#nuances of gendered writing

[blackwaves]

reading into irl ichiyo higuchi and dwelling on the statement that ichiyo was bound by the structure of acceptable writing for female writers at the time — having to recreate a performance of feminity which contradicted and moved around the actual way women spoke, & which notably did not come naturally to her — but managed to make it her own + express assertiveness within it nonetheless.

anyway this is all just to say that i'm so fond of the bsd higuchi-centric chapter which says she's not naturally suited the port mafia, but that she stays and tries anyway. the way she gains respect via throwing herself into a fight she expects to lose from the motivation of her love/loyalty for akutagawa. thinking primarily of ch.77 where tachihara's suitability to the mafia is defined in his recklessness, passion, and bravery— there is something to me there about how she makes those traits her own.

[madeofjules]

Peeta, in the arena: *saves Katniss's life before she saves his*

THG fandom: "Katniss didn't need Peeta's help in the arena, she was always saving his ass and would've won without him!"

[synchodai]

"But Jace inherits the crown through Rhaenyra, so it shouldn't matter who his father was." How many times do we have to have this discussion: a bastard cannot inherit, especially if he has trueborn siblings. Marriages are political agreements that decree that the child born from said marriage gets their parents' lands and titles. Harwin and Rhaenyra made no such contract and therefore Jace is entitled to neither parents' holdings and/or titles. Rhaenyra could legitimize Jace, but doing so would acknowledge that he is a Strong and not a Velaryon which makes her sons forfeit the Driftmark wealth and navy.

"Jace doesn't need a dragon to prove that he's a Targaryen when he's obviously Rhaenyra's son." Jace being upset over the lowborn dragonseeds wasn't because him being Rhaenyra's son was ever in question. It's because he knows that being a bastard will not make people respect his right to rule and so he has to surround himself with other signs of legitimacy like a dragon. Dragons are seen by Jace, and a lot of Westerosi, as status symbols. By giving dragons to the lowborn, they are being devalued as indicators of a divine mandate. In short, he knows people won't care that he's Rhaenyra's biological son if he doesn't have the Targaryen might and mystique to back it up.

Again, this is feudalism. Marriages are political contracts. Biological parentage alone is not sufficient to argue your right to succession, because people had children outside of wedlock from multiple women all the time. A marriage contract between parents is what secures a child's inheritance, and Jace doesn't have that.

[hauntingofhouses]

(concept art of young taigen - source ; art credit: @abigaillarson)

i cannot get over this concept art of young taigen. god.

just look at this angry bratty boy, too many feelings that he doesnt know what to do with! an abused 9 year old kid in poverty always playing with sticks in the dirt, obsessed with greatness and dreaming to escape his decrepit village—and he does!

he does escape. he runs away. this angry little boy, all claws and teeth and biting words uttered with a lisp, going on the run into a world he's never seen before until he makes his way to kyoto. and knowing him he probably forced his way in to be accepted by the dojo, growling and kicking even as he's thrown out, back into the streets, too stubborn to take no for an answer and never knowing when to give up.

taigen calls mizu a dog, weak, an orphan, a scrawny street urchin. but i can't help but think that he feels so bold to use those words because he had them spat at him too.

because taigen had the idea of "this is how the world is" beat into him from birth. he learned quickly that if you couldn't beat the world you could join it. but that meant losing your way, your values, your principles. and isn't that what true honour is? not just titles and status and glory?

we don't get to see what taigen, as a child surrounded by peers encouraging and goading him on, would've actually done if that meteor hadn't fallen right in front of them at that very moment. would he have really tried to throw that stone on mizu, killing her? we don't know.

but we do see what taigen (his true self, with no one around) does, when presented with the same opportunity. when mizu passes out in front of him, unconscious and near death, vulnerable, the path to restoring his honour lays itself out for him on a silver platter. and he wants to take it, wants to kill mizu, to claim what is his and return to kyoto and get back everything he'd worked tooth and nail for. he feels like it's what he should do. but he doesn't.

and later, again he is presented with the chance to betray mizu, likely offered by heiji shindo to get his rank reinstated within the shindo dojo. and again, taigen doesn't take it. he refuses. "stupidly loyal," fowler calls him later. loyal, like a dog.

because now, pulled away from the sneering looks and jeering words of people around him, telling him that this is what the world is, taigen had met ringo and mizu, two outcasts who refuse to follow a predetermined path to greatness. and so inside something blooms in him. something like hope. a chance to live in a world that doesn't kick you down every chance it gets, to live in a world where genuine kindness and and love and friendship and even weakness is possible, allowed to simply exist without fear.

because he'd been running away from the very idea of it the whole time. when he ran from kohama, he never looked back, never wanted to remember what it was like to be a child, afraid and hungry and angry and hurting, without the words to make sense of it, desperately wishing for something. something more. he doesn't know what. but he hears stories of great swordsmen and decides, yes, this must be it. this is what i want: glory, greatness. the twisted seed gets planted and thrives in this barren land.

and when he returns to kohama with mizu and ringo, he at last is forced to stop running. he must face the child within him again, and he tells that child to put down the stones in his hand, tells him to stop barking at anything that moves or looks at him wrong.

