#trends and history and places and stuff

[presiding]

What is your favourite thing about Billie Lurk?

(Answers are obvious possibly but i love when people talk about her👍)

thanks for the ask!! YEAH ME TOO I love when people talk about Billie! I can't say I have a favourite thing specifically, but I can explain why she's my fav. apologies for not taking this qn literally, but -

short answer: she’s really cool

& you can stop reading there, or, for the maybe 2 mutuals who might have time to read this my thoughts on her as a character, her meta, and her character as raw potential...

long answer:

i considered making this entire thing a gush so you could read a gush about Billie. but, part of what draws me to her is that she’s not always well written, and in fandom she’s underrated for a literal protagonist.

since you ask...

billie is a cool character

when I played Dh2 (hadn't played Dh1), I was excited to see a black woman with disabilities who was captaining a massive ship by herself. wow.

then I discovered Billie’s backstory with Deirdre, the way she responded to that, then having to survive while living on the run, and her bisexuality. as well as her history with daud & delilah. fascinating!

she’s an outsider who has so much to lose, and knows what it's like to lose everything - having lost everything not once but three times - but nevertheless speaks truth to power. she's so brave! she went and helped Emily & Corvo and she must have known they might kill her! plus, she’s smart, she’s funny, she gets shit done, she’s gorgeous.

but... the meta

mild critique of fandom & arkane incoming.

skip this bit if you want - you've been warned twice now - jump to tired Hayao Miyazaki and read from there if you'd like my thoughts on writing her.

i thought Death of the Outsider was going to be amazing and then... well. *sad trombone* i've written about that before so i won't keep banging on. i figured others must be disappointed too, so I joined a few fandom spaces in hopes of finding camaraderie.

most people with complaints about DotO didn’t like how the Outsider and Daud were handled. which is valid & I agree. but it seemed like most paid no attention to Billie; when people talk about her it’s with respect to Daud, as opposed to in her own right. you could argue for fandom misogyny because people don’t talk about adult Emily Kaldwin that much either, but in Billie's case, it’s misogynoir (compare & contrast with the popularity of thomas, particularly the popularity of thomas portrayed as a white man for no particular reason that i've been able to discern - i keep asking around, is it in the books???).

i think this is a LOT better now than it used to be, which is fantastic. or perhaps i have found the correct echo-chamber? ha.

ultimately, The Fandom is a fraction of the entire picture, and not even the important bit since The Fandom is not who these games are made for. you can't make money relying on only your hardcore fans even if all of them spent a fortune on merch, this is true for any AAA game.

while it's true that Billie is underrated from a fandom perspective - but Billie as an underwritten protagonist is squarely Arkane’s fault.

it was reasonable when she was a side character - the lack of info in Dh2 makes perfect sense (if anything there was more lore in Dh2 which is kind of wild)-

- but as a protagonist in Death of the Outsider?

.... there’s lousy writing, and there’s whatever is going on with Billie Lurk, a black woman who mostly exists as a foil or saviour for light-skinned characters. In her own game there’s barely any of her own lore except where it's relevant to saving two dudes.

lore hints at, but barely touches on what race means in the Dh universe (xenophobia is stronger in Dh1; separate essay i guess), but Arkane has patted themselves on the back for portraying non-white characters, which feels like the same thing as the aesthetic of diversity we're seeing in advertising currently because it’s in marketing trend guides. it's self-congratulatory and it's a missed opportunity for deeper storytelling.

you can see an example of diversity at its most shallow in the way that Billie’s written: there’s little engagement with her as an entire person with history & wants & preferences, and the world she walks through in that game feels like it has nothing to do with her. you could make a case for alienation as a theme, but then, how do you handle the titular premise of 'Dishonored' without ever letting Billie make changes in an environment without a chaos system? it's disappointing from that angle too.

in my opinion, whatever it's worth, it was an accident Arkane created such an awesome character - they needed someone to betray daud. congrats billie.

all this said, it makes her an underdog as far as characters to enjoy & create art & stories for. it's nice to find so many like-minded, switched on people! <3

billie's character potential

she’s got a wealth of unexplored lore, being deeply intertwined with both Karnaca & Dunwall’s fates & criminal underbellies, as well as her connections to the witches & whalers, and three Empresses.

she’s lived a few distinct lifetimes and in the games we get to meet her at two peaks (KoD & DotO) & a low (Dh2 as Meagan).

her voice is very distinct, her dry & often dark humour is entertaining & fun to write. her perspective is really interesting - she’s had the widest variety of void-powers of anyone canonically, and she’s also lived through the highest highs and lowest lows.

she's got everything going for her :) i couldn't really pick a fav thing!

