#this is my first original tumblr essay

[jackleg-penwright]

On Age Segregation

I was homeschooled in the late eighties and all through the nineties. There was a lot that was kind of toxic in that culture (though some of the worst tendencies, my parents actually actively rejected - even within a fairly intense segregated culture, it still wasn’t monolithic), but not everything was. For instance, one of the driving forces for my parents and for other parents in the movement was the idea that the age segregation reinforced by traditional schooling was toxic and harmful, both to children (who never learned to interact with either adults, or anyone younger than them) and to society. 

And while I do know that there were some negative unintended consequences to not having a “peer group” you could learn how to be equals to - for instance, to this day when I interact with anyone who is clearly an adult, my brain immediately sees them as “authority figure, must be deferred to, if they disapprove of what you think, then you must be wrong” (which I can and do actively resist, but it takes effort every time, and sometimes I don’t have the spoons to fight with my brain), even if they’re ten to fifteen years younger than I am. 

Then again, as an awkward, undiagnosed autistic kid in a time period when being a nerd was something even the adults thought you should be ashamed to admit, I probably wouldn’t have been that successful at finding an accepting peer group no matter what.

So yeah, there were some long-term downsides, but on the whole I think it was a very healthy mindset to foster. The idea that people are people, and that you can find something in common with someone of any age. My dad and my kids used to connect over Minecraft, and if you watched my dad’s minecraft youtube channel, you’d figure out pretty quickly he wasn’t doing it “to connect with the kids,” but because he really enjoys playing around in the wide open sandbox (he’s an electrician by trade, and most of his explorations are deep dives into what you can do with redstone).

I was reading one of those “Am I The A******” summary articles a while back, and the OP was wondering if she’d been too strict in actively preventing her 19 year old daughter from interacting with her 27 year old boyfriend (they had met in a student club at a school they both attended, and didn’t realize there WAS an age gap until they had already become solid friends). And even though the consensus was that yes, trying to be that controlling to someone who is a legal adult would probably backfire, it really bothered me how many of the comments assumed that the boyfriend had to be a perv because no one could possibly have anything in common with someone that much younger than them.

I have some significant trauma I won’t get into from people who acted on that assumption with regard to me (I was a student in a community college actor training program, but for some reason I was the only older student in that program, which I hadn’t thought would make a difference since most community college programs are very age-diverse, but since the younger students were just out of high school, they still saw themselves as children, while I saw them as fellow adults, because that’s what they were), which is really annoying because the idea that an "older" adult and a younger adult can’t connect over shared passions is not even true. (not to mention, mid- to late-thirties isn't even that old, I promise - all my parents' peers still call me a baby, and I'm over 40 now)

As the anonymity of Tumblr has shown us, it’s VERY common, if you start by taking away the basis for age-prejudice and just interact with people as they are, to discover just how much you have in common with people from all over the age spectrum. And it actually hurts a lot to see how many people (especially men, I guess, because no man could possibly enjoy other human beings for anything but sexual objectification, right?) are vilified for recognizing and acting on the reality that people can enjoy people, no matter what their age.

[carolinanadeau]

Embarrassing, ridiculous TMI under the readmore (not gross! just way too personal!)

I do not have PTSD and I don't want to be a part of the "flippantly using the word 'trigger'" problem at all, but I think I finally found a proper name for this harmful behavior I've wrestled with since at least high school, and it's called self-triggering.

Again, I don't have trauma... well, everybody has some trauma, but that's not the thing I'm triggering myself about here. And if I explained what I had actually been doing to myself (which may be obvious to someone who's reading between the lines but I don't want to talk about it for reasons I've stated before), it would sound laughably, mockably trivial. But the results are still an acute increase in depression and obsessive negative/angry thinking and distress and alienation from something that usually gives me joy... so it's still harmful to me, no matter how stupid and frivolous it sounds. Perhaps it's an OCD/depression self-triggering instead of a PTSD self-triggering.

I reiterate, what I'm discussing is not trauma, not EVER claiming it is, but:

In a similar vein, one set of case studies (De Young, 1984) conceptualized approaching situations reminiscent of the trauma as “counterphobic behavior” (i.e., an attempt to master anxiety by repeatedly approaching its source, resulting in a greater sense of control).  

I understand this, the "maybe if I keep looking I'll become desensitized", and "I need more information so I can better avoid this thing and people associated!" Or even "well maybe it wasn't really that bad, maybe I'm remembering it as worse than it was" (I'm not, if anything I've forgotten just how bad it was!)

Likewise, if trauma survivors perceive reexperiencing symptoms as inevitable, they may wish to decide the time and place of their occurrence, affording them a sense of control.

...is that the irrational "gotta get it over with" compulsion??  

Alarmingly, many users also report being unable to stop this behavior once they have begun despite the dysregulation and distress that it causes.

This is how it goes: I will read or even just skim through something that causes me serious emotional distress, whether that is a fanfiction with something horrible happening to characters I find comfort in, or a really nasty article full of harsh, baseless criticisms of something I love so much. (Again, these things sound laughable but to the way my mind works, it is not. Though I also do something similar with actual bad memories from my life [I think everyone does], well, you can't "reread" or refresh those. And I also have the power to delete/destroy any physical records I have of those.)

So, I will vow to never ever let this wretched thing enter my eyeballs again. I will ruminate about it and quietly seethe about the fact that it exists, and that some people even like/agree with it! I won't be able to get certain upsetting phrases out of my head and I will obsess and it will ruin my enjoyment of related things whenever I get reminded of it.

Maybe I will find ways to block or blacklist to lower my chances of seeing it. And I will be very vigilant about this for a long time and will successfully avoid it, even if I see reminders here and there that make me mad. Slowly, I'll only remember a few specific sentences from the thing, and even those may be unclear.

And then I'll suddenly develop the belief that I "have to" look at it again for some reason, and my heart will start pounding as I start bracing myself for this "inevitability".  And eventually the irrational, self-destructive side will win out and I'll do it, believing that it's like ripping a bandaid off for the greater good. Gotta get it over with, you see. I'll only glance over it, of course, because this time I already know how bad it is - I'll just read a few sentences here and there on my way to do something "sensible" like block the url or check who liked it so I know it wasn't my friends - but it will be enough to make me feel like absolute shit for days again, and now I have these fresh memories in my head to contend with and the cycle of trying to forget these bad bad thoughts and be able to freely enjoy the thing I love starts all over again.

and that's what you missed on Glee!

[secretmellowblog]

People who try to analyze what happened on Tumblr on November 5th, 2020, often really overstate how much it was actually “about” Supernatural. As someone who has never been in the supernatural fandom ever but dID join in on the hysterical destielposting—it was really more about the stress of the pandemic and the 2020 presidential election.

The two biggest Youtubers I’ve seen try to dissect “what happened that November 5th” in video essays both weren’t American—- and I think that explains why they both tried to explain the hysteria primarily via analyzing the Supernatural fandom/the original show, rather than through the lens of the election. And while those videos are cool, valid, informational, and make lots of really well-considered interesting points— I can tell you that me and almost all my mutuals had literally no knowledge or interest in the fact that “oh supernatural had made nods at the ship in the past but the creators were adamant that I wouldn’t be canon” or etc etc etc etc. the first time I learned about any of that context was way later, watching videos where people claimed that fandom history context (that I did not know anything about) was the actual reason for the hysteria.

But the reality is that people latched on to the Destiel stuff because it was a piece of big useless inane zero-stakes fandom news in a time when we were desperately waiting for serious high stakes election news. We were latching onto a “positive “ piece of inane stupid fandom news in a time of great stress, with all the desperation of a drowning man who latches onto whatever piece of wood will keep him afloat.

The core of the hysteria was that Americans (who make up a huge chunk of tumblr’s userbase) were currently glued to their laptops watching the live presidential election vote counts come in. These vote counts were taking an extended amount of time due to the pandemic causing high numbers of mail-in ballots, resulting in a constant state of Election Day Stress for multiple days straight.

This was also during the height of the Pandemic. People had predicted Trump’s presidency would be bad; no one had predicted it would be this apocalyptically bad. No one had predicted pandemics and lockdowns and hospitals overflowing with bodybags. remember Trump spreading Covid lies and conspiracies?? There were so many Qanon conspiracies about democrats being Satanic child traffickers who had to be put to death, and coup threats were mounting from the right wing side. It seemed like this election was a choice between ‘centrist democrat’ and “apocalyptic right wing conspiracy theory authoritarianism,” in the midst of pandemic conditions that people feared would never ever improve— and it seemed like a close election.

Another major point was that Trump voters were more likely to be antimaskers/Covid deniers, while Biden voters were more likely to take the pandemic seriously— so Biden voters were more likely to send in mail-in ballots instead of risking the in-person voting crowds, which meant their ballots would take much longer to count. And so, in many state electoral vote counts, it would initially seem like Trump was very far in the lead— only for Biden to slooooowly build up an agonizingly small lead as the mail in ballots came in, and then defeat Trump at the very end.

So you’re just watching these news sites giving live election updates, refreshing the page every 2 minutes to see if you’re going to live under a spineless centrist democrat or a literal Qanon Dictatorship. And then you go on tumblr to distract yourself, and there’s more election posting, and more agonizing over the votes, and more stress and despair—-

And then it’s been days and we’re right at the crucial tipping point where it’s anyone’s game and the next few hours will determine whether Trump will win, so you need to keep your eye on the vote count, because the next hours will determine the future of the pandemic and your country and your plans for your entire life—

And then stupid Destiel becomes canon! And it becomes canon in the silliest way possible!

If Destiel had become canon at any other time, it would have been a big goofy tumblr celebration? But we wouldn’t have gotten the insane explosion of hysterical interaction.

The entire core of it was the contrast between the inane meaningless stupidity of fandom news vs the actual stressful election news you wanted to hear! It really is best conveyed in that meme where Castiel says “I love you” and Dean indifferently responds with a piece of important election news.

It’s about the contrast between the low-stakes inanity of fandom and the massive life-destroying stakes of a terrifying election. There really was no reason it had be Supernatural specifically, except that Supernatural was a thing everyone knew basic things about from dashboard osmosis— it could’ve been any other equally huge silly fandom ship news about a ship everyone *knew of* but might not necessarily be invested in (ex. Stucky becoming canon, Johnlock becoming canon, Kirk/Spock becoming more canon somehow, etc etc etc.)

I think it’s true that people who weren’t paying agonizingly close attention to the American election news got swept up in it, and that non American Supernatural fans also were extremely excited for purely fandom reasons — but the entire reason it blew up to an unprecedented degree was because of that core of stressed out terrified Americans glued to their computers watching election results and suddenly receiving stupid fandom news instead, and deciding to just hysterically parodically hyper-celebrate this absurd useless zero-stakes news.

I think it was also all elevated by the fact that, as I said before, this happened at the crucial “tipping point” of the election where the next few hours would determine the winner. The fact that Biden began to slowly develop a lead in the hours after made it feel, hysterically, as if the hours after Destiel became canon was somehow the turning point where he began to win; so celebrating Destiel felt like celebrating that slow turn towards victory.