the child drops the stone, and taigen buys dumplings instead, gives them to mizu. the child within him, wide-eyed at the prospect of friendship, moves him to pick up a hammer and toss it to mizu. he's smiling inside even as he does it; giggling like a kid hiding a silly prank. as soon as mizu drops the hammer after him, he leaps at her, tackling her to the ground and they wrestle and laugh unbridled like two children playing while the adults aren't around to barge in and yell at them.

and then his gaze catches on mizu's lips, he stares into mizu's eyes, a sparkling blue, inviting like the open sea in good weather.

it's a man's desire that takes hold then, the child in him sinking away again, and he curses himself for it, because it ruins the moment.

everything goes to shit from there, and then it's back to being a man, back to putting on his grown-up's armour to play hero.

it fails. the shogun dies. fowler's beatings reopen all the wounds left by heiji shindo's torture. "honour is meaningless," mizu tells him. "nothing comes from being a samurai but death."

the words follow him, and he follows the words.

as everything burns down, he runs, leaving the fire behind him, and sees akemi, as well as the verdure of spring behind her, calling him. he does not hesitate then to hold his hand out to her, inviting her to come with him. "i don't want to be great," he says. "i just want to be happy."

what is happiness to him? perhaps he doesn't know it yet, or perhaps he does. but really, i believe happiness is what the child in him always wanted but never received. happiness is a home.

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[alongtidesoflight]

so here's my honest thoughts on dragon age: the veilguard, after ~40 hours of playing. i finished the main quest after having finished all companion quests and major faction quests. just to clear up what content i saw, i played as an elven transmasc rook who is a member of the lords of fortune. he romanced lucanis (although after finishing the game i'm now leaning towards taash). i don't know what's happening in playthroughs that have a different race, gender identity, romance or faction going on.

full spoilers ahead, i mean it. don't read further if you want to avoid them. i don't want complaining about it in my asks.

oh and also, if you're worried because of a few negative reviews online i can comfort you by saying don't give a fuck about a certain big name youtuber who is very much tied to bethesda franchises giving this a negative review. i'll explain why.

i'm starting off with the things i liked

the game looks really pretty. i was worried it wouldn't feel like thedas anymore (with them trying to "focus on northern thedas only" i thought they'd make a clear cut in environmental design. they do and they don't. it's complicated. i'll elaborate on it when talking about the negative stuff). anyway it does. minrathous feels like kirkwall. treviso enchanted me like the winter palace did. the hossberg wetlands reminded me of the hinterlands and a couple other inquisition maps. arlathan looked like... arlathan. the crossroads were different, but familiar. overall i like the way it looks and feels. it's thedas, with a twist. it's a good one, and gives everything a solid but unique feel.

combat is top tier. if you're a hardcore dragon age player you WILL miss the tactical aspect of it for a bit, but i promise you, once you're used to the way the combat works, you will be lapping that shit up. and once you get to ability combos you'll mourn the control you used to have over your companions in battle a bit less

the MAIN quest and its story. i expected worse, way worse. and for a while the game even had me tricked (harr harr you'll get it in a second) it is Really That Much Worse. but holy shit was it good. i walked away satisfied ngl.

your choices have SOLID weight. there's consequences, good AND bad. i got minrathous blighted, ruled over by venatori, and the leader of the shadow dragons ultimately died because of my decisions. i made those at the beginning and throughout the game. he died at the end. DAVRIN died because i didn't expect what i was saying to have that much weight. i thought i was in the clear. he had hero status. well turns out, your choices can still get your companions killed even if you do everything right. i fucking love him. he shouldn't have made that sacrifice just because i told him to do everything it takes once.

the inquisitor, morrigan and dorian being there, surprisingly. there's also negatives to this though, see below.

speaking of companions dying and the inquisitor playing a bigger role: the final quest feels like me2's suicide mission. i was blown away by it and the fact that i got to see the results of all my efforts playing out in front of me.

bioware are NOT trying to redeem solas. they love him as a character yes, but i wasn't forced to see any good in him. he betrays you. he fucked my rook over twice. he fucked him over right back, for good this time (the veil wasn't torn down, i anchored it by binding him to it, he's doomed to uphold it). but solas really lives up to his name as the trickster elven god. rip to all the people who grew really attached to him over the years.

varric died. if you like him that's probably as hard reading it as it was watching it. varric died and the game lies about it until the very end. when the realisation hits, it hurts. but in the very best way.

the amount of care they put into gender expression and trans identities this time around. (i'll add onto this with negative points as well too).

rook feels very much ingrained in the world of thedas. he doesn't ask questions that expose the player to lore through dialogue as if he's stepped foot into thedas for the first time. those conversations feel very solid and good. i hope other faction players got as much joy out of this as i did.

and the things i didn't like and boy there's a lot unfortunately

the music. let's just get that out of the way holy shit. it doesn't feel like it belongs in this universe. it gets so incredibly sci-fi-y at times you'd think it's taken straight from mass effect andromeda. there's not a single song unique to veilguard that i really enjoyed. it broke my immersion, real bad. hearing a busker play the tavern songs from inquisition on a lute right after i killed some venatori with wobbly bass songs playing in the background is just odd. weird tonal shift. don't like it. it's made for people who like flashy light-weight cinema.