[dashiellqvverty]

everyone always wants to talk about jenny nicholsons video essays and i’m like does ANYONE want to talk about the art of the mattress aka the sleep song. bc it plays in my head every time i see anything about her.

[quixoticanarchy]

when my grandfather moved to the us after living through wwii in occupied norway he said the most striking thing he noticed here was the waste. the wastefulness, the sheer amount of excess stuff and the fever for consumption and how blasé people were as they threw it all away. and despite nominal awareness of the issue since then and and sometimes-counterproductive efforts to recycle, overconsumption trends have only gotten worse. trash, like any other ‘flow’ of materials, goods, etc, has gone global, and accumulates unevenly between where it is produced and where its burdens fall

which is a tangible, material disaster for the people living next to incinerators and landfills (in environmental justice communities of the imperial core; or abroad, in the poor countries where the rich ones dump their waste), and for the people doing the also-toxic and dangerous work extracting all the materials and making the things that are destined for the landfill, and it’s also a psychological and paradigmatic disaster for the overconsumers: to be so disconnected from where your stuff comes from and what it really costs, to expect endless cheap varieties of food and consumer goods from all over the world, to think no further than the instant gratification of next-day-delivered fast fashion orders or a new phone every year, to not realize that what you throw out never really goes away. the ‘western consumer lifestyle’, wherever it’s practiced, depends on and enforces the willful ignorance of its consequences and the disinclination to see other people and places as real. and while most waste is industrial, not just your personal household trash, the finished products you throw out have an industrial history too, and are tied to far more waste than you’ll ever personally see. which is to say not just ‘we shouldn’t buy so many things’ or ‘we shouldn’t send our trash to be dumped in other people’s countries’ - true, but also most of these things should never even be made

[morlock-holmes]

So, people explaining that AI isn't "real art" bother me, not so much because of the answer they reach but because most of the people saying it isn't seem to romanticize not just commercial art production, but also bizarrely to romanticize AI as well, in ways that bother me for subtle reasons I want to try to articulate.

So, first of all, I personally don't think fine art will be changed much by AI.

"What if the artist isn't directly producing the art but instead letting some process create it?"

Convergence by Jackson Pollock, 1952

"What if the so called "artist" is merely rearranging and recontextualizing something that already exists?"

"What if the artist outsources a tremendous amount of work?"

Cambell's Soup Can, Andy Warhol, 1968

The fine art world already confronted these questions and answered between 1912 and, what, 1980 at the latest maybe?

My point here is not to assert the artistic worth of these paintings but to assert their undeniable importance to 20th century art history.

Nobody paying thousands of dollars for a traditional painting on canvas is going to buy an AI version because it's cheaper; such people are already paying a premium for artistic technique and cultivated human talent.

Or, alternatively, I have absolutely no doubt that people would pay a lot for an AI project with, I don't know, Banksy's name on it, even if it was made with freely available, open source tools, because in other cases people are paying for, essentially, a name.

The fine art community already confronted the questions raised by AI art and we're already on the other side of that confrontation. Statistically, the large battles being waged over these issues already finished before you were born.

The actually (potentially) endangered part of the art world is the commercial art world.

Not fine art, but art produced as part of an essentially commercial process in large part under the direction of other people. Fan Art, scripts for films, stock footage, key art used for commercial campaigns, pulp fiction cover illustrations, etc.

And, first of all, the reason that you can be so romantically attached to low-brow, heavily commercial art in the way that you are without feeling utterly absurd about it is Marcel Duchamp's Fountain and the works of Andy Warhol, so maybe have a bit more respect for them and their place in history if you are going to romanticize commercial art production.