The tl,dr is that it’s so important to Remember the Fifth of November …..in preparation the inevitable hysteria that will happen in the presidential election on November 5th of next year. XD. Personally I’m rooting for Johnlock or Frodo/Sam to somehow become canon in the eleventh hour right before the democrats win

[theoakleafpancake]

I was the match and you were the rock

Maybe, we started this fire

We sat apart and watched

All we had burned on the pyre

You said, “We were born with nothing

And we sure as hell have nothing now

You said, “We were born with nothing

And we sure as hell have nothing now”

[blackwaves]

#btw this is why dazai sets him on atsushi #because atsushi is the reverse #he is entirely self preservation #he has trouble moving forward and he freezes #when dazai says “he's better than you” #that's what he means #he's saying see that? do you see that cowering weepy cat? that is the better extreme. #and then he keeps bringing them together because they need each other #atsushi needs akutagawa to be brave enough to act #and akutagawa needs to see what a will to live looks like from someone capable of absorbing the brunt of the fight #also as a reminder. akutagawa is not real. he is a seinen anime character with superpowers. #anime is a stylistic and exaggerated medium #do not work yourself up by dragging them from their context to frame their behavior as if theyre irl high school aged students #the pencil drawings are not hurting each other and cartoon violence is not 1:1 with real violence (tags from OP)

pm!dazai didn't abuse akutagawa. he reacted proportionately to the threat akutagawa posed to himself.

when dazai smacks akutagawa around in canon, they're running drills. dazai is not hitting him in misdirected anger or because he is venting his own suffering on him. akutagawa does not instinctually protect himself. in his fits of hyperviolence, he seeks to kill and be killed, and nearly is in beast, and in the course of his initial pursuit of atsushi.

he does not have the reflex or will or instinct to defend himself, and he is slow because he is having to consciously process the effort. his automatic reflex is to attack, but that will not stop him from being shot or overwhelmed or blindsided.

what they are doing in those scenes, what dazai is uniquely able to practice with him since rashomon can't pierce him, is not unlike cognitive behavioral therapy interventions. akutagawa is wired such that when he is triggered, he develops tunnel vision, pressing forward relentlessly without registering danger or responding to negative stimuli. this is a pattern developed from when he deemed dearh inevitable, and one which is liable to get him killed regardless of whether he has a reason to live.

he needs to consciously retrain his instinctual response, and he has to consciously and consistently reinforce it against his existing, much quicker instinct. he has to do it before he has the conviction or will to do it. and he has to do it over and over again, even when it isn't immediately life or death, because the instinct is self reinforcing, and the pattern he is trying to supplant it with is not yet.

skills are part of their users' framework for responding to their environment. jun'ichiro is anxious, but he can hide within light snow. kunikida has his notebook, but it has rigid limitations that he adapts to, similarly to how he works within the limitations of reality to keep from becoming consumed by his ideals.

akutagawa's skill, meanwhile, is wildly fucking disproportionate to akutagawa's constitution which is a problem when akutagawa wont react defensively. akutagawa is canonically frail, chronically ill, thin, and short (he's 5'8", but asagiri insists he's itty bitty every time he describes him in prose). rashomon, meanwhile, is monstrously powerful and hungry. it lends a false sense of untouchable violence when akutagawa himself is weak, and also is just really difficult to focus and control such that using it brings akutagawa into coughing fits. rashomon is also terrifying even in visage; it invites others to react with violence proportionate to their terror against the spectre of rashomon — but akutagawa is small, sick, and human; what is proportionate to rashomon is IMMENSE overkill if aimed at akutagawa. which is especially egregious because akutagawa will let them.

in other words, when dazai meets akutagawa, rashomon is as dangerous to its user as to anyone else. skills should not get their users killed. dazai is right. it's a shit skill.

akutagawa is vulnerable and self-destructive, and he and dazai are working to rewire his instinctual evaluation of his stakes. even when dazai punches akutagawa after akutagawa kills the mimic soldier, it's not a random act of violence or unregulated anger. the mimic soldier was not going to lead them to gide, there was no reality where they restrained him before he bit his cyanide, and he'd attacked dazai. but instead of reacting defensively at the opportunity, akutagawa fell to the former instinct, leaving himself wide open.

dazai reacts how he does because:

they are supplanting an ingrained instinct that is self reinforcing, the correction needs to be consistent to change the pattern and the former instinct needs to be discouraged with the same severity as the threat it poses;

by punching akutagawa first, dazai gave him notice and time to consciously muster the defense reaction theyre working on;

akutagawa needs to build an association between the defensive reaction and the triggering stimulus for this to work;

the context in which this happens is the exact sort of threat that rashomon is then ill equipped to handle— gide can see into the future, like oda, and mimic are military trained gunmen.

when dazai tells akutagawa that he couldn't ever defeat oda, he's not taunting him, he's right. akutagawa is relying on swift killing blows, but against someone who can see into the future, akutagawa is as vulnerable as a baby. and then, shortly after, that's what happens: gide wrecks his shit and is about to murder him dead when oda swoops in to grab dazai's dumb horrible baby kouhai who's trying to kill himself with the ambitious gusto of a horse.

as long as akutagawa fails to seek self-preservation, he is remarkably vulnerable. he's weak, and he's going to get himself killed. dazai doesn't coddle him about it for the same reason fukuzawa slaps ranpo for scampering into a police car with a murderer. you dont get praise for self endangerment.

dazai is not going to affirm a version of akutagawa that is trying to kill the boy dazai promised to save.

***

(also, this explains why akutagawa hates taking baths and being without his coat. dazai tried to instill in akutagawa the vigilance to register danger. in his absence, akutagawa strove to be worthy of demanding his approval by diligently practicing. but he's dazai's dumb baby kouhai who. takes things too far lmao.)

[homosexualworkaccount]

Jason Todd’s “Replacement” nickname for Tim Drake, Origins and Popularisation

So, making a 2500-word essay on how a fanon nickname that only me and like two other people care about is not how I expected to spend my time in between exams.

A lot of Batfam fans are very, very much aware of the fanon “Replacement” nickname Jason has for Tim, and a lot of us very, very much hate it due to the connotations of fanon characterisation that it has. I don’t personally, I think it’s an alright enough one that fits into the established canon ones – but to be fair, I haven’t read the comics in a hot minute, so my memory could be screwy.

I got curious one day on where the nickname came from when a user on TikTok mentioned that it might’ve originated from a Batfam incest fic (They weren’t too sure and told me to take it with a grain of salt) – so shout out to them for starting me down this rabbit hole! I looked over on here and saw that notion repeated, though no one could pinpoint me to a specific fic beyond “It was popularised from a Batfam incest fic.”. I also saw a few people say that it was derived from canon, which piqued my interest further so I decided to go down a rabbit hole of fandom history purely for some fun.

The aim of this essay is just to clear up some misconceptions around the origin of the name, all fun and no harm. Don’t send harassment to people referenced in this either over a silly nickname, it's been well over a decade since they wrote the works used here.

Preface

Alright, first things first – all sources are going to be ones that were published after August 2005, the official date the first issue of Batman: Under the Red Hood was published, where Jason was established to be alive again.

While there could be a chance that the nickname was derived from a website/fanfiction before 2005, it’s highly unlikely due to the fact it was only popularised in the early 2010’s, and well, because Jason was dead and no one gave a shit about him. Also good to remember that most websites that ran before 2005 are defunct and purged from the internet now, particularly fanfiction websites (such as Quidzillia) due to various issues (taboo, copyright, costs to run ect).

Small note to make again – the Batfam fandom was fairly small at the time, the more fandom-y part of the DC community usually sticking to their own websites like Quotev, Quidzilla (again, defunct now), AO3, Fanfiction.net, LiveJournal and independent websites (again, defunct) while the rest stuck to discussion sites, so the entire fandom functioned more as a insular community from what I could tell. I will be working with the assumption that the nickname was created on one of the larger platforms, as any other platform didn’t have large enough influence to popularise the nickname.

The nicknames that I specifically looked for was simply Jason calling Tim Replacement in place of his actual name. Something like “Replacement Robin” was on very thin ice, but still counted as an offshoot. Anything else was off bets.

This whole thing will be split into a few sections to make some things for myself easier. Preface, Sources, Pre-cursor Fanfiction, Fandom Opinion and Language, First usage, Popularisation, Conclusion, Questions, Final Notes.

Sources

Fanfic.net – Created 1998, was and remains one of the larger fanfiction sites. Note; Fanfiction.net had various periods of time where there were large scale purges of fanfictions that held more mature content. Most notable instances were in 2002 and 2012.

Archive Of Our Own – The holy grail for my research. Created in 2008. For the information I got from there I used the search filter Date Updated, tagged Jason’s and Tim’s individual tags and followed from there.

Live Journal – Created 1999 and was used as one of the larger sites for fandom and fanfiction. Was used by DC fandom goers regularly so I used it to get an idea of the fandom at the time.

Tumblr – Created 2007. Theres various people on here who have compilations on DC timelines and comic sourcing that helped me correlate fandom growth with specific comic releases (Shout out to @ectonurites for their meta posts and timeline posts, they were a major source for this!). Dogshit filtering system, so I couldn’t find posts pre 2012 about DC.

Note; Quotev and Wattpad weren’t used in this as their filtering systems don’t account for searching for older fanfictions, so sadly had to be discarded as most fanfictions between 2006-2010 on those websites are now very difficult to find.

Pre-Cursor FanFiction

So, before we get to the actual first proper use I could find of “Replacement”, I first want to mention a fanfiction that had something very similar that I think would be important purely for archiving reasons around how the nickname came to be. And also because it fits the nickname criteria I mentioned earlier.

Published on the 29th of November 2006, last updated on the 28th of November 2007, was the fanfiction My-Enemy-My-Brother on Fanfiction.net by user theunknownvoice – featuring the first use of Jason referring to Tim with a nickname including replacement, Replacement Robin. Kudos to theunknownvoice, they created the very first nickname that would kickstart the rest.

While Jason doesn’t explicitly refer to Tim as Replacement – the main subject of this essay, it comes very damn close, so I wanted to include it. There is a part where Jason repeats replacement in his head multiple times, and I think he’s supposed to be referring to Tim, but the sentence isn’t very clear on that part, so I won’t count it, but it is important to acknowledge.

Though this isn’t the fanfiction that influenced the development of Replacement. This fic had barely enough reach to influence any future works years later. I couldn’t find any connection with this work and later works that officially did just have Jason call Tim “Replacement”

Fandom Opinion and Language at the time

I promise this is important and that I’m not a pretentious linguistic, English isn’t even my first language.

I like to think we all know how fandom discussion just seeps into fanfiction (See; the nickname green bean for Deku from MHA leaking into fanfiction) so I just want to quickly point this out.

Discussion around the two blew up after Jasons return in late 2005, people going “What does this mean” and “What does that mean for Tim”. Through the few posts I could dig up from this time and up to 2011, it seems people came to the conclusion that Tim was Jason’s replacement, and that their dynamic was Jason dealing with the fact that he had one. You can definitely see that in some of the posts and fanfiction written at the time that usually had Jason dealing with Tim being his replacement.

(Just a few examples from LiveJournal but more like this are still floating around, if they aren’t deleted anyway)

It’s very likely that the authors themselves engaged in similar discussions/had independent thoughts that ended in the same conclusions, seeping into the fanfiction itself later. In the comics pre-New 52 I couldn’t find any major instance of Jason explicitly referring to Tim as his replacement (only implied through speech), so this was mostly contained in fandom discussions from what I can tell. (Note, this was probably similar on comic discussion websites, but I couldn’t find any that still exist pre-2007, so I’m going to assume literacy skills are not any better on those sites. See; Batman dick riders)

The fact that Tim is explicitly described as having replaced Jason, and sometimes as “Being the Replacement” on posts/fanfiction definitely had a hand in the creation and popularisation of the nickname, influencing the fan content made around the two.

First usage of Replacement

Cain! Cain! Is the first use of the nickname Replacement really from a Batfam incest fanfiction?

Nope, thank God.

After filtering their character tags together on AO3, going to the oldest page and clicking through over 10 pages, reading every single fanfiction on each one (yes, even the weird ones, I was dedicated) I found the first instance where Jason explicitly refers to Tim as Replacement, that still exists today anyway.

Published on the 24th of January, 2009 by user shiny_glor_chan, is the fanfiction Four Calling Birds, a fanfiction detailing Stephenie Brown returning from faking her death (a whole headache from the comics that I can't be arsed to explain) and getting to meet Jason and Dick for the first time. Genuinely sweet, and a corner stone of fandom history, officially. Hip hip Hooray! Congratulations shiny_glor_chan.

I tried tracing to see if this person had any other accounts that I could find to see where they got the nickname from, but it seems it’s mostly a nickname they thought up out of the fact that they had consistently wrote Jason explicitly stating that Tim was his replacement

And reading through several more pages of fanfiction again, feeling like I want to bleach my eyes out, I found the second instance of the nickname being used. Published on the 26th of May, 2010 by user axiel-neesan, is the fanfiction The Only Piece You Get, where Jason basically acts as Tim’s cabbie and bonds with him. Another corner stone of fandom history, hooray.