tevinter nights is required reading. the podcasts are required listening exercises. the game is so fast paced, especially at the start, that there's no time to introduce you to characters and how much weight their names carry in-game. i would not have known who half these people are if i hadn't skimmed over tevinter nights. i'd care even less about them than i already did. there is no time to get properly attached to them. people will act as if you're talking to a legend personified and you'll be thinking man goddamn which chapter of tevinter night were they in again and what did they do???

there's a weird mismatch with the animations. you'll have beautifully fluid ones, like emmrich casting spells. and then you'll have rook's face animating in the most unnatural manner that's sorta reminiscent of mass effect andromeda's "my face is tired" addison, when their emotions SHOULD be landing with the player rn instead.

i'm not vibing with the art style. sometimes it works. most of the time it doesn't. at points i felt like i was watching tangled.

that also brings me to some of the dialogue. same issue. i am watching frozen. i am watching tangled. someone on the writer's team really likes the adorkable trope. bellara is its victim.

for all the talk about identity, bioware sure doesn't like theirs. the grey warden armor got a redesign again and it just makes them look like a generic army. i hate it lol

in general, i don't like the armor design. the wardrobe/appearances system is fine, but it's just not helping if all the armors are just... kinda bland or downight bad looking? and don't get me started on the lords of fortune armor. that is orientalism personified.

the world states should have been carried over, full stop. i know they said they didn't because they want to separate what happens in the north from what happens in the south, which... i could have lived with that. but the inquisitor sends you letters that keep you up to date on... the south of thedas. you learn that there's a blight again, that people are standing strong but it's difficult, denerim's fallen, the rulers are taking care of it, orlais is fighting and they're successful for a while, etc etc. what's good bioware. i thought we don't care about the south this time around. why are you feeding me so much boring generic information. if you're not gonna show any of it and just write letters, then carrying the world state over should not have been an issue. i have a game dev background. those few lines of code would not have broken your budget or pushed your engine's limits. fuck right off.

this gripe of mine carries over to all the cameos. as a lord of fortune you have to deal with isabela a lot. it's fun. i missed her. you get to go drinking with her and taash and bellara! also my hawke romanced her. she's not mentioned once. they had the opportunity to put a sentence or two about her in there with not a lot of effort, trust me.

when varric dies, all she has is a single line about it. for gold, for fortune, for varric. she only says it if you interact with her on your way to the final push. that's not mandatory.

morrigan is there. kieran isn't. the old god soul that mythal and then solas absorbed? who cares at this point, the gods are dead now and solas is locked away for eternity. i suppose? why is morrigan there. she feels unneeded. i wish they'd just left her down south, at least that way i wouldn't have had to witness her god awful redesign.

dorian at least feels as if he belongs in this story. the shadow dragons are a crucial part to protecting minrathous. he's also weirdly underutilised. isabela and morrigan had more lines than him in my playthrough.

on the topic of romance: bro that was underwhelming. no, genuinely. you know when romance picked up a bit? after the point of no return. i heard maybe two lines of companion banter about it before that. maybe i missed something which i honestly doubt, but romance did not play much of a role in lucanis's storyline. i saved his grandmother as he wished me to (and if you read tevinter nights you know she was rather abusive and their relationship not the healthiest) and told him to focus on his family. a reunified family my rook wasn't even introduced to as a partner at the end of all that.

really, do not buy this game if you're only in it for the romances. others might be better, lucanis's basically gave me nothing. except for an outing (the second coffee date i had with him, it was getting repetitive) all of it played out once i committed to the final quest. the sex scene was a fade to black. annoyingly right after davrin died. if you're looking for well paced and good spice, pick up something else. the sweet talk and the final goodbye were nice though.

for all the good the ever-presence of gender identity does, it is brought up in such a disruptive manner too. it doesn't even play out naturally if you CHOOSE the lines that are meant to be said. hearing the words trans and non-binary in this setting doesn't feel right, and i'm saying this as a trans guy. i think it could have been handled more gracefully. the amount of times my rook went "i'm a MAN" as if he's about to start drumming on his chest and roaring any second now got super nerve-grating. "i'm so glad you're into me... the me who is trans. remember?" just. tell me one trans person who'd talk like that to a person they've grown close with and are trying to romance. this game doesn't handle sexuality well, so all this hey my body might not look like the way you're expecting it to look talk amounts to nothing anyway. i feel about this the way i feel about krem: this is partial exposition to trans experiences... packaged up for cis consumption. the ONLY exception to that is interacting with taash. holy shit was all of that heartwarming and bro did it feel good and natural to talk to them about theirs and rook's gender.

rivain and nevarra are new locations added by veilguard. they're also incredibly underwhelming, small and constricted maps. rivain is a coastline with a few ruins. the hall of valor is a partial ruin nestled into a cave on a beach, with a fighting pit. isabela is there in her skimpy outfit commentating your pit fights. that's it. i'm sorry if you were looking for a bustling pirate cove or whatever. you're not gonna get it. the nevarran crypts btw are a long ass dungeon crawl. that's it.

speaking of maps. i thought people were being dramatic when they said you're gonna be fighting the same enemies on them again and again. i thought they were figure of speeching it. they're not. you WILL fight the same amount of enemies. in the same spot. every time you reload the map. best to stay on a map and clear out the enemies and do as much questing on that map as you can before leaving, because you WILL have to do it all over again once you return.

