#not that i have written a lot lately but

[andresylupin]

Mushishi week 2024 - Day two : favourite side character -> Adashino

[isbergillustration]

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[marley-manson]

Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

[kagooleo]

my WIPs are so unorganized but rice is forever, in doodles and Even when coding >:]

[many-gay-magpies]

god what really gets me about dead boy detectives and what i think i love so much about the show and the relationships in it is that like. the romantic and sexual relationships aren't portrayed as being more unique or important than the platonic relationships. they're all just RELATIONSHIPS.

charles and crystal's attraction to each other and eventual hookup isn't this big end-all be-all relationship that shatter charles and edwin's friendship and draws charles' attention away from edwin; it's just a THING that happens. they're just two people that care about each other and happen to also be attracted to each other, and a hook-up happens, then they decide that neither of them are in the right place for it and it's nothing awful. crystal kisses charles, but it isn't some big spectacle of her declaring her love for him; it's just her saying goodbye and that she cares about him, like her hugs with niko and jenny and her handshake with edwin.

edwin realizes he loves charles romantically and tells him, and charles says he doesn't really love edwin romantically BACK, but it's okay, because they still love each other so much in so many other ways that this one tiny difference could never change them—and it doesn't!! they're still just as close, still care for each other just as much, still SHOW that care for each other just as much. their relationship didn't completely end because edwin loved charles in a way charles couldn't reciprocate, but at the same time it isn't "solved" by edwin getting over it, because there's nothing TO solve. it's just another type of love, added to everything that already exists between them. and they have LITERALLY FOREVER to figure out what it means.

the relationships between edwin & niko, crystal & niko, and crystal & edwin aren't given any less weight for being solely platonic, just as charles & crystal's relationship and edwin's feelings for charles aren't given (that much) MORE weight for being romantic. crystal and charles' conflict in the closet is about EDWIN, about how they're BOTH his friend and BOTH want to get him back; it has very little to do with the feelings between THEM, romantic or otherwise. similarly, the weight of charles' and edwin's relationship isn't diminished in the LEAST by charles not reciprocating the romantic side of his feelings (or SAYING he doesn't reciprocate, at least—we can all argue about the legitimacy of that in the notes).

i'm sure there are more examples than this, as well as probably some examples that CONTRADICT this, but like... by and large, it feels like dead boy detectives is a show where all the relationships are given equal weight regardless of platonic, sexual, romantic, or familial status, and as someone on both the asexual and aromantic spectrums who has struggled time and time again with shows casting out the importance of all other relationships in favor of prioritizing romance, that is INCREDIBLY refreshing to see.

[starrystevie]

listen, i know we all love knows-he's-queer- from-early-on eddie munson and bisexual-awakening steve harrington (i know i love them), but let's think a minute about confidently queer steve harrington being eddie's queer awakening?

steve thinking eddie is into guys so he's actively hitting on him, peering up at him from under his eyebrows, throwing smirks around and purposefully rolling his tshirt sleeves a bit too high so eddie will check him out. he pulls out all his stops and robin is cheering him on silently in the background every time he strikes out with eddie, both of them slowly coming to the conclusion that he's not into guys so he backs off.

and eddie? well, he really likes how steve was flirting with him. misses the way he'd flex and slap playfully at his arm and look at him with bedroom eyes now that he's putting some distance between them. eddie can't fucking take it. he doesn't know why he misses all of that, just knows that he does. so eddie does what anyone would do, he asks dustin.

dustin, who tries to get him to have an open mind to the fact that maybe, just maybe, he likes flirting with steve. that he likes boys too or just boys or maybe just steve but that he does at least like steve. dustin sees the heart eyes that eddie gives steve and sees the puppy dog eyes when steve starts to pull back. he meddles and pushes and gets it to where steve and eddie finally confront that yes, steve likes eddie and yes, eddie likes steve back but that it's new for him. it's all new, being in a relationship and liking a boy for the first time.

but steve holds his hand gently. he pushes curls behind his ears and wraps his arm around his shoulders when they watch tv. he takes it at whatever pace eddie wants because that's what a good boyfriend does and eddie can't help but grin because the word boyfriend is now getting thrown around. cause who would have thought? eddie munson has a boyfriend and that has such a nice ring to it.