Second, because it is those things that are threatened, defenses of human art against AI tend to have this kind of implicit view that the things which characterize commercial pop art are the most important characteristics of art. There is something about this that kind of bothers me for reasons I have trouble bringing up.

Okay, like, one I just watched a YouTube video where the creator said, more or less, "Can you imagine a world where people are so alienated from the production of art that instead of learning to produce it themselves, they type 'woman painting a picture' into a box on a computer and something just pops out?"

The video background was stock footage of a woman painting.

You have this really obnoxious trend of people who make monetized YouTube videos out of other people's copyrighted clips (Claiming "Fair use") talking about how awful it is for AI to "steal" other people's works, and people who fill their videos with stock footage and library tracks talking about how crazy it is that anybody would want to outsource this stuff instead of learning to do it themselves.

But also, beneath that, there is a kind of picture of "What's important about art" that is being built purely out of commercial concerns but masquerading as belief in something higher, and that really bugs me. Stock footage is elevated to the highest of human endeavors purely because it is commercially threatened by AI production.

[am-i-interrupting]

Can’t Go Back | Silco x Reader

Prologue

Summary: You had a long, complicated history with Silco before he became the Eye of Zaun. You thought you’d buried it a long time ago. It all starts to re-emerge from the ground when Vander dies and Powder is found in the hands of Silco.

Life in the Undercity was anything but easy. Never had been, never would be. Things never changed down there. It always stayed the same despite being at the foot of the City of Progress. Piltover kept up with all the new trends but never tried to change or shine their shoes.

No, life was almost guaranteed to be dictated if you were born in the slums. Few ever got to a place where they saw the sun instead of smog.

No one cared about you if you were a child. You didn’t get any type of education. You just had to grit your teeth as you stumbled through life hoping to find something, anything.

When you were fifteen you got sent to the mines. They put a hammer in your hands or gloves on them and you were sent to harbor materials for a city that didn’t give a shit about you for fuck all for pay. Sometimes you made it out. Sometimes you didn’t.

You were considered a lucky one. You grabbed onto every rock and stone and placed your feet in any divot you could. You didn’t care that your hands were scrapped and raw. You were leaving a blood trail for anyone to follow if they could.

What you had on your side was that you were a smooth talker. Able to make people relax and enjoy your company was an art form you worked very hard on. It was the only type of study you ever did.

The good thing about Piltover not giving a shit though is when you disappeared from the mines with no trace, they didn’t bother looking for you. Took the words of the people who said you probably up and died or some shit.

Now you just needed to avoid the swipe of the hands that picked people off the street and beat them until they were submissive. Enforcers didn’t care what you looked like, who you were, how nice or kind (though few were down here), they just wanted you to work and they’d do it by any means.

Babette took good care of her workers. She scared the daylights out of you when she scouted you. Taking notice of how you managed to sweet talk a man down on his prices while simultaneously swiping some things from his stand without him noticing.

She had watchful eyes though. She saw things that couldn’t even be seen. That day she had seen something no one was supposed to but instead of turning you in like some would, she offered you a job of sweet talking.

Babette’s had a bathing room. It was filled with fancy soaps and hair products, stuff for calluses and skin. All of it was stuff you’d never used before and didn’t know how to.

The older woman had no qualms showing you how.

With bubbles in the tub and floating through the air, she dipped her wrinkled hands in the water with you, getting them wet. She flipped a cap open and poured a thick, white substance from the bottle. Rubbing her hands together it almost disappeared. Then she started rubbing it through your hair.

She explained that the solution was to be left in your hair for five minutes before rinsing it. In that time she handed you a fabric scrub to use on your body. After scrubbing every inch of your body, it was time to rinse out the conditioner.

Babette handed you a towel to dry yourself with and then ordered you to sit as she grabbed a smaller towel. She used it to scrunch up your hair, stopping the dripping from trailing down your back.

You let her careful hands travel across the planes of your face as she placed different cleansing and moisturizing products on your face.

By the end of it all you understood what she meant when she said that this was not just for the clients but for you as well.