These two authors are completely unrelated and have no connections to each other besides both frequenting LiveJournal, having taken prompts and having friends from that website, despite having no accounts I could find. I personally think they had a similar train of thought of “Huh, that would be a sick ass nickname.”. Chances are that axiel-neesan saw shiny_glor_chans fic and got inspired as the fandom was dead small on AO3 at the time – around 20 pages worth of fanfiction from 2008-2010 (And thats being generous if we’re counting now deleted ones)

These two fanfictions are immensely important because it’s the only early instances I could find of the nickname being used, and for about two years after the nickname pops up occasionally – but by no means was it popular, or even regularly used, I had to look for the fanfictions that used it.

Props to shiny_glor_chan and axiel-neesan! I pray that you two don’t see what the fandom thinks of that nickname now.

Popularisation

Early 2012 saw the proper explosion of fandom for the Batfam, and by extension the nickname.

By this point there were so many fanfictions that I couldn’t read them all, so I started picking random ones that tagged Jason and Tims relationship, platonic or not. Pre-April-ish of 2012 the nickname popped up every other page or so, but sometime after mid-2012 the nickname was in almost every fanfiction that I skimmed through – so that’s its official growth period.

Why though? Several factors probably.

The New-52 was in full swing by this time, DC massively promoting the reboot to get new fans interested, so people picked up comics from there. Young Justice – the more mainstream exposure of DC to surface level fans aired its second season in April of 2012, introducing people to Tim Drake and his story and getting them interested. Fanfiction and fandom as a whole was becoming less taboo and more accepted in fan spaces, so encouragement to write it was much better than it was in the early years of the internet (Example; Teen Wolf’s production team)

As for a specific catalyst for the growth of popularity for the nickname? There might be something worth pointing to.

Kudos for @ectonurites for helping me on this (Hi Sam! I was anon!) and giving me a publishing date on Tim’s and Jason’s first New 52 interaction – Red Hood and the Outlaws #8, published on the 18th of April, 2012. It features an instance of Jason and Tim interacting in a very friendly and familial way, Jason explicitly calling Bruce their Dad. Compared to their last major previous interaction of Jason leaving Tim for dead, fans of the two who enjoyed the more familial potential (and tragically, romantic potential) took it and ran with it.

All of these combined in some way to contribute to the popularity of the nickname in mid to late 2012, and lead to it’s infamy in DC fanfiction.

Conclusion

In conclusion, how do I think the nickname came to be?

I think it’s a combination of factors that led to it’s creation. As already established people very much did see Tim as Jasons replacement at the time, and the language could have shortened down from “Tim replaced Jason” to “Tim is Jason’s replacement” to “Tim is the replacement” which I think could be the train of thought the 2006 author went down to create the nickname Replacement Robin.

This definitely influenced the AO3 writers as shiny_glor_chan was present on LiveJournal at the time (where this language was very prominent), so they were already down the line of thinking this and probably went “Huh, replacement is kinda a funny nickname” and added it. As already stated, I think axiel-neesan probably had a very similar train of thought or may have seen shiny_glor_chan’s fic and was inspired.

And from there people saw it, used it in their own works, getting leaked over onto LiveJournal, which was the main website for prompt sharing, getting used a decent amount there before the explosion of fandom in mid-2012 that lead to it’s regular usage in fan works.

Questions

So, is the nickname from a Batcest fic?

Nope! The nickname mostly makes an appearance in platonic fics between Jason and Tim, it’s actually a chore to find it in their romantic ones, as in I think I found one instance of it being used somewhere in late 2010 but I can't think of it in a fanfiction that predates that. All early uses of the nickname were in platonic fics between the two.

I think this rumour is based around three fanfictions specifically on Ao3 that people are pointing to, I think, no one seems to be wanting to name names. They’re the ones that pop up when you search Replacement in the word search after tagging Tim Drake and Jason Todd together.

Wings to Fly. Published October of 2012. Jason Refers to Tim as Replacement. Jason/Tim

Replacement. Published 2009. The title implies it’s referring to Tim, but Jason never explicitly nicknames Tim replacement, the narrator only calling Tim “His replacement”, him being Jason. Jason/Tim. Non-con

The Replacement. Published 2011. Can't figure out if the title is supposed to refer to Tim or is simply just titled that for the sake of it. Jason talks a few times about Tim being his replacement, but the nickname never makes an appearance. Jason/Tim

Does the nickname have any bases in Canon?

From what I can tell, no. I haven’t read all the Batfamily comics Pre-New 52, or from after Batman: Under The Red Hood, I mostly stray towards Hal Jordans comics lol. I don’t think theres any major instance where Jason talks about Tim replacing him by specifically using replacement or replacing (It can be inferred from his speech sometimes, but Jason’s relationship with Tim was much more complex than that. I’d recommend reading @ectonurites metas about the two to get a better idea) Theres a few instances in 2015 post-New 52 reboot where Jason says explicitly that Tim replaced him, but that was way after the nickname was popularised.

Red Hood and Arsenal #7 (2015)

Final Notes

That’s about it! That’s the result of my month long dive into almost twenty years worth of DC fandom history as a fun side project. Please don’t harass anyone linked here, this was just project to pass the time and not a call out post for anyone that did contribute to the popularisation of the nickname.

Feel free to ask me anything else about this or any other DC fandom history and I’ll try to research it!! This was genuinely a fun thing to do to pass the time and work out my research muscles.

[nyxshadowhawk]

A Retrospective on Harry Potter

Why did I like it in the first place? What about it worked? Where do I go from here?

I have decided to give up Harry Potter.

J.K. Rowling’s reputation now stinks to high heaven. At this point, she is quite indefensible. And even if that weren’t the case, she is not someone that I would want to associate with anyway. Meanwhile, the internet has not only turned against her, but against Harry Potter itself. An innocent question on Reddit, about which Hogwarts Houses the ATLA characters would be in, got downvoted to oblivion. Innumerable Tumblr threads insist that fantasy fans should get into literally anything else (suggestions include Discworld, Earthsea, The Wheel of Time, and Percy Jackson). And now that Harry Potter is no longer a sacred cow, there has been a recent slew of video essays that rip it to shreds, attacking it for its poor worldbuilding, unoriginality, and the problematic ideas baked into the original books (like the whole SPEW thing), etc. Those criticisms always existed, but now they’re getting thrown into the limelight.

It pains me to see such an ignoble downfall of Harry Potter’s reputation. If Rowling had just kept her damn mouth shut, Harry Potter would have aged gracefully, becoming a beloved children’s classic. I'd still plan to introduce it to my own kids one day (after Rowling dies and the dust settles). It’s not surprising that not all aspects of it have aged well, since it’s been more than twenty years since its original publishing date, and everything starts to show its age after that long. I acknowledge that most of the criticisms of the series that I’ve seen lately are valid, and I’ve read plenty of better books. And yet, when I return to the books themselves, even with the knowledge of who JKR really is inside my head, I still really enjoy reading them! There’s still a lot about them that I think works!

None of the other things I’ve read have had as collossal of an impact upon my identity, my values, and my own writing as Harry Potter. It’s hard to move on from it, not just because it’s something I enjoy, but because I have to literally extract my identity from it. I don’t know who I’d be without Harry Potter. I don’t know what my work would look like without Harry Potter. I don’t know how to carry it with me as just another piece of media that I like, as opposed to a filter for who I am as a person. So, with all that in mind, I have to ask myself why I liked Harry Potter so much in the first place. If I’m going to move on from it, then I have to be able to define and isolate the things about it that I want to keep with me. Something about it obviously worked, on a massive scale. So what was it?

It’s not the worldbuilding. The worldbuilding is objectively quite terrible, especially in comparison to that of other fantasy writers who knew what they were doing. At best, it’s inconsistent and poorly thought-out, and at worst it’s insensitive or even racist. Is it the characters? The characters are, in my opinion, one of the stronger parts of the story. But I felt very called-out by one of the many online commentators, who said that anyone who identifies with Harry is too cowardly to write self-insert fic. (I do not remember who said it or even which site it was on, but I distinctly remember the phrase, “Reject Harry Potter, embrace Y/N.”) The reason why people get so invested in Harry Potter’s characters is because they’re easy to project upon, and it’s possible that my love of Harry comes more from over a decade’s worth of projection than anything else. The incessant arguments over characters like Snape, Dumbledore, and James Potter ultimately stem from the fact that these characters do not always come across the way Rowling wanted them to. As for the writing itself, it’s decent, but not spectacular. Harry Potter is something of a sandbox world, with less substance than it appears to have and a crapton of missed opportunities, making it ripe for fanfic. For more than ten years, I’ve been doing precisely that — using Harry Potter as a jumping-off point to fill in the gaps and develop my own ideas, some of which became my original projects.

So what does Harry Potter actually have that sets it apart? Why are people so desperate to be part of Harry Potter’s world if the worldbuilding is bad? What, specifically, is so compelling about it? I think that there’s one answer, one thing that is at the center of Potter-mania, and that has been the underlying drive of my love of it for the past decade and a half: the vibe.

Harry Potter’s vibe is immaculate.

You know what I mean, right? It’s not actually a product of any specific trope, but rather a series of aesthetic elements: The wizarding school in a grand castle, with its pointed windows and torches and suits of armor, ghosts and talking portraits and moving staircases, its Great Hall with floating candles and a ceiling that looks like the night sky, its hundreds of magically-concealed secret doorways. Dumbledore’s Office, behind the gryphon statue, with armillary spheres in every single shot. Deliberate archaisms that evoke the Middle Ages without going as far as a Ren Faire: characters wearing heavy robes, writing with quills and ink on parchment instead of paper, drinking from goblets, decorating with tapestries. Owls, cats, toads. Cauldrons simmering in a dungeon laboratory. Shelves piled with dusty tomes, scrolls, glass vials, crystal balls, hourglasses. Magical candy shaped like insects and amphibians. A library with a restricted section. A forbidden forest full of unicorns and werewolves. That is the Vibe.

There are five armillary spheres just in this shot. They are unequivocally the most Wizard of tabletop decor.

There’s more to it than just the aesthetic, though. The vibe is present in something that writers call soft worldbuilding.

There’s a phrase that writers use to describe magic systems, coined by Brandon Sanderson: hard magic and soft magic. Sanderson’s first law of magic is, “An author’s ability to solve problems with magic is directly proportional to how well the reader understands said magic.” A hard magic system has clearly-defined rules — you know where magic comes from, how it works and under which conditions, how the characters can use it, and what its limitations are. Examples of really good hard magic systems include Avatar: The Last Airbender and Fullmetal Alchemist. If the audience doesn’t understand the conditions under which magic can work, then using magic to get out of any kind of scrape risks feeling like the writer pulled something out of their ass. It begs the question, “Well, if they could do that, then why didn’t they do that before?”

You may come away from that thinking that having clearly-defined rules is always better worldbuilding than not having them, but this isn’t the case. Soft magic isn’t fully explained to the audience, but that doesn’t matter, because it isn’t trying to solve problems — its purpose is to be evocative. Soft magic enhances the atmosphere of a world by creating a sense of wonder. If your everyman protagonist is constantly running into cool magical shit that they don’t understand, then the world feels like it teems with magic, magic that is greater and more powerful than they know, leaving lots of secrets to uncover. Harry Potter, at least in the early books, excels at this. The soft magic in Harry Potter is what got me hooked, and I think it’s what a lot of other people liked about it, too.

The essence of soft magic is best summed up by this scene in the fourth film, in which Harry enters the Weasleys’ tiny tent at the Quidditch World Cup, only to find that it’s much bigger on the inside. His reaction is to smile and say, “I love magic.”

That’s it. That’s the essence of it. You don’t need to know the exact spell that makes the tent bigger on the inside. You don’t need to know how Dumbledore can make the food appear on the table with a flick of a wand, or how he can make a bunch of poofy sleeping bags appear with another flick. You don’t need to know how and why the portraits or wizard cards move. You don’t need to know how wizards can appear and disappear on a whim, or what the Deluminator is, or where the Sword of Gryffindor came from. You don’t need to know how the Room of Requirement works. Knowing these things defeats the purpose. It kills the vibe, that vibe being that there is a large and wondrous magical world around you that will always have more to discover.