[myokk]

Sebastian had a few days leave from duty so he visited Eloise😇😇

[wrongcaitlyn]

this is also not directed at anyone, but what i mentioned in the tags of one of my recent asks - i love love love hearing your ideas and hc's and theories in comments and asks!! however lately there have been a bunch of comments completely unrelated to tyt in the tyt comment section, or comments/asks that are outright telling me what should happen in tyt or phrasing song suggestions/opinions as if they are canon. some of these also vastly misinterpret some things i've said in the fic. and once again i do not mind if y'all want to switch out songs in your playlists, or come up with theories for how the fic is going to go, or even create alternate universes and canon divergences of the fic itself - but PLEASE do not tell me them as if i am now obligated to put them into the fic. this series has consumed me for years and i am very very attached to it and my plans for what will happen! and though i love hearing interpretations of apollo's backstory, or ideas for nico's fanbase, or song suggestions - i would greatly appreciate those to be phrased as what they are: suggestions, hc's, and theories. i am not a machine. i am not writing tyt for your sole entertainment. please do not request things from me as if i am.

[highabovethecloudssomewhere]

I just read “Loveless” by Alice Oseman as someone who’s aroace and I am. Struggling.

I was expecting to love the book and I’m so, so happy to see aromanticism/asexuality in the public eye, but as far as the story/characters went I was really struggling. Maybe I’m too old for it but I found it… very lackluster. The characters felt deeply one-dimensional and I did not like the protagonist at all.

If any of you have read this book and really enjoyed the characters, I would love to hear more about it. Maybe I’m just missing something. But also if any of you have recommendations for LGBTQA+ media with engaging characters and an engaging story I would love some recommendations.

I also just watched Nimona for the first time and I absolutely adored it. Would absolutely recommend it to anyone.

[mrbexwrites]

Just sat down and wrote 1.6k on a random WIP that popped into my head. Without a plan. Or weeks of research. Or even character names.

I haven't even finished my current WIP.

What's wrong with me? Is this how the pantsers amongst you do it? How you you people live?

[svtskneecaps]

ngl if streams get dry i think qsmpblr should create some initiative where we day by day watch the series over again in order. give it some fuckin stupid ass tag name like "qsmp reverse redux" for proper filtering and tag it all as vodblogging and set ourselves loose on bits of the series that some people may never have had a chance to watch because this series moves SO. GODDAMN FAST. and there's barely ever time for vodwatching.

pick your pov or watch multiple who cares but it has to be in our pocket dimension reverse time day. a qsmp electric boogaloo. idc if we have to make a fucking discord server to keep track of what day we're on or to maybe even coordinate those "watch2gether" youtube tool groups or whatever it was so those who feel inclined to twitch chat can still feel the feeling of being in a live chat except the streamers can't hear you.

i just think it would be fun. and i like liveblogging with y'all. and not everybody was around from day 1, so we can try to give them that. unfortunately we missed the exact one year so it'd be a bit messy but who the fuckkkkk cares :D

[lesbionia]

Contrary to popular belief, being a lesbian and being a feminist are not the same thing. I deliberately refer to myself as a lesbian and a feminist—rather than a lesbian feminist—to denote the separation. 

I think that most radical feminist works about lesbianism are homophobic to some degree because they posit lesbianism as a political choice, which it is not. Homosexuality might be politicized, but it is an innate and unchangeable characteristic, which makes it inherently apolitical. To me, there is little difference between the claim that being gay is a choice that comes from radical feminists and the one that comes from the religious crowd, in a sense that neither speak to my truth. 

I still consider myself a radical feminist because I believe in women's liberation and dismantling male supremacy, and I don't believe in throwing the baby out with the bath water. But I do think that being a lesbian and a radical feminist is sometimes a strange and frustrating experience, and that it's good to talk about it once in a while. 

[waywardstation]

Almost back home!!! I’ve been away for two weeks and I haven’t had good internet connection. Looking forward to getting back home.