With a giant weight off your back and a steady income from nights spent at her brothel, you were able to ditch the mines. Do a big fuck you moment of victory and renting an apartment under the table when you stopped paying your previous rent. That way when they looked for you as much as they would, all they would find was an empty apartment in disarray. Made to look like there’d been a struggle. You had no qualms cutting yourself to splatter some blood around.

Babette had qualms though, shaking her head the next time she saw you as she put an antibiotic on your open cut.

With a new job, you had a new income but the only reason you’d be able to leave the mines was the money you’d saved while working there. That meant a new job.

It came in the form of a bartender job at a bar called The Last Drop. It was a small, quaint little place. As soon as you walked in you felt a warmth so rare in the Undercity.

A man, a tall man with a square face to match his broad shoulders and physique was the man training you when you started. His name was Vander.

He teased you the whole night with smart quips in his soothing low toned voice. The two of you bantered with costumers together with ease. Him poking at your lack of experience behind a bar to which you’d respond with a clever quip and the abilities of someone who was a very fast leaner.

You didn’t notice a man sitting in a booth who normally sat at the counter but Vander did. He noticed a careful study being conducted of the new meat in the building.

Little did you know that both these men would change your life. For the better? For the worst? Didn’t matter. It’d be changed.

[xx-k1tsun3-k1d-xx]

What even is the origin of Domo? Is it really that one duck life game?

oh i actually know this!! :D どーもくん or Domo kun is a mascot for japan’s NHK tv network. they made him in the late 90s as a character in stop motion animated shorts. he was pretty popular, so they started using him in those little “you’re watching disney channel!” type things in between shows ☆link: example domo short foar u! ☆

the name domo comes from the greeting ど—も、こにちは which is kinda like “hello everyone/hello there!” like people would say when greeting a tv audience, but can also be understood as “hello Domo!”

domo was pretty big/well known in japan where they were actually broadcasting his media and spread outwards via the internet, the biggest impact being this old ass meme:

yeah weird af i know xD this was around the time the internet really stated growing and japanese media was becoming more accessible + well known to the average internet user. pop culture trends at the time began taking cues from anime style ‘cutesy’ mascot characters and art, stuff like hello kitty, tokidoki (not japanese but took heavy inspiration) pikachu, etc. so i guess our little guy was kinda in the right place at the right time guy and he sort of went viral? anyway yeah however it happened domo became super popular, purely based on him being a weird lil guy/memes of him made on the western internet. he got a stop motion tv show made by NHK and nickelodeon and a manga was published and everything

as the trend for kawaii style mascots and media faded so did domos popularity outside of japan but ofc a lot of people still recognise him even if they have no idea where he comes from :3

ANYWAY that’s my short-ish history of domo!! enjoy? i hope?? xD

sources: x x x

[pinkiemachine]

What are some timsteph headcanons you have? And what couples or ships u like outside of dc remind u of them?

That she’s really clingy and her love language is physical touch. Like, she’s always coming to him wanting a hug, or to hold his arm, or snuggle up next to him, just burry her face in his hoodie… but she can be a bit oblivious about the fact that she can be a biiiiit… intrusive at times. If Tim is busy with something, she might not recognise it and just come on in, trying to talk to him, and then Tim gets frustrated that she’s not reading the room, and has to remind her that sometimes he has things to do and can’t get distracted. She usually makes up for it by doing something nice for him later when he has more free time.

Tim can be a bit oblivious about her emotions sometimes, so every now and then he makes an oopsie in the form of accidentally neglecting her emotional needs—usually by working on a case too long and not realising she needs time with him—and then has to go make up for it. His love language is personal time, and he just enjoys being in the same room as Steph. They don’t even have to be doing anything, just cuddling on the couch is enough. Or sitting in the Batcave on their phones. Talking late into the night.

She definitely loves the fact that her bf is loaded with cash and Tim loves to spoil her. Not in overly fancy dinners to french restaurants or Louis Vuittons, but in trips to places she’s never been before, going on hikes through the Italian countryside, bungie jumping in New Zealand, or boating on the Nile.