One of the best “soft magic” moments in the books comes early in Philosopher’s Stone, when Harry is trying to navigate Hogwarts for the first time:

There were a hundred and forty-two staircases at Hogwarts: wide, sweeping ones; narrow, rickety ones; some that led somewhere different on a Friday; some with a vanishing step halfway up that you had to remember to jump. Then there were doors that wouldn't open unless you asked politely, or tickled them in exactly the right place, and doors that weren't really doors at all, but solid walls just pretending. It was also very hard to remember where anything was, because it all seemed to move around a lot. The people in the portraits kept going to visit each other, and Harry was sure the coats of armor could walk. —Philosopher’s Stone, Chapter 8

Many of these details don’t come back later in the series, which is a shame, because this one paragraph is super evocative! It establishes Hogwarts as an inherently magical place, in which the very architecture doesn’t conform to normal rules. Hogwarts seems like it would be exciting to explore (assuming you weren’t late for class), and it gets even better when you learn about all the secret rooms and passages. The games capitalized on this by building all the secret rooms behind bookcases, mirrors, illusory walls, etc. into the game world, and rewarding you for finding them. The utter fascination that produces is hard to overstate.

Another one of the most evocative moments in the first book is when Harry sees Diagon Alley for the first time, after passing through the magically sealed brick wall (the mechanics of which, again, are never explained). This is your first proper glimpse at the wizarding world and what it has to offer:

Harry wished he had about eight more eyes. He turned his head in every direction as they walked up the street, trying to look at everything at once: the shops, the things outside them, the people doing their shopping. A plump woman outside an Apothecary was shaking her head as they passed, saying, “Dragon liver, seventeen Sickles an ounce, they're mad....” A low, soft hooting came from a dark shop with a sign saying Eeylops Owl Emporium — Tawny, Screech, Barn, Brown, and Snowy. Several boys of about Harry's age had their noses pressed against a window with broomsticks in it. "Look," Harry heard one of them say, "the new Nimbus Two Thousand — fastest ever —" There were shops selling robes, shops selling telescopes and strange silver instruments Harry had never seen before, windows stacked with barrels of bat spleens and eels' eyes, tottering piles of spell books, quills, and rolls of parchment, potion bottles, globes of the moon.... —Philosopher’s Stone, Chapter 5

What works so well here is the magical weirdness of wizardishness juxtaposed against normalcy. Eeylops Owl Emporium is just a pet shop to wizards. A woman makes a very mundane complaint about the price of goods, but the goods happen to be dragon liver. Broomsticks are treated like cars. All of these small moments contribute to the feeling of the wizarding world being alive, inhabited, and also magical. It gets you to ask the question of what your life would be like if you were a wizard. What do wizards wear? What do they eat? What do they haggle over and complain about? What do they do for fun?

In Book 3, Harry enjoys Diagon Alley for a few weeks when he suddenly has free time, and we get to experience the wizarding world in a state of “normalcy,” when he isn’t trying to save the world. He gets free ice creams from Florean Fortescue, gazes longingly at the Firebolt, and engages with delightfully weird people. He’s a wizard, living a (briefly) normal wizard life among other wizards in wizard-land. And that is fun. It’s so fun, that people want that experience for themselves, enough for there to be several theme parks and other immersive experiences dedicated to recreating the world of Harry Potter.

One of the greatest things about Universal was its phenomenal attention to detail. You can hear Moaning Myrtle’s voice in the women’s bathroom, and only the women’s bathroom. The walls of the Three Broomsticks have shadows of a broom sweeping by itself and an owl flying projected against the wall, so convincingly that you’ll do a double take when you see it. Knockturn Alley is down a little secret tunnel off of the main street, and that’s where you have to go to buy Dark Arts-themed stuff. It’s really well done.

Another thing that contributes to the vibe, in my opinion, is that the wizarding world is slightly macabre. They eat candy shaped like frogs, flies, mice, and so forth, and they have gross-tasting jellybeans. In the film’s version of the Diagon Alley sequence above, there’s a random shot of a pet bat available for purchase. In the third film, when Harry is practicing the Patronus Charm with Lupin, the candles are shaped like human spines. In the first book, this is Petunia’s description of Lily’s behavior after she became a witch:

Oh, she got a letter just like that and disappeared off to that-that school, and came home every holiday with her pockets full of frog spawn, turning teacups into rats. I was the only one who saw her for what she was — a freak! —Philosopher’s Stone, Chapter 4

I remember reading this for the first time, and it just kind of made intuitive sense to me. I suppose it fits into the “eye of newt and toe of frog” association between magical people and gross things, but somehow it works. Unfortunately, this is retconned later with the knowledge that wizards can’t use magic outside school, but before that limitation gets imposed, the idea of Lily amusing herself by turning teacups into rats seems like an inherently witchy thing to do.

That association between magic and the macabre shows up elsewhere, as well. In The Owl House, Luz’s interest in gross things is one of the things that marks her as a “weirdo” in the real world. When she goes to the magical world of the Boiling Isles, weird and gross stuff is absolutely everywhere. That world’s vibe leans more towards the macabre than the whimsical, but it works because you sort of expect the gross stuff to exist alongside the concept of witches, and that they would be an intrinsic part of the world they inhabit. You don’t question it, because it’s part of the vibe.

(The Owl House is one of the few things I’ve encountered that has a similar vibe to Harry Potter, but it’s still not the same vibe. In fact, The Owl House outright mocks the expectation that magical worlds be whimsical, and directly mocks Harry Potter more than once. The overall vibe is much closer to Gravity Falls.)

The Harry Potter films utilize a lot of similar soft worldbuilding with the background details, especially in the early films that were still brightly-colored and whimsical. For example, the scene in Flourish and Blotts in the second film has impossibly-stacked piles of books and old-timey looking signs describing their subjects, which include things like “Celestial Studies” and “Unicorns.” When Harry arrives in the Burrow in the same film, one of the first things he sees is dishes washing themselves and knitting needles working by themselves, taking completely mundane things and instantly establishing them as magical. In that Patronus scene with Harry and Lupin, the spine-candles and a bunch of random orbs (and the obligatory giant armillary sphere) float around in the background. One small detail that I personally appreciate is the designs on the walls above the teacher’s table in the Great Hall, which are from an alchemical manuscript called the Ripley Scroll:

It’s all these little things that add up to produce The Vibe.

Obviously, much of the vibe is expressed very well in John Williams’ score for the first three Harry Potter films. The mystical minor key of the main theme, the tinkly glockenspiel, the strings, the rising and falling notes that mimic the fluttering of an owl, the flight of a broomstick, or the waving of a wand. That initial shot of the castle across the lake as the orchestra swells, as the children arrive at their wizarding school:

If you grew up with Harry Potter, just looking at this image gives you The Vibe. The nostalgia hit is definitely part of it, but The Vibe was already there, back when you were a child and you didn’t have nostalgia yet.

In my opinion, only Williams’ score captures this vibe — the later films, though their scores are very good, do not. But the soundtrack of the first two video games, by Jeremy Soule (the same person who did Skyrim) absolutely nails it. This, right here, is Harry Potter’s vibe, condensed and distilled:

This is why I feel invalidated by the common advice “just read another book.” I have read other books. I’ve read plenty of other books, many of which are wonderfully written and have left an impact on me. But there’s still only one Harry Potter. To date, there’s only other book that has filled me with a similarly intense longing for a fictional place, and that is The Night Circus by Erin Morgenstern. That book deliberately prioritized atmosphere over everything else in the story, and actually lampshades this in-universe. The Night Circus has a plot and it has characters, but it’s not about its plot or characters. It’s about the setting and its atmosphere. It swallows you up and transports you to a fictional place that is so evocative and so magical that you just have to be part of it or you’ll die. And even then, The Night Circus has a different kind of vibe from Harry Potter. In this particular capacity, there’s nothing else like Harry Potter.

The thing is, I don’t think Rowling was being as deliberate as Erin Morgenstern. (In fact, given many of Rowling’s recent statements, I question how many of her creative choices were deliberated at all.) She was throwing random magical stuff into the background without thinking too hard about it, which works when you’re writing a kids’ story, but stops working when you try to age it up. Actually, scratch that — soft worldbuilding is definitely not just for kids! The Lord of the Rings has a soft magic system, for crying out loud, and Tolkien is the original archmage of worldbuilding. Don’t listen to anyone who tells you that prioritizing atmosphere over meticulousness is bad worldbuilding. That is a valid way to worldbuild! Not everything needs to be clearly explained, not everything needs to make sense. The problem is that Harry Potter doesn’t balance it well. Certain things do have to be explained in order for the magic to play an active role in the story (and the setting of a magic school lends itself to that kind of explanation), but no rules are ever established for the kinds of magic that need rules. When you begin thinking about the rules, you’re no longer just enjoying the magic for what it is. At worst, you begin running up against the Willing Suspension of Disbelief.

It wasn’t actually the “aging up” of the story that did it in, per se, but rather, the introduction of realism. The early books were heavily stylized, and the later books were less so. A heavily stylized story can more easily maintain the Willing Suspension of Disbelief. That’s why, for example, you don’t ask why the characters are singing in a musical — you just sort of accept the story’s outlandish internal logic, and the inherent melodrama of it doesn’t take you out of the story. Stylized stories are more concerned with being emotionally consistent over being logically consistent. The later Harry Potter books changed their emotional tone, but without changing the worldbuilding style to compensate.

In addition to the more mature themes and darker tone, Harry Potter introduced more realism as it went, but Rowling did not have the worldbuilding chops to pull this off. There’s the basic magic system stuff: When you begin thinking about it too hard, something like a Time-Turner stops being a fun magical device, and starts threatening to break the entire story. Then there’s the characters: Dumbledore leaving Harry on the Dursleys’ doorstep in the first book is an age-old fairy tale trope that goes unquestioned, but with the introduction of realism in the later books, it suddenly becomes abandonment of a child to an abusive family. The exaggerated stereotypes of characters like the Dursleys become tone-deaf. The fun school rivalry of the House system is suddenly lacking in nuance. And then there’s the shift in tone: The wizarding world that we were introduced to as a marvellous place is revealed to be dystopian. You start thinking about how impractical things like owl messengers are, you start wondering if Slytherin is being unjustly punished, the bad history appears glaringly obvious, the quaint archaisms become dangerously regressive. Oh, and the grand feasts are made through slave labor! The wizarding world suddenly feels small and backward instead of grand and marvellous. J.K. Rowling’s bigotry throws it all into an even harsher light.

This is why I’ve always preferred the early books and films to the later ones. There’s a lot of things I like about the later ones, but they’re not as stylized — they don’t have The Vibe. Thinking about things too hard is just a necessary condition of adulthood, but it’s still possible to tell a dark, mature story that is highly stylized. I really think JKR could have better pulled off that shift if she was a more competent worldbuilder. But it is painfully obvious that she did not think things through, and probably didn’t understand why she had to. In her defense, she did not know that her story would end up being one of the most scrutinized of all time. As it stands, her strength in worldbuilding was in the softer, smaller, deliberately unexplained moments of magic that were there just to provide atmosphere. And there were less and less of those as the books went along.

Pretty much all the Harry Potter-related content released since the last film — including Cursed Child, Fantastic Beasts, Hogwarts Mystery, Hogwarts Legacy, Magic Awakened, and that short-lived Pokemon Go thing — have been unsuccessful attempts at recreating The Vibe. In fact, the only piece of supplemental Potter content that I think had that Vibe down pat was the original Pottermore, back when it was more of an interactive game. And of course that got axed. That was right around the time things started going downhill.

Some of the art from Pottermore’s original Sorting quiz.

So what now? Well, that’s the question.

I think I can safely say that The Vibe was the reason I liked Harry Potter. It’s the thing I still like the most about it. I’ve spent years chasing it, like an elusive Patronus through a dark wood. If I can capture and distill that Vibe, and use drops of it in my own work, then perhaps I won’t need Harry Potter anymore.

I'm gonna write the story that I wish Harry Potter was, and when I'm a famous author, I won't become a bigot. I'll see you on the other side.

[lurkiestvoid]

You're being targeted by disinformation networks that are vastly more effective than you realize. And they're making you more hateful and depressed.

(This essay was originally by u/walkandtalkk and posted to r/GenZ on Reddit two months ago, and I've crossposted here on Tumblr for convenience because it's relevant and well-written.)