I’ve been quiet cause of it, so how about a shop/merch update!! The products from my shop have already gone through a round of proofs this last week after I placed the order (as some files had gotten mixed up). I’m hoping the products finish their manufacturing and are shipped to me within this next week or so!

I’ve ordered extras of everything to put up in the shop as “in stock” after I send out my preorders, also ordered a few items as samples. They had a higher MOQ (minimum order quantity) so if they turn out well, I’d like to do a giveaway with some of them!

[sky-squido]

i, like every other fic author in existence, love getting comments from people who enjoyed my work. i don't care if your comment is "late" (that's so weird to me like it's literature—do you apologize to homer for being late to reading the odyssey?) or "unintelligible" (late night commenters, english language learners, people who feel like they "just aren't that good with words", believe me, i entirely understand what you mean and appreciate it immensely), or anything else that you feel might make your comment 'not good enough'. i love all of the comments i receive and i am eternally grateful to all of you for your continued support.

and yeah, i've read fics where i felt like adding a comment would be doing the fic a disservice because there was nothing that could be said that wouldn't cheapen or patronize the magnum opus i'd just witnessed. in instances like this, that is exactly what i say in the comment: "there's nothing i can say that doesn't do this work of art a disservice. thank you for writing this."

actually, now that i think about it, there are a bunch of ao3 comments i've gotten that i still haven't replied to because i felt any thanks i could give would be inadequate. i should really get around to replying because i want them to know how spellbound they left me. i love you all, have i ever mentioned that?

all of that being said, i would like to make a public service announcement!

at least under default settings, ao3 authors do get notified every time you edit a comment. i've accidentally hit send too early before, or realized i forgot something i wanted to say, i get it, i really do. i have edited many comments in my day.

but you don't have to do this. really, it's okay. most of the time i honestly can't tell what the difference is. i'm not going to think worse of you for having typos in your comments because i guarantee that there were more in the fic you just read sfkljghsl

also these edits were over the course of twenty full minutes. i got another email while writing this post and had to update the image. please do not spend 20 minutes agonizing over your comment and changing the capitalization and adding a few words. it's okay, i promise. i love your comment, and i'm very very grateful for it, regardless of how "polished" it is. i'm not your english teacher in disguise.

tl;dr, i love you all and i hope you don't feel anxiety or a compulsion towards perfectionism in my ao3 comments section. i won't judge you, i promise <3

[the-priestess-of-dawn]

Been thinking about a postgame scenario that goes in a direction I don't think canon would ever take in a million years, but like... I think it could be really compelling...

And that's the idea of Chrom becoming Plegia's king after Grima's defeat. And specifically giving up his claim to Ylisse's throne to do it (leaving it to Lucina when she's old enough).

Because here's the thing... The game ends with Grima's defeat/Robin's return in the sacrifice ending. It doesn't address what happens to Plegia at all, and while I personally maintain that Aversa is the most qualified candidate to rule, her canon ending provides that she goes back to the village she was born in. So, fine. Let's give her that.

But SOMEONE has to do SOMETHING because realistically, Plegia is in dire straits. Validar, the king and the leader of the Grimleal, is dead. He gave, like, ALL of Plegia's resources to the Ylissean League (well, okay, we don't know how much, if any, he left in reserve, but... He really needed Walhart gone and it's not like he had any reason to think that anyone would need resources once Grima was running around, so... chances are good there's little to nothing left in the wake of the averted apocalypse). And the population has been utterly devastated, because not only did people (exactly how many is unclear, but presumably it took more than just a couple) have to sacrifice themselves to renew the fell dragon's power, but Grima was also spawning Grimleal onto their back at the final battle. Their losses are so immense...

So first of all, Chrom is definitely responsible for taking all their resources and setting half of them on fire (Now to be fair, Flavia and Basilio are also responsible, but... Idk, I kinda feel like they'd bicker with each other over who has to do the crappy parts of the job and then agree that they should just ask Chrom if he can do it. Like "Haha, if you didn't want to deal with thieves ambushing the Longfort to steal construction supplies, you shouldn't have gone and beaten me at the last tournament!" "Oh, shut up. Let's see if Chrom can send his thief friend over to talk these guys down. Or kill them, whichever." I mean, Chrom is always going to be their guy who knows a guy.) There's just no way Chrom would abandon the surviving Plegians who need help anyway, but especially not when he knows the war with Valm would've ended before it could begin without them.