the three choices i made for my inquisitor didn't matter lol she didn't have to face solas and therefore couldn't stop him at any cost as she had sworn (maybe because my rook tricked solas into binding himself to the veil, there was also an option to fight him. would she have stepped in? who knows). blackwall wasn't mentioned. and either her using a small amount of her forces in the final fight was the reason the civilians of minrathous fared so well..... or it just didn't matter. ultimately i think she had very little impact on anything

[dandelionjack]

i hope ruby gets a well-that’s-alright-then-style notdeath. on the one hand it will make haters mad because oh no not another companion with an impermanent end (and i like to see haters mad) on the other it would require creativity to depict this in a new way + i love all the implications i love the dark fairytale quality of these companion exits i love my un-undead schrodinger’s women

with the way the legend of ruby sunday is titled… legends aren’t usually told about living people. legends are stories of the bygone past, of an age long since over, fictionalised and overgrown with folklore like barnacles sticking to an abandoned shell. there is such a thing as a living legend, but they’re exceedingly rare. the unmistakeable raven’s call in the 73 yards teaser, the trailer’s cut to fifteen crying alone after promising to cherry he’d protect her daughter… the foreshadowing is clear as day…

and yet. there’s one massive HOWEVER. ruby appears in s15: millie’s been spotted on set filming it. which leads me to believe — the doctor isn’t one to take the time travel route and revisit companions that in his future are genuinely dead. that would hurt too much, it would cause unnecessary trauma and could break the timeline. that must mean ruby stays alive in some way. ish. she’s alive and a legend and a mystery. girl-ballad girl-song girl-paradox

here she is, fading out.

p.s.: thesis statement on moffatgirls from the tags i left on somebody else’s post about charley pollard.. well it belongs here since it’s basically the semiotic hurricane swirling around ruby at the moment :)

[adolin]

All your TLT posting is making me questioning if I should try it.. The only thing i'm worried is that I don't want to start a series and then finding out in the third bookthat the author made the antiheroic genderbent mao protagonist throw the metaphorical atomic bomb on the japanese because the author is an american descendent of a Chang Kai Shek general and wanted to absolve the yankees to grant herself a career (it worked greatly). So should i still try TLT as an olde commie? Love your blog btw, please continue reblog all those TLT fan art they look great! Thanks!

whew lowkey glad I couldn't get past the first book in that other series. anyway *clears throat*

If you like LESBIANS, Locked Tomb is the fandom for you. If you like BONES and FAILWOMEN and ARE ANGRY AT GOD, Locked Tomb is the fandom for you. If you like BAD JOKES and SHITTY MEMES, we have those in spades. If you love EXCELLENT FANART and DIVORCES that last TEN THOUSAND YEARS and LOCKED ROOM MURDER MYSTERIES, if you think EVIL COUGARS are SEXY, if you think PLUTO totally COUNTS as a PLANET, Locked Tomb is the fandom for you!!!!

[here's the rest of the tlt manifesto on ao3, podficced by @/wilfriede ]

On a serious note! I think TLT is definitely informed by leftist politics, and it has many themes that lend themselves to juicy interpretations on top of a really meaty worldbuilding and characterisation. Also the fanart SLAPS. And if you read the books you can check out my fics which, not to brag, are some of the weirdest I've ever written! featuring such tropes as: "bodyswapped man sucks his own dick" "vagina dentata" "ritual sex to have a baby during a mass death event" "in-universe academia" and "orphan girl meets her parents for the first time and they suck"

tldr please read the locked tomb <3

[windcarvedlyre]

I don't want comments text limit...

Speaking of Yamada, some people complain about people disliking him, but he is entirely made to be a joke from his appearance being really exaggerated to purposefully making his dialogue seem creepy or obnoxious (not sure if that is the right word)

I could see likable things in him, but everything is exaggerated to a point that it feels hard to like him for me? I mean, you aren't supposed to think he's cool, that's for sure. I understand having joke characters, but I do wish he'd been treated just a little more seriously because it would've been more enjoyable that way, at least in my personal opinion.

I definitely liked him more than when I was a preteen, though lol.. He still weirded me out a little with certain dialogues.

Also, my friend loved Kiyotaka, so there was a bit of a grudge when we played, hehshs...

I feel you, I need to stop spamming people's replies haha

I'm unfamiliar with any discourse around him- hope I'm not wading into anything heated, nothing below is meant to police anyone or defend fatphobia, etc- but yeah agreed :(

The THH playthrough I'm doing with friends just reached his death and I think early Yamada is endearing and has surprisingly great lines about art. The 2d stuff is there but it isn't that bad; anyone with blorbos would be hypocritical to judge him for it. And his stupid beef with Fukawa was fun. If he stayed like that I'd love him, and I like fanworks that draw from those traits and explore what could have been.

But the game progresses and he gets more and more inappropriate about women. He still opposes actually SAing someone- Celeste used that to turn him against Ishimaru- but he repeatedly made creepy remarks unprompted, took part in the bathhouse scene enthusiastically*, and latched onto Alter Ego so hard as a potential 2D waifu that he misgendered him** repeatedly.