TL;DR: You know that Russia and other governments try to manipulate people online. But you almost certainly don't how just how effectively orchestrated influence networks are using social media platforms to make you -- individually-- angry, depressed, and hateful toward each other. Those networks' goal is simple: to cause Americans and other Westerners -- especially young ones -- to give up on social cohesion and to give up on learning the truth, so that Western countries lack the will to stand up to authoritarians and extremists.

And you probably don't realize how well it's working on you.

This is a long post, but I wrote it because this problem is real, and it's much scarier than you think.

How Russian networks fuel racial and gender wars to make Americans fight one another

In September 2018, a video went viral after being posted by In the Now, a social media news channel. It featured a feminist activist pouring bleach on a male subway passenger for manspreading. It got instant attention, with millions of views and wide social media outrage. Reddit users wrote that it had turned them against feminism.

There was one problem: The video was staged. And In the Now, which publicized it, is a subsidiary of RT, formerly Russia Today, the Kremlin TV channel aimed at foreign, English-speaking audiences.

As an MIT study found in 2019, Russia's online influence networks reached 140 million Americans every month -- the majority of U.S. social media users.

Russia began using troll farms a decade ago to incite gender and racial divisions in the United States

In 2013, Yevgeny Prigozhin, a confidante of Vladimir Putin, founded the Internet Research Agency (the IRA) in St. Petersburg. It was the Russian government's first coordinated facility to disrupt U.S. society and politics through social media.

Here's what Prigozhin had to say about the IRA's efforts to disrupt the 2022 election:

"Gentlemen, we interfered, we interfere and we will interfere. Carefully, precisely, surgically and in our own way, as we know how. During our pinpoint operations, we will remove both kidneys and the liver at once."

In 2014, the IRA and other Russian networks began establishing fake U.S. activist groups on social media. By 2015, hundreds of English-speaking young Russians worked at the IRA. Their assignment was to use those false social-media accounts, especially on Facebook and Twitter -- but also on Reddit, Tumblr, 9gag, and other platforms -- to aggressively spread conspiracy theories and mocking, ad hominem arguments that incite American users.

In 2017, U.S. intelligence found that Blacktivist, a Facebook and Twitter group with more followers than the official Black Lives Matter movement, was operated by Russia. Blacktivist regularly attacked America as racist and urged black users to rejected major candidates. On November 2, 2016, just before the 2016 election, Blacktivist's Twitter urged Black Americans: "Choose peace and vote for Jill Stein. Trust me, it's not a wasted vote."

Russia plays both sides -- on gender, race, and religion

The brilliance of the Russian influence campaign is that it convinces Americans to attack each other, worsening both misandry and misogyny, mutual racial hatred, and extreme antisemitism and Islamophobia. In short, it's not just an effort to boost the right wing; it's an effort to radicalize everybody.

Russia uses its trolling networks to aggressively attack men. According to MIT, in 2019, the most popular Black-oriented Facebook page was the charmingly named "My Baby Daddy Aint Shit." It regularly posts memes attacking Black men and government welfare workers. It serves two purposes: Make poor black women hate men, and goad black men into flame wars.

MIT found that My Baby Daddy is run by a large troll network in Eastern Europe likely financed by Russia.

But Russian influence networks are also also aggressively misogynistic and aggressively anti-LGBT.

On January 23, 2017, just after the first Women's March, the New York Times found that the Internet Research Agency began a coordinated attack on the movement. Per the Times:

More than 4,000 miles away, organizations linked to the Russian government had assigned teams to the Women’s March. At desks in bland offices in St. Petersburg, using models derived from advertising and public relations, copywriters were testing out social media messages critical of the Women’s March movement, adopting the personas of fictional Americans.

They posted as Black women critical of white feminism, conservative women who felt excluded, and men who mocked participants as hairy-legged whiners.

But the Russian PR teams realized that one attack worked better than the rest: They accused its co-founder, Arab American Linda Sarsour, of being an antisemite. Over the next 18 months, at least 152 Russian accounts regularly attacked Sarsour. That may not seem like many accounts, but it worked: They drove the Women's March movement into disarray and eventually crippled the organization.

Russia doesn't need a million accounts, or even that many likes or upvotes. It just needs to get enough attention that actual Western users begin amplifying its content.

A former federal prosecutor who investigated the Russian disinformation effort summarized it like this:

It wasn’t exclusively about Trump and Clinton anymore. It was deeper and more sinister and more diffuse in its focus on exploiting divisions within society on any number of different levels.

As the New York Times reported in 2022,

There was a routine: Arriving for a shift, [Russian disinformation] workers would scan news outlets on the ideological fringes, far left and far right, mining for extreme content that they could publish and amplify on the platforms, feeding extreme views into mainstream conversations.

China is joining in with AI

[A couple months ago], the New York Times reported on a new disinformation campaign. "Spamouflage" is an effort by China to divide Americans by combining AI with real images of the United States to exacerbate political and social tensions in the U.S. The goal appears to be to cause Americans to lose hope, by promoting exaggerated stories with fabricated photos about homeless violence and the risk of civil war.

As Ladislav Bittman, a former Czechoslovakian secret police operative, explained about Soviet disinformation, the strategy is not to invent something totally fake. Rather, it is to act like an evil doctor who expertly diagnoses the patient’s vulnerabilities and exploits them, “prolongs his illness and speeds him to an early grave instead of curing him.”

The influence networks are vastly more effective than platforms admit

Russia now runs its most sophisticated online influence efforts through a network called Fabrika. Fabrika's operators have bragged that social media platforms catch only 1% of their fake accounts across YouTube, Twitter, TikTok, and Telegram, and other platforms.

But how effective are these efforts? By 2020, Facebook's most popular pages for Christian and Black American content were run by Eastern European troll farms tied to the Kremlin. And Russia doesn't just target angry Boomers on Facebook. Russian trolls are enormously active on Twitter. And, even, on Reddit.

It's not just false facts

The term "disinformation" undersells the problem. Because much of Russia's social media activity is not trying to spread fake news. Instead, the goal is to divide and conquer by making Western audiences depressed and extreme.

Sometimes, through brigading and trolling. Other times, by posting hyper-negative or extremist posts or opinions about the U.S. the West over and over, until readers assume that's how most people feel. And sometimes, by using trolls to disrupt threads that advance Western unity.

As the RAND think tank explained, the Russian strategy is volume and repetition, from numerous accounts, to overwhelm real social media users and create the appearance that everyone disagrees with, or even hates, them. And it's not just low-quality bots. Per RAND,

Russian propaganda is produced in incredibly large volumes and is broadcast or otherwise distributed via a large number of channels. ... According to a former paid Russian Internet troll, the trolls are on duty 24 hours a day, in 12-hour shifts, and each has a daily quota of 135 posted comments of at least 200 characters.

What this means for you

You are being targeted by a sophisticated PR campaign meant to make you more resentful, bitter, and depressed. It's not just disinformation; it's also real-life human writers and advanced bot networks working hard to shift the conversation to the most negative and divisive topics and opinions.

It's why some topics seem to go from non-issues to constant controversy and discussion, with no clear reason, across social media platforms. And a lot of those trolls are actual, "professional" writers whose job is to sound real.

So what can you do? To quote WarGames: The only winning move is not to play. The reality is that you cannot distinguish disinformation accounts from real social media users. Unless you know whom you're talking to, there is a genuine chance that the post, tweet, or comment you are reading is an attempt to manipulate you -- politically or emotionally.

Here are some thoughts:

Don't accept facts from social media accounts you don't know. Russian, Chinese, and other manipulation efforts are not uniform. Some will make deranged claims, but others will tell half-truths. Or they'll spin facts about a complicated subject, be it the war in Ukraine or loneliness in young men, to give you a warped view of reality and spread division in the West.

Resist groupthink. A key element of manipulate networks is volume. People are naturally inclined to believe statements that have broad support. When a post gets 5,000 upvotes, it's easy to think the crowd is right. But "the crowd" could be fake accounts, and even if they're not, the brilliance of government manipulation campaigns is that they say things people are already predisposed to think. They'll tell conservative audiences something misleading about a Democrat, or make up a lie about Republicans that catches fire on a liberal server or subreddit.

Don't let social media warp your view of society. This is harder than it seems, but you need to accept that the facts -- and the opinions -- you see across social media are not reliable. If you want the news, do what everyone online says not to: look at serious, mainstream media. It is not always right. Sometimes, it screws up. But social media narratives are heavily manipulated by networks whose job is to ensure you are deceived, angry, and divided.

Edited for typos and clarity. (Tumblr-edited for formatting and to note a sourced article is now older than mentioned in the original post. -LV)

P.S. Apparently, this post was removed several hours ago due to a flood of reports. Thank you to the r/GenZ moderators for re-approving it.

Second edit:

This post is not meant to suggest that r/GenZ is uniquely or especially vulnerable, or to suggest that a lot of challenges people discuss here are not real. It's entirely the opposite: Growing loneliness, political polarization, and increasing social division along gender lines is real. The problem is that disinformation and influence networks expertly, and effectively, hijack those conversations and use those real, serious issues to poison the conversation. This post is not about left or right: Everyone is targeted.

(Further Tumblr notes: since this was posted, there have been several more articles detailing recent discoveries of active disinformation/influence and hacking campaigns by Russia and their allies against several countries and their respective elections, and barely touches on the numerous Tumblr blogs discovered to be troll farms/bad faith actors from pre-2016 through today. This is an ongoing and very real problem, and it's nowhere near over.

A quote from NPR article linked above from 2018 that you might find familiar today: "[A] particular hype and hatred for Trump is misleading the people and forcing Blacks to vote Killary. We cannot resort to the lesser of two devils. Then we'd surely be better off without voting AT ALL," a post from the account said.")

[hazbin-but-good]

another hazbin hotel rewrite/redesign?

yup! and i'm so serious about it that i made a whole blog for it. i'm a white queer ex-cath tran doing this as an art and writing exercise, so feedback from other creatives + jewish and/or racialized folks is especially welcome.

i'm putting this post and only this post in the main tags for visibility. also, not gonna link my main, but i do make my own original stuff, and i encourage fans and haters alike to do the same.

anyway, here's a mostly good-faith 1.7k-word essay on the original. i think it's pretty funny and brings up some less talked-about points. correct me on the facts, disagree with my opinions, and ask clarifying questions, but don't come at me with any piss-poor reading comprehension.

the hellaverse is garbage, and here's why

cw: strong language, stronger opinions, intersectional feminist critical discourse analysis

1. vivienne medrano, the person

medrano was born as a well-off white-passing latina (salvadoran-american) in bougieass frederick, maryland. while attending new york's top art school, she got popular on deviantart-tumblr-twitter by being a prolific multifandom fujoshi furry who's more into ornamental character design than storytelling. upon graduation, she leveraged her fanbase and industry connections to make the hazbin and helluva boss pilots, get helluva made for youtube, and get hazbin made for amazon prime.

like every woman online, she gets harassed for no good reason, and as a certified autist, i will defend her right to be dumb, weird, annoying, and bad with words. however, there are legit reasons to criticize her:

racism, misogyny, homophobia, fatphobia, some antisemitism, past transphobia, past ableism

shitty boss, bad friend

cowardly, vindictive, manipulative, thoughtless behavior

skeevy friends

sucks at taking criticism

in short, i think she desperately needs a PR person and someone to clean up her digital footprint.

2. medrano's art

incurious

inauthentic

noncommittal

creatively stagnant

overindulgent, and the indulgence isn't even fun

shallow and childish framed as complex and mature

bland and boring framed as shocking and subversive

to be clear, i'm at peace with the existence of suckass art like this; i just think the money, attention, and praise it gets are unearned and should go to more interesting works, of which there are infinite.

medrano's had the time, money, and social cache to grow as an artist, learn from the best, and take creative risks, but she hasn't. if she truly has nothing more to offer, she should let her collaborators take the wheel, but she doesn't do that either. instead, she keeps getting more and more resources to make the same baby bullshit, and that pisses me off. she could be the nicest person ever, and this fundamental arrogance would still make her art blow.

stop with the pointless guilt: liking medrano's work does not make you stupid or evil. however, if you stay in the kiddie pool of culture, if you refuse to engage with a diversity of art, if the hellaverse is your point of reference for anything media-related, you can't expect to have your opinions on art, media, or culture taken seriously. you have not earned a seat at the table. you gotta hit the books first.

i cannot emphasize enough how much incredible stuff is out there if you're willing to look further than what social media and streaming services put right in front of you. if you come away from this blog having learned about just one new artist or piece of art, i'll be a happy camper.