Of course, there's the historical hostility between Ylisse and Plegia to consider, but... If anyone's protesting, it's probably the Ylisseans. Because the survivng Plegians, uh... probably were never Grima's most devoted followers in the first place (if you really wanted to give Grima your life, you'd rush to the front of the line at the Dragon's Table, right?) and even if they used to consider themselves true Grimleal, the religion's leadership is destroyed, and—for the purpose of this scenario, I'm considering it post-sacrifice ending—the fell dragon is gone and not coming back. These people narrowly avoided becoming Grima's breakfast or Grima's meat shields. They all almost certainly know someone who wasn't as lucky. And the one who saved them... Well, it was Chrom, wasn't it? Because he believed in humanity enough to challenge the concept of fate, a fate that the people of Plegia were surely taught was inescapable. Despite their history with Ylisse, it's hardly unreasonable for them to see Chrom as a savior to them specifically. The second coming of the Hero-King who ought for the lives of all humans, really.

And yeah, I'm going here... Chrom is Marth's descendant. Marth was Altean. Former Altea is is modern Plegia, so technically, the people can argue that he's actually theirs.

Doesn't it sort of make sense, even? Plegia is ruined, the god to whom the theocracy was devoted killed. "What we need is to restore the glory of ancient Altea!" And who better to help them than Chrom, Marth's successor in blood and in spirit?

But Chrom would frown and say no. Of course he's going to help them restore their country to prosperity—or at least to independent, peaceful functioning. But king? Sheesh, that's going too far. Come on guys, you don't really want that. Besides, he's already ruling Ylisse...

Except, he's not ruling it as Exalt. At least, not at first he's not. He forswore the title when he started his rule and in canon he is only official welcomed as Exalt after Grima's defeat. But what if he just... continued to not accept it. It's not like he ever wanted to be Exalt. He only has the right to rule because Emmeryn died—because he failed to protect her. It has nothing to do with any of his successes.

But if the Plegians made him their king, then it would be because of his own accomplishments.

And in a way I also can't help but find it heartwarming, because it was the Plegian people who got him to truly understand Emmeryn's ideals. He wanted peace, he wanted to follow her path, but it wasn't until the Plegians took her sacrifice for the peace offer it was and refused to continue fighting Ylisse that Chrom was finally able to comprehend what it meant that Emmeryn believed that all people wanted the same thing, that peace is something for everyone and not just purehearted saints like her who would never hurt a fly. So wouldn't it be sweet to expand on that existing connection? For the people who once bore a grudge against him and his nation to say, actually, our home is your home and you belong with us... For Chrom to reach back and decide that these are his people and that he will protect them...

Especially because that's what he's always done for Robin. Your father doesn't get to determine your path for you, your past doesn't dictate your future, you always have a place beside me because we are two halves of a greater whole. This AU is definitely a chrobin AU, because when Robin gets back I want them to rule at his side (after all, I do have feelings about Grima's loyalty to a people who have been praying to them to end their suffering for a thousand years).

Now, I do think that Chrom would never leave Ylisse while little Lucina was still growing up, but... Honestly it would probably take quite some time to establish a castle for Plegia's new ruler anyway (especially if they go super hard on the Altean revival theme and want it to be IN former Altean territory, which has become the "border wastes" and undoubtedly needs some help... But EVERYWHERE in Plegia needs help, so what better time to give the land some attention?) So when Lucina is an adult she can take over as Ylisse's true Exalt, and Chrom can focus his efforts on the other side of the border. I think he'd still be awkward about the whole thing, approaching it like "Well, I guess I'm here if you all still want me..." but Robin's there to give him confidence and the people there are SO excited for their hero to come and live with them and together they all usher in a new era of peace and prosperity as Ylisse and Plegia themselves become like two halves of a greater whole.

[soap-ify]

hello (going to pretend that i didn't disappear AGAIN)