Characters can have hidden depths, wasted potential, et cetera, but the canon or surface level version of the character is still them. If they're an unpleasant person and/or written badly, even if bigotry contributed to that, I don't think people have to engage with a better version instead of what canon presents. Like, I'm obsessed with Komaeda's potential for character development and I think DR has an ableism problem which affects how he was handled; that doesn't mean everyone has to like him and engage with deep analyses imo. We should just be mindful of issues with the source and avoid blindly pushing caricatures even further.

*To be fair Kodaka also made Naegi and Hagakure drink disrespect women juice for that scene, so it would be fair to pretend that isn't canon. It feels wildly OOC for Naegi, and Hagakure wasn't the best person either but I don't think he's 'spy on naked teens as a 20yo' bad.

**Obviously not starting Chihiro gender discourse here, but when everyone else was he/himing Alter Ego and AE wasn't disputing that it was creepy of Yamada to she/her AE just because he was... cute and 2D, I guess? Regardless of where people stand, he wasn't doing that to be a trans ally :/

[echodrops]

If the "straight women are much more likely to write a spicy and well-written m|m romance with complex male characters because they're naturally attracted to men" claim is correct, then why do straight male authors have acquired the stereotype of writing one-dimensional female characters and lame romances if they're naturally attracted to the opposite gender? Why do they prefer to focus so extensively on the male characters and their bromances then?

First, I think we need to clarify: Absolutely nowhere did I say the spicy mlm fanfics were uniformly "well-written." 😂 There are beautiful gems among fanfiction that have moved me to tears like nobody's business, but there's also just a whole lot of... not very... philosophically deep works out there. I don't want to sound mean, but just being brutally honest, I'd wager if we considered all fanfiction across all fanfic sites, a pretty solid majority of it wouldn't meet most people's definitions of truly "well-written." (Which is completely fine! Fanfic writers aren't getting paid! They're usually amateur authors who are writing for fun and often include younger writers just learning the ropes of grammar and character building for the first time! A fic doesn't have to be perfect to be enjoyable for readers!)

On top of that, let's also just be real--a lot of the explicit-content-for-explicit-content's-sake fics out there aren't really trying to write the most realistic and three dimensional male characters ever. They're trying to write sexy fics; realistically depicting men with life-accurate emotional depth and nuance is often... not the goal. 😂

Of course there are standout fanfics and incredible fanfiction authors. But, if we're being 100% transparent, I think a solid majority of fanfic authors don't actually write male characters that well. A lot of them have limited development, unrealistic or unclear motivations, out-of-character behavior, or a lack of interiority to their thoughts and feelings. A lot of times male characters in mlm fics are even reduced to caricatures of what women want men to do and feel. (I'm not judging here though--if a woman author is writing for women and her women readers want to see men who meet women's expectations, then hey, give the audience what they crave!) Just like Disney princes, a lot of men in fanfiction would seem very unrealistic and flat if you compared them to actual men from the real world!

I think we fanfic readers are just a bit biased, you know. If you're an average fanfic reader, I'm sure you've had the experience many times of being willing to give fic writers the benefit of the doubt even if their works aren't perfect--far more than you would give an actual published author or TV showrunner.

We don't scrutinize fanworks to the same extent that we scrutinize published media. Most people aren't grabbing someone else's fic and writing a ten page essay on how their male love interest wasn't properly fleshed out. Fanfic is full of poorly written men too, we're just not looking for the writing flaws when we read fanfics, at least not to the extent that meta analysts notice flaws in published media.

Side note that I also think is worth thinking about here: Because most fanfiction readers are female (and statistics suggest that a majority are even cisgender women), I think we're already at a slight disadvantage. Do female readers really have the most accurate perspectives on what realistic and three dimensional men would feel or act like? People are people, of course, but my perspective as a cisgender woman is never going to be as "100% genuine" as the perspective of someone who actually identifies as a man.

Second, and sorry, I know this is already long, but I think it's actually a mistake to buy into the stereotype that a majority of male authors can't write believable and interesting female characters. I think this illusion comes because fanfic fandoms congregate around very specific types of media, and often (though of course not always) that media is geared toward younger audiences. The bulk of the fandom claims that "male authors suck at writing women" come out of the shounen anime and young adult genres which are so prevalent in fandom spaces.

The target audiences for both these types of media are teenagers, who (I'm going to be completely honest) are usually not that picky about the development of the characters in the stories they read. I don't mean that no teenagers care about well-written stories (obviously there are many who do!), but that the typical standard for philosophical depth and nuance to which media for young adults is held is, for better or worse, lower than the standard we hold media for adults to.

We don't expect Twilight to be as deep as Moby-Dick. We don't expect My Hero Academia to be Maus.

This isn't an insult to young adult media; we have different genres of content for different reasons, and I definitely would not have wanted every single manga I read as a teenager to be as mentally or spiritually challenging as Moby-Dick. Content for teenagers should be designed to resonate with teenagers, both intellectually and emotionally. Many works for teens can have excellent writing and punch above their target audience demographic too. But the bulk majority of teenage readers are not (yet) going to be experts in literary criticism and sociocultural theories, capable of pounding out advanced meta analyses of the gender dynamics of characters in their favorite stories. Some will, but most won't.

Stories for young adults just don't have to hold up to that level of scrutiny, at least among their target audience.