3. the hellaverse

a. empty and confused

hazbin and helluva's content and marketing has no clear target audience. the subjects are inappropiate for teens, but the execution is too childish for adults, and lemme tell you what i don't mean by that, first.

not inherently inappropriate for teens:

sex and sexuality

violence, including when it intersects with the above

politics and religion

not inherently childish:

animation (any style)

comedy

episodic writing and/or loose continuity

young characters

fun, happiness, optimism, the power of friendship, cuteness, tenderness, sincerity, etc.

what i mean is that these shows are literally about adult characters who fuck, smoke, drink, do drugs, go clubbing, work full-time, manage their own finances, and deal with stuff like bureaucracy, sexual violence, domestic abuse, marriage, divorce, late adoption, and family estrangement.

however, none of these "adult" things are given enough specificity to create drama or comedy. it's all too stock, vague, flat, weirdly sanitized, and thus utterly banal—pure aesthetics on top of bad saturday morning cartoons. it's exactly what i'd expect from a sheltered disney kid who needs to log off and get into their local gay scene ASAP so their only contact with things like poverty, policing, addiction, and sex work stops being facile movies and TV.

if the shows were aware of this and played with it, that could be amazing, but they're not. they give you the mickey mouse version of the world with a straight face and then play looney tunes sound effects to try to make you laugh and sad_violin.mp3 to try to make you cry. now that's funny.

b. old and tired

let's make like americans and pretend that the rest of the world doesn't exist. even within the confines of the USA, home of the hays code, the red scare, and reaganite propaganda, this neopuritan fascist state ruled by 1000 megachurches in a trenchcoat, the indie/underground animation scene has been doing crazier shit for decades. anti-war films in the 60's, bakshi movies in the 70's, the simpsons shorts and r-rated movies in the 80's, adult swim and MTV in the 90's, flash/newgrounds/youtube in the 00's, streaming in the 2010's—so what are we doing in the 2020's with this wet white rice drowned in expired ketchup? i feel crazy making this point because it's obvious if you've watched these things, but if you haven't, you're gonna be like "well, there's gotta be something new here". no! there isn't! in the words of jimmy "the scot" jordan, nothing, nothing, NOTHING!

c. ideological purgatory

actually, there is one thing in these shows i've never seen before: the presbysterianism. shout out some interesting or at least intentional presbysterian art in the comments, because the way these ideas are presented here is not compelling. it just makes the rainbow neoliberalism even more confusing and contradictory.

i guess the big presbysterian things are protestanism, calvinism, and, uh, big church government? presbysterians, get your shit together. get your brand down. catholics have BDSM and vampires, evangelicals have TV and corporatism; what do you have? celtic crosses? no wonder medrano has such uninspired ideas on divinity.

d. queer deficiency

when i look at a piece of art, i ask myself: "what does this give me that i can't get from the hunchback of notre dame (1996)?" if the answer is as limp as "uhh, gay people, i guess", i can probably look for my gay shit elsewhere and rewatch the hunchback of notre dame (1996) in the meantime.

but let's say that you have no standards. you've been waiting for ages for a show about gays by the gays for the gays, and by god you're gonna get it. this is it! here we go! time for some

generic twink obliteration

male sexuality as aggression and dominance displays

WLW (sex and chemistry not included)

a couple straight femdoms

and the stalest sex jokes known to man

...yeah, it's not very queer. and by "queer", i mean "questioning or subverting gender norms (including sexual roles) within a given cultural context regardless of creator identity and intent". i'm not a queer studies scholar so LMK if there's a more specific term for this, but whatever you call it, it's not in the hellaverse much.

there's not even any transness, literal or metaphorical, just ancient drag jokes. i guess the writers thought we would've been too controversial. so much for an indie animation studio that prides itself in the diversity of its staff both above and below the line, bakshi-style. i wonder how medrano, a bisexual woman, would've felt if told that a lesbian main couple in hazbin would be "too controversial".

4. spindlehorse and the vivziepop brand

spindlehorse toons underpays its overworked staff and keeps outsourcing more and more labor to even more overworked freelancers overseas to cut costs. a rainbow sweatshop is still a sweatshop, and just because these practices may be "industry standard" doesn't make them any more ethical.

the studio has also been repeatedly accused by current and former employees and contractors of creating a hostile and abusive workplace. AFAIK, it still has no dedicated HR person, and victims are too afraid of retaliation like blacklisting and online harassment to speak out.

this is exactly the stuff that unions exist to prevent. as i'm writing this, the IATSE (the parent union of TAG, which is the parent union of all US animation unions) is negotiating with entertainment industry executives for better working conditions, and if the execs fuck around like last year, it's strike time again. so watch this space, voice your support, and don't cross any picket lines.

i hope spindlehorse unionizes, but until then and for these reasons, i don't think you should give money to the company.

first of all, all content on amazon-owned platforms is ok to pirate, and all youtube ads are ok to block. everyone involved in making the episodes has (or should have) been paid upfront, so you're not taking the bread out of anyone's mouth.

next, let's look at the succulent offerings of the official vivziepop merch shop:

$10 pins and keychains

$15 sticker packs

$20 mugs and acrylic cutouts

$25 shirts

$30 metal cards (not even tarot)

$40 lounge pants

$50 mini backpacks

random $80 skateboard deck

forgive my latin americanness, but this is all stuff you can get made by a local metalsmith, print/sublimation shop, or just crafty people in your life. it's cheaper, customizable, and better for the environment to skip all the shipping and packaging. also, not painting your own skateboard is poser shit.

the hazbin website also has $15 pins, one $20 keychain, and $6 trading card packs. people are weird about trading cards, so if for some reason you wanna gamble for a mass-produced bit of cardboard, plastic, and tinfoil, at least bulk-order for all the vivziepoppers in your area so it's less of a huge waste. better yet, trace the designs and make infinite bootlegs.

at the end of the day, buying merch is not activism. your bulk order of trading cards will not save any wage slaves from getting evicted from their overpriced studio apartments. however, the shop links you to all the credited artists/designers, and more of your bucks will actually reach them if you buy their designs directly, then turn them into body pillows or life-sized bronze statues or whatever the fuck.

go through the credits of any episode of helluva or hazbin, and you'll find even more creatives you might wanna support. get jinkx monsoon's albums on CD. subscribe to actually good artist, animator, and composer gooseworx. lots of voice actors now have patreon, cameo, or self-hosted pages where you can write better lines for their characters and have them read it. these things may not look as shiny as Official Merch™, but we all need less plastic shit and more culture anyway.

[room-surprise]

PSA: Laios vs Laois

EDIT: The first part of my essay is up, you can read about Laios' name here! One of the most common mistakes I see in the Dungeon Meshi fandom is misspelling or making a typo of the main character's name.

His name is Laios, not Laois. It is pronounced LAY-əs. Here's a screenshot of Laios' page in the World Guide where Kui wrote his name in Latin letters.

Laios comes from the Greek name Λάϊος, alternative spelling is Laius, but both are equally valid transliterations from the original Greek, which can also be transliterated as Láïos. 

I won't go into it now, but in my upcoming essay about the cultural and linguistic references in Dungeon Meshi, there's a lot to say about Laios' name and why Kui chose it. It's not made up! It's not fake! It's a real name and it suits him and the story of Dungeon Meshi perfectly.

Laois is something too, but it has nothing to do with Laios (info dump under the cut if anyone's curious.)

Laois County is in Ireland. It is part of the Eastern and Midland Region and in the province of Leinster. The county name derives from Loígis. The name Loígis stems from the name of the tribe's first chieftain, Laigse(a)ch, Laeighsech, or Loígsech. A twelfth or thirteenth century gloss on the tribe's name says that Loígsech comes from lóeg secha. The word lóeg, literally 'calf or fawn', has the figurative meaning of 'favorite or darling', while secha means 'more than; above or beyond'.

As you can see, this doesn't really reflect Laios' character in any way, except maybe comparing him to a calf or a fawn? Though those really aren't animals Kui associates with Laios, as she normally associates him with wolves or lions.

Stay tuned to my tumblr for more linguistic and cultural facts!

[yumeka-sxf]

I have plans for upcoming posts, but I've been recovering from a minor surgery this past week and haven't had the energy to work on them. So in the meantime, please enjoy this short post featuring my two favorite family moments from the Operation Diary game ❤️ (I've shared these already on Twitter and Reddit, but not Tumblr yet!)

First, this adorable video of Anya, Yor, and Bond enjoying bubbles at the fountain plaza (while Loid watches "for the mission" 😅)

And since I can only embed one video per post on Tumblr, here's a gif set instead, graciously created for me by @piracytheorist (since I have no experience with making gifs, lol). In this one, Anya asks Yor to pose like one of the statues at the art museum...and of course she gets embarrassed when Loid notices! (his double-take in the 8th and 9th gif 😂)

If you want to see the original video of this gif set, I shared it on Twitter here and Reddit here. Auko on Twitter even made a cute fan art of the scenario here (though it was based on a reupload of the Reddit video).

There's still some more content I want to share from Operation Diary, plus new essay/analysis posts that I've been planning for a while! Once my brain is no longer fogged from my surgery soreness and all the medications I've been taking, I'll get back to it! 😁

[raavenb2619]

Can you talk more about aromanticism in Do Androids Dream of Electric Sheep :o But yeah as someone who read the book before watching the movie, I thought it was weird they didn't include how animals were super important in the world as a sign of empathy and showing empathy was a status symbol.

Yes, I would love to talk more about this! I have a bunch of incomplete thoughts rattling around in my brain about Blade Runner and Do Androids Dream of Electric Sheep, including about the interesting parts of the book that were cut, like Mercerism, the importance of animals, the empathy boxes, the emotion dialing machines, the spider scene, the other police department, the use and non-use of the empathy test, the fact that multiple androids can share the same face, and the narrative/story treatment of Rachel. I'd like to organize and share my thoughts with other people, but first: I need to watch Blade Runner 2049 because I've heard it's got things for me to analyze, compare, and contrast with the original film and the novel; then I need to decide how many versions of the original film I need to watch and analyze (so far I've only seen The Final Cut, which seems to be the version most people like and recommend, but I think that having Deckard narrate sections could change the worldbuilding and potentially add roboticism that I felt was lacking in The Final Cut); then I probably need to spend some time piecing my ideas together into something coherent that other people can read and understand, but then I'd love to publish my thoughts (probably as an essay on Wordpress, though maybe something a bit more informal) and let people read it and have a conversation about it.

How long will that take? I don't really know. My Frozen essay took four months; DADoES + BR + BR 2049 might take longer because there's more material to analyze. But by asking for my thoughts, you've somehow given me the motivation and inspiration to actually write something about this. (So, thank you for that :).) I'd also like to try to share some of my progress, thoughts, realizations, and questions as they happen on Tumblr, because I'm interested in doing media analysis with other people (and because that might reduce the risk of me losing motivation while working on this), so I may end up rebranding my blog a bit at some point.

Here are some other media analysis/writing things that I'd like to do some day. It turns out that other people asking what my thoughts are on a thing is a really good motivator for me to write down what my thoughts are on a thing, so if anyone wants to encourage me to write an essay or blog post about any parts of any of the following topics, feel free to send me an ask:

Wicked (the musical). One angle I'd like to explore is looking at the musical through an aromantic lens, and reading Elphaba as alloaro/alloaro-aligned. I might broaden the scope to look at other Wizard-of-Oz media, and maybe also aro-aligned villains and aro-aligned anti-heros in media, but maybe that would be better served as a series of essays/blog posts and not an essay so long it should be a book. There's also so much musical/motivic analysis I need to do of Wicked, it has so much depth and I still find more things when I relisten to the music.

The portrayal of robots in fiction. One angle I'd like to explore is, "why are robots and aromanticism linked?" And I'm not happy with the shallow answer of "robots don't have emotions and people think aromantic means you don't have emotions"; I want to actually know "why are robots and aromanticism linked? How did the portrayal of robots evolve for there to be a link? Was that inevitable, or could robots have turned out differently so that they weren't liked to aromanticism? What does the linking of robots and aromanticism say about society and fictional depictions of humanity and lack thereof?" I also need to rewatch and actually finish Battlestar Galactica, though I think that might be more interesting through an ace lens than an aro lens.

