs. He limped, nearly getting you both tumbling down.

It took him aaages to get to sleep. Alcohol really stay awake!

He truly is so lovable, and I'm sure he's panicking how the fuck he got someone like you under his wing.

Also, Rocket found out instantly about you and Zuka's relationship the first time he met you (he knows his father well...)

[weeb-polls-with-pip]

Anime Awakenings Finals

Propaganda:

Haruhi -

"When I was a young kid she was sooooo gender to me and honestly she still is. Seeing someone who turned looks in both masc and femme clothing and be so comfortable being perceived as whatever gender made me hella envious. She'll be your handsome girl and your cute guy at the same time and little me wanted that more than anything. Also seeing her pull guys and gals of all types and her just being so nonchalant about not caring about gender whether it's hers, others, or who's attracted to really spoke to me. Now I'm a femboy trans guy and it's probably because of Haruhi and maybe her bisexual genderqueer dad, they're my icons."

"G E N D E R. I wish I could give as few fucks about my gender as Haruhi does about hers. Like, she does identify as a girl, but she genuinely does not care if people see her as a boy or a girl or something in-between, she just wants to be judged on her strength of character. And I was always so obsessed with that aspect of Haruhi's character literally from the first time I watched the anime five years before I started consciously questioning my gender."

"Seeing them disguised as a boy for most of the series (without being upset by it or seeing it as a joke even) made me understand I was transmasc better."

"Despite mostly using she/her, Haruhi's non-caring attitude about her gender helped me in my journey of learning my own nonbinary identity! She acknowledges she's afab but that means next to nothing to her! She doesn't care if people use he/him for her, she doesn't care if she's thought to be a boy by many others, she doesn't care whether she even presents as more feminine or masculine. Even if she's not canonically nonbinary, I consider her important to my journey in discovering I'm nonbinary."

"She gave me a deep desire to be a girl like her, because I've always wanted to be a tomboy when I transition, so she was a very early instance of that gender envy. Add in all the romantic situations she's in with girls as a host, really fed the lesbian in me."

"The fact I actually started the anime because I thought it was yaoi and I found the mc cute (because that's the kind of guys I was into at the time) and when I realized Haruhi was actually a biological girl the attraction stayed even when they were wearing girl clothes and I kinda had a bisexual huh. moment. Also not only did I want them I wanted to BE them, they looked good femme and masc and watching them be so chill about their gender was genuinely… enlightening? Idk all I know is I put less pressure in trying to be a "girl" after I finished the anime. Also just look at their big soft brown eyes, it had 12 y.o. me in a chokehold. Also, that anime was genuinely good when it came to fashion like there's some clothes trends there that no one wears today anymore for good reasons but the characters all somehow make it work still."

Ranma -

"A very young egg me got exposed to Ranma 1/2 and became so utterly obsessed with the idea of falling into the Spring of Drowned Girl that it led to me eventually realizing I was a trans girl. It warms my heart to know the new Ranma anime is probably cracking the eggs of a whole new generation."

"Genderqueer."

"i read this in my formative years and the egg only cracked years later... guy who sometimes looks like a girl but is decidedly a boy no matter what. trans icon."

"Realized I had a crush on Ranma, in both of his gender forms."

[drdemonprince]

this will sound like one of those "let men be masculine" level niche internet community brained posts, but i honestly really was embarrassed of how much i like drag for a while. in the circles that i run in, liking drag too much is seen as pretty cringey and for wealthy cis gays. like everybody knows a few cool avante garde local performers that they fuck with who run queer dance parties that are inclusive and the like, but very few people that i know will just go to a drag show at an entertainment or social engagement for their own sake. it's almost seen as a tourist thing, a normie gay thing.

but its one of the few spaces where i can actually recognize a lot of feminine men and nonbinary man-thing-girly-freaks like of the particular type that i am. leather bars are so masc and buff and im often invisible. bear bars are really nice and i do feel welcome there! but people are only feminine in their mannerisms, not presentation very often. the more explicitly gender inclusive trans/queer spaces cater to more of a wlw and adjacent crowd whose relationships to masculinity and femininity are different from mine. circuit gay bars are obviously terrible.

drag is nice. there's guys with weird little haircuts and long earrings who aren't buff and are swishy and dress interestingly but are a little uncomfortable as their regular selves and have to don alternate personas in order to be outgoing. and i even like that it's okay to be bitchy and insulting sometimes in drag world, like sometimes that is just your genuine feedback on the work someone has done and it's not the end of the world. there's lot of open conflict in the drag world that actually works out pretty alright.

it's a local nightlife scene like all the rest, its got its theater kid bullshit and egos and superficiality out the ass and so many people are trying to be famous or make money, but even to this day i forget that i can just be a really weird feminine guy until i'm around some of them and watching them prance about. i worry about how i look or am being read and then even just watching a fucking drag race episode i'll see like 9 different guys who are so fucking androgynous with their weird assymetrical self cut haircuts that they pass less than i do and they're cis men. they have bodies or faces like i do. and in the local scene it's obviously even better because you're looking at real life people. maybe i should be over it by now but im not, i need to see weird little awkward feminine guys with funny outfits playing dress up and crying and fighting with one another because they never got over their last picked in gym class baggage. its meeee i relateee. i even like that its a little toxic! we've got some issues out here, let's joke with them and make a character of them instead of pretending to be nice!!

i tend to be pretty skeptical of "representation matters!" type shit but part of that is probably because i never really feel represented. i know, boo hoo, thin white man doesnt feel depicted on screen, sounds very silly. but then i see kade gottmik on drag race and i swell with emotion and suddenly feel like who i am is POSSIBLE in this world and i realize that even with all my privileges i am starved for representation and that it does benefit you to have it. theres trans guys on screen but thats not close enough to ping that ooh!!! ahh!!! i can love myself!! radar for me. it has to be a very particular kinda person. matt bernstein makes me feel similarly