At its core, however, the issue with the lower standards for depth of character building in young adult media is that it corresponds with lower standards for becoming popular as an author in fields such as YA lit and shounen manga. You don't have to be Leo Tolstoy or Emily Brontë to gain recognition among younger audiences. Sometimes, you don't even have to be good. Twilight was a roaring success, even while people lambasted it for being poorly written.

You don't have to be a literary giant whose books will be short-listed for addition to the canon of classical literature to develop a massive online fandom; Voltron was insanely popular despite being terribly written. 😂 You don't have to be god's gift to storytellers to become a popular shounen mangaka; Naruto is still one of the most popular manga in history and I hope no one genuinely thinks its characters were masterfully developed.

I'm not saying it doesn't take talent! It absolutely does! What I believe is that there's just not a guaranteed correspondence between "this author is popular and has a huge fandom" and "this author is actually good," especially in genres where the target audience is younger and therefore a little less likely to deeply critique the media they consume. Even if your characters--male or female--aren't that well-written, you can still get very, very popular in internet fandoms, especially with younger and more forgiving audiences, where only the rare few in the fandom will dedicate hours of their lives to performing meta analysis of your work, picking apart the writing quality and development of your characters.

So, long story longer: It's not that male writers overall are incapable of writing women. It's that a lot of fandoms spring up around kind-of-poorly written stories in the first place, and male authors who are not great at writing in general are equally unlikely to be great at writing women.

In fact, I'd suggest that male writers who are poor at writing women are probably also not great at writing men. Like, come on, don't tell me you think Bakugou and Midoriya's writing was good by the end of My Hero Academia.

Many popular authors with big fandoms are just being given more of a pass when it comes to writing poor male characters than they are with their female characters, and I'd argue that's likely because of the same reason I highlighted before: Their fandoms are dominated by women who like men and are willing to do more work to flesh out/fix the male characters they're interested in.

(It also helps that, with an overwhelming number of fic writers being female, they have less insight into truly depicting the male experience in authentic ways in the first place; if you are a woman, you're more likely to recognize a poorly written female character on the spot, while having at least slightly less ability to identify the unrealistic or inaccurate elements of male characters.)

Essentially, it's confirmation bias in action: We think men don't understand women, so we scrutinize male writers' depictions of women very closely, all while giving a pass to the fact that a lot of these writers just kind of suck at writing men too.

The "lame romances" in stories written by men aren't exclusively lame because of flat female characters--if the female character is flat, half the time the male character is flat too, and the romance is lame because the writer overall is... kind of lame... 😂

But why all the bromances? I wrote about this in my big long essay before, and I think there's plenty of very complicated reasons that men write so many male-male friendships and relationships into their story (re: coming from genuinely misogynist cultures, deliberately baiting fans with hints of BL, an actual internalized desire for greater emotional connection with fellow men due to perceived male loneliness, self-projection into their own characters, having been told they aren't good at writing women so they've given up, etc. etc.), but I honestly think one of the simplest reasons is genre. The majority of these "bromances" are coming from shounen manga, and shounen manga has some very common recurring tropes, chief among them being the whole "me and my ~RIVAL~" dynamic.

A lot of mainstream shounen stories have had such enormous success with this "young male protagonist and his best bro/rival/arch-enemy" dynamic that, frankly, I think many modern manga are just piggy-backing on the trope. "Dudes who beat each other up and become besties" has worked for so many series now that it's just become a staple of the entire genre.

I also think the market for Japanese manga in particular is very unique, with male manga artists recognizing--and capitalizing--on the power of the "fujoshi" reader early on. It's easy for shounen manga artists to see the benefits of over-stocking their stories with male characters and queerbait, because hinting at mlm ships they have no intention of ever paying out on 1) rarely reduces their male readership and 2) actually broadens their readership dramatically by deliberately bringing in female readers.

Basically, so long as the endgame is a het ship (or at least no ship), male readers will still read a story even if it has mlm shiptease, while more women will be drawn to the story for the mlm shiptease when they otherwise might not be that interested. There's no way to lose.

In essence, on the topic of queerbait, the shounen manga artists were just really savvy and realized faster that "having your cake and eating it too" is possible by incorporating a higher number of male-male relationships in their stories in order to broaden their readership and sales. Comparatively, western media was just much slower to cotton on to this technique, and I'd say it wasn't until relatively recently that western series have begun hyper-emphasizing male-male relationships specifically to appeal to women readers and viewers (see Supernatural, Good Omens, probably Teen Wolf [I don't actually go there so I can't confirm but I feel like this is true lol], etc.).

And, one final sidenote: I think it's difficult to compare published media to fanfic in terms of "featuring what you're sexually attracted to" because in published media, people are at least supposed to pretend their own sexual preferences aren't entirely warping the story, especially in young adult series (which have the biggest fanfic fandoms). Like... Compare: If you're a shounen manga artist you can get away with some panty shots but you can't be a flat out gooner--conversely, if you're a fanfic writer, you can write hardcore porn without hesitation. If we want to make an actual comparison in how much sex appeal sways character gender ratios in fanfic versus published media, I'd say the only comparable match would be comparing the ratio of female characters in harem anime and straight up hentai to the ratio of men in fanfics. We can't be out here comparing like... the original story content of Harry Potter (made for children, cannot be overly sexual) to its AO3 content (where nearly 40% of all HP fics are labeled explicit/mature). You gotta compare 18+ apples to apples.😂

Phew, sorry, that was a lot.

tl;dr: Tons of factors--yes, including misogyny--affect how men write women, but the issue of male writers being bad at writing women is likely being exaggerated in fandom spaces because 1) Fandoms are overwhelmingly female and women are better able to identify and critique poorly written female characters than anyone else, 2) Most of the biggest fandoms on the internet center around stories for younger audiences who haven't had enough time to develop strong media literacy and literary criticism skills, allowing writers to become popular without necessarily needing to be of highest quality, 3) Female fans are more willing to forgive poorly written male characters because they're more likely to be interested in and attracted to those male characters, and 3) A lot of writers just suck in general; it's not localized to just being shitty at writing women.