Isaac Asimov's fiction and related works. I've been reading a lot of his fiction in publishing order in part because of my interest in the origin of robots and aromanticism, but there's definitely interesting things to be said about his novels and short stories, and also the Foundation TV series, such as how they treat love. (I also want an excuse to rewatch all the episodes just to answer nerdy music theory questions about Demerzel and does she have two musical motifs and why is one very legato and lilting and the other is staccato and halting and is that representing an inner struggle between her humanity and her roboticism?)

An analysis of @kernsing's aromantic sonnet #1 (this is still on my todo list, I got busy but didn't forget, but I have Things to say and I want to Find even More Things to say about this poem)

"Why Beauty and the Beast (1991) is fundamentally arophobic and can't be fixed." Okay, I haven't thought about this in a while so it's possible my perspective has changed and I'll find a way that the story could be changed to not be arophobic, but I know that the conclusion I came to a while ago was that the story structure itself was fundamentally problematic and that changing it enough to make it no longer be arophobic would require changing the story structure so much that it would be a fundamentally different story. This would not exactly be a fun essay to read or write, because I can't imagine many people enjoy someone digging into why a movie so many people love is arophobic to its core, but I'd still like to do it, some day.

Is "The Grinch Who Stole Christmas" a distant relative of "Beauty and the Beast"? (I mean the story structure, not genetics/family trees.)

An analysis of Walt Disney Animation Studios films over the years. After my Frozen essay I spent like a month watching almost every Walt Disney Animation Studios film and tracking how the films treated a bunch of different aspects (e.g. sex, romance, marriage, third wheel, kissing, jealousy, love, true love, meet-cutes, queerness, gender, sexism, transmisogyny, homophobia, multiple concrete aspects of amatonormativity, queercoding). But I never really tabulated or aggregated my notes.

The discarded best friend trope (this is an arophobic trope I noticed and came up with a name for), and some examples and subversions of it.

Why does High School Musical (and HSM 2 and HSM 3) lack romantic love songs despite being a loose retelling of Romeo and Juliet that allegedly preserves the central romance? What are the queer things that can be found in the movies? What would I do if I could remake it as a multi-season TV show that was overflowing with explicit queerness that touched on things that weren't shown in the movies? Can I be normal about Kelsi? (I absolutely can't)

Why does Heartless (the TV show) make me read Tao as aro all the time?

Fairy tales! What is a fairy tale? Fairy tales through an aro lens! Do fairy tales have a distinct musical sound/style/identity? Has the musical sound of fairy tales changed over time?

Why do stories typically have room for a heroic love interest, but not a villainous love interest? (I'm not happy with the shallow answer of "because of amatonormativity/arophobia". I want to know, why are stories like this? Does it have to do with the structure and pacing of stories? How do pure narrative reasons interact with societal forces and expectations?)

"Katniss Everdeen from The Hunger Games has always felt aspec to me, and here's why." The last time I read through the trilogy, I felt she came across as demi I think? It might be interesting to compare the books to the movies and look at what and how the adaptation changes, especially with regards to romance, relationships, and aspec coding.

Something about how you can have in depth discussions about aspec politics without using aspec terminology, and maybe using too much aspec terminology makes conversations in the aspec community less accessible to new aspecs as well as well-meaning and open-minded allos who would be better allies to us if they could more easily understand what we talk about. When it comes to things like amatonormativity and allonormativity and the societal norms and issues we face, the more people who understand us and agree with us, the easier it'll be to shift society to be better for aspecs. So, sometimes it makes sense to try to talk about complicated, in-depth aspec issues using as little specialized terminology as possible.

Something something aro Celeste. A while ago a friend joked that I should do an aro analysis of Celeste, and then I started actually thinking about it and saying words and they realized they'd made a mistake, but I never wrote down any of the thoughts I had. Just brainstorming here, but there's probably something I could say about Crystal Hearts as collectibles that gate access to more difficult content and have three different art styles depending on where they appear and how they push you away unless you dash into them and break them and how you can die after collecting a Crystal Heart, Madeline's ex, Madeline and Theo's friendship and Grannie and Theo's grandfather's friendship, Madeline and Badeline's story arc through a "Show Yourself"-like aro lens, and Theo's instagram photos of Madeline doing archery. (This essay would be more on the silly side of things, basically proving that given enough disparate pieces in media I can cobble them together with thumbtacks and red string to make shapes that don't exist. And yes, I came up with the brainstorming list in about 5 minutes off the cuff while writing this bullet point)

An aro reading of Homestuck. I would need to finish Homestuck first, and I'm going to start from the beginning at...some point. I remember really liking and getting excited by the "troll QPRs", and I'm probably going to get nerd-sniped by trying to build my own understanding of how leprechaun romance can make sense. (Yes, I know this might be another thumbtacks and red string essay. No spoilers please)

Something about Gravity Falls, The Owl House, She-Ra, Steven Universe, or other similar TV shows?

Tron and Tron: Legacy? Idk I rewatched them semi recently, and expected to dislike the sequel because I had been listening to the album totally wrong. But then I disliked the original and liked the sequel a lot. There's potentially a music theory lens here, but I'm not sure if there's a queer lens here. But that's okay, maybe someone will suggest one, or maybe I'll just write up my thoughts even though there isn't any queerness to speak of, because my media analysis doesn't always have to be through a queer lens.

Something else that I haven't listed here because I don't have an actual list of things anywhere and I've probably forgotten multiple things?

Something I haven't thought of? If you want to know my thoughts on something or want me to analyze something, feel free to send an ask or a reblog or something. No promises I'll answer in a timely fashion (or ever), but I might

[tyrantisterror]

Saw Godzilla Minus One again and yeah, just as good if not better than I felt it was the first time.

But it does have me thinking - well, honestly, I've been thinking about this for a while - about how often critics of this series have bandied the argument that only certain Godzilla movies are "true to the spirit of the original," and others are not and thus are trash. It's always used as a way to not just praise the movie in question the critic is talking about, but to still paint most of the Godzilla movies as disposable garbage - which is really to protect the critic's status as an authority by emphasizing they do not challenge the popular assumption that Godzilla movies are by and large garbage, and instead only think certain Godzilla movies - a rare and specific few - managed to rise above their station as garbage to be worth something.

Godzilla (1985) is the only Godzilla movie to hold true to the spirit of the original.

Shin Godzilla is the only Godzilla movie to hold true to the spirit of the original.

Godzilla Minus One is the only Godzilla movie to hold true to the spirit of the original.

And I have... too many thoughts on this to put in a normal tumblr post, I should probably organize them into, like, an essay (god it's been ages since I actually wrote one of those, nowadays I just let myself ramble with only a thin grasp of a point). But this is bullshit, right? This is a bullshit thing that critics and especially fans, so many Godzilla fans do this. It's so fucking cowardly and pretentious, the act of a person without the bravery to truly stand up for art they love, a person who'd rather cover their own ass than be bold enough to fight for what others have ignorantly deemed trash.

Like, my feelings on Shin Godzilla are not negative - they're lukewarm, a "well it's not really for me but I get what they're going for" feeling. But so many people for so many years have held it up high and said, "Finally, a Godzilla movie that's not trash like all the other sequels, one that FINALLY lives up to the SPIRIT of the first, FLAWLESS, PERFECT FILM!" that I can't help feeling resentment for it, a sort of petty envy at how it is constantly held up so the people praising it can shit down on all the others that preceded it. I think I've been more harshly critical of it than I have most Godzilla movies specifically because so many people feel the need to praise it as flawless while shitting on the Godzilla movies that I like more - as if I need to find flaw in Shin Godzilla to prove my love for the others.

Which is cowardly too, in all honesty. We shouldn't need to burn one movie to praise another.

I love Godzilla Minus One. Objectively (or as objective as any critique I make can be) I think it's the best movie since the original, maybe even surpassing it (unlike the 1954 Godzilla, Godzilla Minus One has not jump cuts or other glaring editing mistakes caused by a rushed production time that didn't allow for proper film coverage). And while it may well be impossible to overcome nostalgia and topple the Holy Trinity of Godzilla sequels in my personal rankings, it might manage to fight its way into my top five Godzilla movies. It's an excellent movie, one of the best for sure.

...but people are ALREADY doing the "It's the first Godzilla movie that's true to the spirit of the original!" bullshit already, and specifically using it to tear Shin Godzilla down. I'm at least a little guilty of it - I mean, it was just an honest expression of my preferences, but still, there wasn't a need for me to express my lukewarm feelings on Shin while praising Minus One - and fuck, man, I already regret that.

It's a coward move. Fight for what you love even if people say you're cringe or uncultured for it. Fuck 'em, be the atomic freak you were born to be. You can't find your monster island if you don't.

[generouskittentidalwave]

Watching the She-ra reboot after 5-6 years

Hey remember that show in 2018 that came out on Netflix during Tumblr's Twitter era and stirred up enough toxicity to turn you into Dave the Skeleton in the highschool science classroom?

Well BUCKLE IN for a RIDE cause I recently watched that show for the first time after avoiding it for YEARS, after seeing the fans and the haters be so devoted to either the fans praising it like a godsent deity or haters devoting their whole life to finding something wrong with every aspect of the show that it makes you wonder if they realized that they've become the Catra that they sought to destroy, I decided to avoid even touching the show and went about my life in other fandoms.

Well years have passed and like a Hallmark movie time abruptly went on and the drama soon faded, the tides have settled, the war has ended, and neither side remains the same. The fans have grown up, matured and enjoy the show as it is and the haters have lost all that sweet sustenance back in 2019 and have went the ways of the DoDo. With everything finally settled, I joined in on the rush of new fans recently that started rewatching the series and wanted to display my thoughts as well as a first time watcher ^^

I went in well aware of all the criticisms in mind, and having seen the original She-ra, and I just gotta say that my worrisome thoughts on watching it was completely washed away from the start of the show. I was worried of Adora being that one marysue character that is from the bad guys side but is actually a good a guy with the personality of white bread and with flaws of just being "a little bit QuiRkY" but she completely shooed away those fears. She is a well balanced character with a unique and well done backstory, her character breaking away from the steriotypical chosen ones and her having flaws that don't take away her being a good person but instead have their own charm and relatability that makes her very fun and down to earth. She is so golden retriever coded and I love it. What I like most though is that she wasn't "random main character comes in to lead everyone to victory out of nowhere" , instead of making her the unsaid leader, they made her the main character who is the muscle of the group and part of the heart and has to learn overtime and understand their ways instead of making her the leader. It makes way for her to pave and earn her way as being the main character instead of it being given by default by making her the leader and I love that break away. And that break away also helps to counter the fears I heard about the white savior trope by making Adora the way she was and making Glimmer and Glimmer's mom the queen the actual leaders of the rebellion that they helped start.

Love the best friends squad, I love Glimmer's growth and her bond with Adora, I like how she went downhill and built herself back up again as a person as it was very realistic with her being so young and having to replace her mom as queen. Bow is my spirit animal, period, but I really want to know more about his huge family. I imagine that because they are all historians they must go to the academy or similar academies that Bow was meant to go to and I can see why they wouldn't question him not being there as 12 siblings is A LOT to keep track of. Swiftwind is great but he shall always be known as Horsie and the queen's sacrifice hurts everytime I see it, I love how she owned up to her own flaws. Shadowweaver messed up being a mother figure 3 times, she needs parenting classes fr, 'nough said. I love all the princesses but Mermista is my personal favorite. Also why is aunt cast named Castaspella, I can't even say it without dying of laughter 💀🖐️

Now I know some of you are sitting at your computer with 5 monsters in hand and sweat anxiously dripping from your forehead as you dramatically hover over the keys just WAITING to write a five page essay response if I even dare to utter the name Catra and her relationship with Adora. So, I'ma give you my opinion.