[detransdamnation]

A very common argument against educators keeping a student's (trans)gender identity a secret from parents is that it opens up a window for said students to be groomed because it sets a precedent that their parents or guardians are not to be trusted (at best) or that they are unsafe or abusive (at worst). To make the record very clear, I don't disagree—but I also think that the raw, unnuanced stance tends to ignore the fact that many parents are indeed untrustworthy, or unsafe, or abusive.

Many dysphoric and transgender youth grow up in abusive homes—in fact, many detransitioners, including myself, cite this as one of the main reasons on as to why they went on to develop dysphoria—and there are many parents who would use their child's dysphoria or proposed gender identity as ammo to further that abuse. I know because I was one of those children. My family was infuriated when I told them that I had dysphoria. My family discussed forcing me into clothes I was not comfortable in, activities I did not like, and heterosexual relationships I did not want with the explicit intent to "cure" me. It wasn't until the week I started my medical transition that they actually started to be a little bit okay with the thought of their child being transgender—and not because transition was something that would help me but because it would stop me from being, in their eyes, a burden on them.

My family were not emotionally safe people to know about my dysphoria, even though I was dealing with it in unhealthy ways, because they explicitly used my mental fragility against me. My home was never a safe place. Why, then, would it have been okay for my educators to—hypothetically—tell my family that I had been going by a different name within my inner circle years before my "actual" transition, all while knowing nothing about what I actually went through behind closed doors? We so often ask transgender people, "Why do you allow gender to hold so much power over you?"—but we so rarely ask ourselves, "Why do we allow nicknames and clothing"—(all gender identity and presentation is for the vast majority of these teens)—"to hold so much power over us as to justify playing tattletale, even to the extent of breaching student/counselor 'confidentiality,' to parents whose children may very well be keeping this information from them for very good reason?"

Controversial stance, though it may be—but it is through my own lifelong experience of abuse that I strongly believe that parents do not have an innate, deserved right to know anything and everything about their child just by virtue of being their parents. We cannot acknowledge the rates of abuse that dysphoric youth so often face whilst also conveniently forgetting in these such discussions that most abuse, in most cases, is perpetrated by immediate family members, especially parents, thus rendering these people potentially unsafe people to tell. Either way, these teenagers are hurting—and we can either bite our tongues and create a space where they feel they can safely work through that pain, or we can make their suffrage a political "parental rights" issue, very possibly causing even more suffrage inadvertently and further encouraging them to suffer alone, in silence, or in unhealthy echo chambers.

We must talk about the ways in which dysphoric youth are vulnerable. In doing so, we must also address the fact that danger most often comes from within the home.

[sourcedecay]

Reading drag king dreams by leslie feinberg right now and it’s so good. I cried like five separate times reading it today but that’s also bc i just started my period

[moe-broey]

Winter concpets.....

(these first ones are At Least a year old 😭😭😭)

First up, a Winter Sharena concept!

And a little comic about it

The last panel would have been Sharena begging to "steal Alfonse's body warmth" while Alfonse subtly/sarcastically teases her about it, Moe trailing behind them (I lost steam/focus though 🥲)

This was The Year Of Bruno as well, and I was testing out/playing with the scenario presented (From the Tempest Trials and from what Winter Bruno says, it seems Alfonse and Sharena spent the holiday together while the Summoner was spending it with Bruno the Envoy)

(funny aspect of this is I don't even really enjoy "why does so and so call you babygirl" jokes anymore LMFAOOO like. Nothing wrong w em and was a decent set up here, but Moe would Not Fucking Say That skskksk) (also you can Tell this is Early On in Moe's development bc its fangs aren't even piercings 😔)

This year I Did revisit Winter Concepts, espp wanting to redo my Idea of a winter Moe who's helping out Bruno with Envoy Duty

All it needed was to become more of a furry and some loose BDSM gear inspo 👍 I was also thinking about a few different things! Like how Bruno's fit is literally just his regular outfit with some Santa suit on top LMFAO. But I was also thinking about how Moe is probably not meant to be recognized here? If it is hanging out with Bruno? Who is actively avoiding being seen by Alfonse and Sharena? So Moe keeps the shoes/tights, but little else!

Final version would have most closely resembled this one!

And another little comic

Once again I'm parsing how okay well how are they interacting with each other. What's the vibe here?

I wanted to draw a bigger piece of them hanging out, maybe spending the night together by the fire with hot cocoa after a hard day's work (again thinking about how it's implied the summoner spent the holiday separately from Alfonse/Sharena). I may revisit the concept again, I feel like there's a lot of potential story-focused comic wise here.... and a lot of set up for some funny conflict later.