Honestly, their romance was the end goal since the beginning and the story made that clear and honestly I like Catra's growth as a character from her knowing she has anger issues and actively working on it to better herself, helping to save others and helping to save Adora in the end. Her realizing that pushing others away to protect herself only harms her and everyone around her in the end and her realistically taking it slow and steady to better herself as a person for herself and for Adora is something a really like. Yes their relationship was hella toxic, especially in the middle (but I do like how Adora recognized that and punched Catra when they were in the portal). The build up was great, the middle ground of her doubling down was great, and I think her growth at the end was great and that the two are happy and not in a toxic relationship with eachother anymore at the end. I think what truly makes it odd is although the redemption was great the time constraints made it so they couldn't flesh it out to help answer and address the past actions that were caused by her, they did so great with her slowly becoming better and better, and so it wouldn't have come off as bad as it did if they had just a bit more time to address everything with that instead of being forced to dive right into it which definitely left a- well- less than good impression to it's audience. But they tried their best with what they could do and honestly for a show as surprisingly dark as this I'm just glad they aren't in a toxic relationship anymore and are happy in the end and that Catra got redeemed. It definitely wasn't trying to romanize abuse, however it came off as such due to constraints and them rushing the ending which gave plenty of ammo to people who already hated the show to have a reason to hate it more. In my opinion if you don't like it that's valid, if you do like it that's valid, me personally I'm not a romance person so I couldn't care enough either way.

Now to address some things I know some people are waiting for, but in speed run fashion. Mara's She-ra design was the fault of the designers not agreeing on what they wanted her to look like, I was expecting her to have brown flowing hair not blonde, I get the stripping of individuality message they tried to go with, it just needed better designers and better execution but that's as deep as it goes. It's not that they are racist, they are more along the lines of "you need a more organized team cause her design changes every five seconds like wtf" kind of situation. I'm glad they didn't automatically forgive Hordak or accept him but I'm glad he was changed enough to not be a killer that's mass murdering people anymore and as long no one is dying by his hands anymore and people don't automatically forgive him then that's fine by me, whatever keeps others from dying a horrible unnecessary death.

Overall, in conclusion, love the show, great depth, great characters, love the humor and amazing magical girl transformations, awesome rep, stronk princess punching things, would most definitely recommend, especially now with all the wave of chaos it's initial release sucked in now evaporated. (Seriously there are full tags and blogs deticated to hating a show about glowing princesses fighting aliens, it's okay to not like a show but come on people there is more to life than that 💀) Enjoy it, have fun, and I hope you have a great day/night! ^^

[dapper-lil-arts]

Contextualizing whats going on with my blog atm

Ok so i'll explain a bit of the phenomenon of whatsup with my art. So first off, my twitter is dead. The algorythim has found me and blocked me, so i dont get more followers anymore, theres no room for growth, (and as we love to say in capitalism, endless growth is the only way) so since its a dead website, i don't have any incentive to draw things that would originaly help me grow there. which wasnt smth i would usualy do, ive always been more of an original content artist. Either way, this means i barely focus on posting there, and with good reason! it doesnt matter; i get a few commissions there, and thats it. And make no mistake, comms are my livelyhood, i pay my bills and groceries with them, so having fewer does suck. But the website is dead for me, so I have no incentive to post daily like i usualy would. (and you think imma post my poetry on twitter? no fucking way lmao) Meanwhile, here on tumblr, i had never grown or gone viral, i have got a couple thousand followers, thats it, if you think im famous i take that as a compliment, but trust me, im not exactly thriving, lmao. Theres never been a particular trend to follow to be famous on tumblr, and if there was, nah. idc. This is still my primarly posting website anyways. but here's the thing. There is nothin i can do to improve the situation and get more comms or famous or whatever. So if there's nothing i can do... Then i can do Whatever i want. This year is a blank page for me, and i've decided: I'm going to do whatever i want with my art. Jack of all trades. No more regrets, no more fears, no more hesitation. Poetry, fanfiction, erotic art, Personal ocs, titty ocs, fanart of MLP (like now), comics, memes, YTPs, maybe even video essays, whatever the hell i want. If nothing matters than all we do matters! I'm following my whims now. it's time for hedonism and hedonism only! Looking forward to see how yall get weirded out by all i do this year :3 Bye bye!

[kaizenproductions]

Natsu does NOT have any previous experience with romantic love

This is the (better) Tumblr version of my post from Twitter. Given the format of this website, I'll add some details to what's already written.

Before starting with this, I want to clarify that the motivation to write this post has little to do with nalu itself (it will be mentioned to highlight a point though). Having previous romantic partners DOESN'T really make any ship invalid. You'll find the actual reason behind this essay under the cut below.

This is about how Natsu, as a character, is never presented or seen by others as someone who has experience with love and such idea is never hinted or implied anywhere in the canon material. This lack of experience explains why Lucy thinks he has no interest in it.

As we will see later, Lucy isn't the only one who thinks like this... Let's get started.

Year 2024. Why writing all this? Some weeks ago I was involved in a discussion about whether Natsu was being OOC during a filler (non canon) scene of the anime where he snaps at Lucy in a way he never does with any of his friends in canon material. The discussion led to this...

I didn't want to assume that this person was taking Lisanna as some kind of first love. At the end it turned out that was exactly what was happening. The proof? The most platonic reunion ever... with Happy reacting the same way as Natsu and comedy being included. It is important to highlight that Mashima never makes two people between whom there have been romantic feelings reunite like this, with comedy references in between that downplays the seriousness of the moment to some extent. While this post is about Natsu and his feelings, I could also mention Lisanna's reaction to this, something that proves that there wasn't even a one sided love: after noticing this Natsu is the same one from her real dimension, she doesn't start crying because of him but because of her siblings.

Let's ignore the part where this dude started calling me and some other users "retards" because that speaks volumes for itself about his lack of real arguments. After all, he has been fighting for at least 4 years with teens over power scaling, a topic he may seem to be knowledgeable about but actually isn't so much, plus he has been banned from at least one Discord server because of his r4pe threats. It seems this individual was so obsessed with that specific thing that he said Zeref did it to Mavis and that's how August was made... That also speaks volumes about his media literacy and the fact that even if it's true that he did read the manga so many times as he claimed during this discussion, he has serious problems with reading as a normal person. When it comes to the topic of this post, the problem is that he has some influence within the fandom, at least on Twitter, so whatever he says is something that many of his followers will start repeating.

What does Mashima do when Lisanna finally comes back to her original home and she gets a proper reunion with everyone?

After the initial shock from seeing Edo Lisanna in Earthland and the big reveal, this is how Natsu reacts.

This isn't a reunion that suggests that Lisanna is special compared to everyone else in the guild, and particulary to those who grew around Natsu. Also, we can't say Mashima just doesn't know how to write such scene properly... because he's written it at least once (in Rave).

The emotion you can feel in this scene, the way ONLY both lovers are on the spotlight and the rest of their friends are in the background until the end... Well, the difference is so obvious that it's ridiculous to say more. Given how well Mashima handles the emotional dimension of his characters in his mangas, the possibility that he didn't know how to depict two lovers who got separated from each for some time due to circumstances beyond their control is off the table.

Also, notice how the end of the Edolas arc depicts this.

The difference with her reunion with Natsu and the others is so obvious that there's no need to say more.

We can also discard Lisanna as a former love interest because there's no akwardness between them once she's back to the guild. They can be seen playing together and briefly interacting from time to time, so it's not like they're avoiding each other.

Is it implied somewhere that they had something beyond friendship? Not in any kind of canon material. Every time Lisanna is mentioned in regards to Natsu she's presented as a close childhood friend. We have, for example, her profile from one of the first chapters where she's back home and the information of the official magazine that was released 10 years ago.

But what if they simply stopped loving each other due to being separated, as a fellow nalu shipper told me on Discord? Making characters fall out of love is something that Mashima also references (see Macao pic a bit below). It also goes against what we saw regarding Erza and Jellal, who still had romantic feelings for each other despite their antagonistic positions for many years, or against the whole Zeref and Mavis thing. In other Mashima mangas we have more couples like this. Elsie and Justice still loved each other despite being sworn enemies, and Let still loved Julia (and vice versa) when he discovered she was alive, a kinda similar scenario to Natsu and Lisanna if they had been lovers. Given that Natsu and Lisanna weren't even enemies to each other at any point and they were only separated for two years, we can't say they had something canonically and they simply got over it with no actual reference to it.

There was a very good moment to reference past feelings in 100YQ: when Touka includes Lisanna in the group of women "around Natsu".

Instead of offering us a comment like "it's not like that anymore", Lisanna just says something that implies they're not that close. After all, Natsu is hanging out with his team most of the time since it was established.

What's the reason this fandom has been so many years discussing about this friendship? Because the first anime adaptation goes beyond that friendship and the manga omake where both of them take care of Happy's egg, something Lisanna decides to help with because she loves animals and she felt Natsu wouldn't do it properly. The first season includes several fillers that pave the way for a love triangle, presenting Lisanna as a girl who is VERY interested in marrying Natsu when they're adults. In addition, Happy is presented as their son, something that totally goes against the source material. Even if Natsu is the one who saw Happy be born and was living with him since then, Happy is never considered as his son and is always called a nakama/companion/friend.

This long thread has everything that A-1 and Satelight added in regards to Natsu and Lisanna. As we can see in the info provided in one of the first tweets, Mashima let them "edit" the story the way they wanted to and it's mentioned explicitely by both him and Ishihara (the director) that Ishihara is responsible for those additions, not Mashima. We also can't say the additions were something Mashima asked for because he couldn't include everything he wanted in his manga for some reason. This is supported by the fact that Lisanna is never presented in the manga as any kind of romantic interest after she comes back.

There's also this tweet from 2012 where Mashima replied to someone asking him whether he was involved in the story of the anime. His answer is no.

It's also important to say that these fillers aren't canon: they're not referenced in the source material (the starry key arc was, even if Mashima wasn't involved in the writing), they're not referenced in the anime itself after Lisanna comes back and they have no impact in the events of the story during and after Edolas.

Currently, thanks to Mashima's Twitter Spaces, we know two things: he revived Lisanna because some people in the anime staff liked her (Ishihara is one of them for sure), which explains why she's not very relevant and is always tied to her siblings, and he once considered to include a love triangle between Natsu, Lucy and Lisanna after Edolas, but he liked Natsu and Lucy's dynamic by then enough to not introduce such storyline. He also said Lisanna was "だめ" in regards to that triangle that never came to be, implying that she would have been the one that doesn't get the boy in that scenario.

So is Lisanna our supposed former love interest? As far as the canon material goes, no. Was she close to Natsu? Yes. Is she dear to him? Yes, just like everyone in his family, the guild, is (I can't believe I'm writing this in fking 2024). Now, what if there was someone else? The assumption that characters may have dated another (unnamed) character offscreen isn't totally crazy. After all we saw how Juvia dated Bora, even if it was a narrative tool to show that not even dates would make Juvia stop being depressed. However, we can't say there was someone else as more than a headcanon unless it's implied or mentioned somewhere explicitely. We know Macao was married but got divorced thanks to the official magazine, for example.

When it comes to Natsu, nothing is ever mentioned.

100YQ, the official FT sequel, has several pannels that go against the whole idea of Natsu being experienced with romantic love. As I mentioned at the beginning, even others from the guild, and especifically Macao in this pannel, who knows Natsu since he was a kid, have a hard time believing he's interested in love.

This part of the story includes a very interesting pannel that also debunks the whole idea that Natsu felt more than frienship for Lisanna before she was transported to Edolas.

Why would Lisanna's brother react like this over such comment if Natsu and his sister had romantic feelings in the past? Easy: because those feelings never existed.

Even Lisanna is a bit surprised when Touka expresses her interest in him.

Previous romantic experience would also mean that Natsu's relationship with Lucy would be more advanced than it is as of now, not to mention this recent scene.

Natsu is still quite dense with romance, even when it doesn't involve him, and while he talks about his and Lucy's kids they still have a long way to go due to his total inexperience in this area as of now. Someone with past love experiences wouldn't be like this. I could say more about this but this isn't the post for it so...

Conclussion: the first season of the anime did a lot of damage that resulted in many years of discussions, fights, misogyny towards both Lucy and Lisanna. There was no childhood or teen love, no jealousy from Lisanna when she saw how close Natsu and Lucy were as a team and nothing suggests that Lisanna was more than a friend in canon material. Claiming the opposite at this point of the story is useless.