[prismatoxic]

congrats on writing the fic that made a man text his (sort of estranged) dad. fr your portrayal of every single dynamic is so flawless and considerate. nobel prize.

THAT ACTUALLY DOES FEEL LIKE AN ACCOMPLISHMENT... i hope it goes well anon!!!

there's a lot to be said about people who did the wrong things but feel genuine remorse and want to get better, i think. i've been there (though not in a parent sense), and it's also what happened with my mom after i moved out, so i guess i kind of know how it is from both angles. on top of, you know, just writing what i know of who chilchuck is as a person (and assuming a lot of things about meijack and the others, lmao...)

[numiolaes]

Aemond is obsessed with women and that obsession takes a few forms/steams from a few places. He craves motherly affection, he feels because he is a second son and his purpose is to marry outside the family for politics he's been denied the Targaryen spouse he deserves, and he has felt alienated from women since his disfigurement which led to him thinking about them a lot more than he already was.

he doesn't see women as lesser, he loves his mother and acknowledges her strength too much to not, but he does see them as different. Some of that comes from his general lack of socialization with women and girls but it also stems from his thoughts and fixations around motherhood and procreation (yes ofc he has a breeding kink). Men cannot create life inside them and women can which fascinates him and is something he sees as important and precious. Aemond prefers the religious beliefs of the valyrians but he does care about the aspect of the Mother from the Seven. Life, passion, fire, blood and sex/sensuality are important in the valyrian beliefs so those two things help to cement his fixations and sense of reverence.

He's not much of an "all women are queens" type of guy though. Part of his obsession is because he was isolated by women and girls and even bullied by some of their girl cousins as a boy after he lost his eye and that still stings for him. He does feel entitled to having a partner but not just like, a woman in general or a perfect trad wife girlie or something, but a true equal and he is bitter about not having that. It's got a few levels; he wants to feel like at least one person out there loves him genuinely for himself, he wants to strengthen his stance as a man and targaryen in every sector, and his beliefs around procreation.

The first is obvious, the second is that having a strong capable wife (ideally valyrian) who he successfully cares for signals him as successful as a man by the standards they live by, the third is that he believes there should not be an imbalance in the energies when one couples, especially when conception is involved as if the amounts of energies to be used in making the baby are not proportional it will lead to complications in the pregnancy, stillbirths, defects etc.

He's very sensitive to this idea of energies, giving them away, how they effect things etc. He doesn't sleep with sex workers, or have affairs or any of that because of this. He doesn't believe that say, spending his seed in these "lesser" costs him his vital essence as fire can be replenished but it can lead to issues for himself, them and any children. He sees Targaryen energy as particularly potent because their dragonblood and to pour that into an unfit vassal would be like trying to keep embers in a paper bag.

(snipping just bc this is a long ass post)

This has definitely led his sexuality in interesting directions since he has a very high sex drive but actively doesn't want to get with any woman who doesn't fit his criteria, so he's developed a lot of like voyeuristic, solo and non penetrative fetishes and found other ways to channel the energy. I hesitate to call him an incel tho he does have some of those vibes bc this is like voluntary to semi-voluntary celibacy lol. His sense of entitlement and bitterness around his lack of a partner in part comes from the idea of something like soulmates. if he is to be one half of a union which produces perfect healthy children then logically there is a woman/women who match him. So where is she?

Another thing that makes him adverse to having sex outside of something like a intimate committed relationship is his trauma from his rape as a child. He just genuinely doesn't feel very safe around women in that context without knowing who they are as a person so he's not inclined to seek them out casually. There's a lot that makes him feel uncomfortable or elicits a visceral reaction which makes him feel ashamed and emasculated and he doesn't want that side of him to be seen. At the same he also wants this comfort that, for him at least, could only really come from a woman that would help soothe this. Also a lot of his other issues would be cured if he could knock someone up, like the ones around acceptance, family, love etc. He's unhinged like that.

Going back to his ideas around energies, pregnancies, women etc. I'll use Rhaenyra at the family dinner as an example. For one tho he has major beef with her, she was never more beautiful, attractive, and pure to him than when he saw her pregnant. If/when he learns about her miscarriage and the context around it he would feel genuine sorrow and remorse, it's a terrible thing to happen to a mother and he's sad it happened, especially to a Targaryen woman of his blood. But he also would not be too surprised since she was around so much death while pregnant between Vaemond and sitting next to Viserys. Especially Viserys as he's like a black hole of negativity and decaying energy which would negatively impact the child. Then of course the news was even more damaging negative energies. Even a woman of a strong stock like theirs would be effected by these large amounts of necrotic energies. He also thinks very poorly of Daemon over this because he didn't shield her from these energies as is his duty and even contributed. Like fr he now sees him as a major flop of a father/partner lol.

I could probably say more but this is already just WAY TOO LONG so I won't.

[doloresdisparue]

i love when ppl Online are like "lolita is about how WOMEN are silenced" like i love nabokov but a) that man was NOT a feminist and b) dolores gender was entirely decided by the fact that his own child was a boy and if he'd had a girl the child in lolita would have been a boy he said that himself also male csa victims do not fare better in being believed and acting otherwise is not feminist i beg you to think for a hot second before posting