They both geek out, but over different things and in slightly different ways, and they happily listen to the other ramble on about the thing they’re excited about currently. For Tim it’s usually some random information rabbit hole he’s stumbled down—like the history of Roman gladiator food, or medieval cutlery. For Steph it can be literally anything. A cute dog she found that she wants to adopt, why do superheroes wear the undies on the outside of their uniforms? Damascus steel forging, a new TikTok trend, a new tv show she’s just gotten into, interior home renovation and DIY stuff, knitting… waffles…

Tim struggles with depression. It’s not surprising. A study done once showed that intelligent people are often more likely to be depressed (perhaps there’s something to being “blissfully ignorant”) but in Tim’s case, there’s also the trauma of having to go through everything he’s gone through as a vigilante. Because of his depression, it can make it difficult to find the will to want to hang out with people, or go do things outside of work. That’s where Steph comes in. She’s hurt too, but remains stubbornly optimistic. She’s able to talk with Tim about things they can’t talk about with anyone else, and she helps him get out and do things, talk to people, see the sun every once in a while. She is his sunshine. Literally. She makes him happy. And for Steph, she can sometimes have a hard time living in reality. Because of her trauma, she tends to fall into escapism to cope. She can day dream for hours if left to her own devices, and often romanticises things or doesn’t take them seriously. That’s where Tim comes in. When she’s getting too carried away or not acknowledging a situation like she should, he brings her back down to ground level and helps her through it. Facing reality is easier with him, she’s found out. ❤️💜

[olderthannetfic]

So, you mentioned low standards of research in podcasts. I don't listen to podcasts or watch a lot of videos about fandom analysis, but I have seen error corrections happening in the wild for what I have listened to, so I can only imagine how annoying it is when you know your shit.

Do you have any resources that come to mind as things everyone who likes fandom should be comfortable with, or specific essays on uniquely important fandoms (such as Sherlock Holmes or Star Trek) that everyone should read? Obviously the OTW resources are up there; what else?

Aside from resources, do you think there are any skills that are especially vital for getting to the bottom of fandom trends? Interview skills are probably pretty high up there.

Any pitfalls you see a lot of young fans falling into?

(I do a lot of fandom history research. It is the thing that gives me joy in fandom; other people like shipping or AUs, I like my little mini-anthropology sandbox and watching how ideas spread. I'm not necessarily good at it, but it's fun!)

--

Well... it's the usual things.

For example, a lot of fans claim to love fandom stats, but the ones that get passed around come from like three people. The people doing those stats, including me, don't usually have a statistics background, which doesn't automatically make them bad, but it really seems like people are just trusting anything with a pie chart.

We've recently seen people discover that those year-end AO3 ship stats have a seriously weird methodology. They don't show the thing their fans are actually trying to find out. People were pissed. But most of the time, they don't even bother asking what the methodology is or trying to do anything themselves.

There's far too much sitting back and waiting for some BNF to spoon feed one publicly-available information.

--

The big failings aren't usually the math itself but, of course, not knowing what question to ask, so it pertains to history research, not just stats.

You'll see a lot of stuff on shipping that looks at AO3 because AO3 shipping numbers are easy to pull... But AO3 shipping numbers don't just happen to be easy to pull: that is both an effect and a cause that is directly related to AO3's content. Someone interested in meta shouldn't be asking "What do AO3's numbers show?" as their first question. They should be asking "Why is this metadata available or not available and what does that mean on a sociological level?"

--

Thing two is the eternal I Have Apparently Never Heard of Anime problem. A fuckton of people theorizing about fandom trends seem to know fucking nothing about whole massive sectors of fandom or treat them as afterthoughts. This is okay if you're writing a history of Media Fandom. It is criminally stupid if you're trying to talk about what makes a piece of media have fic when another doesn't, what kinds of websites make fandoms take off, etc. Those kinds of broad questions need a broad understanding of what's out there.

It's not anime-specific, and I'm not asking for a high degree of knowledge.

I have routinely had people tell me that best friend ships and mystery/crime as a genre aren't popular, and that's why AO3 has this or that pattern... Meanwhile, buddy cops are the bedrock of oldschool slash fandom and make up basically all of the longest-running Western m/m fandoms that aren't Star Trek. CSI slop tends to have legions of future canon het shippers, and they make plenty of fanworks. It's just that some of this is more visible on FFN or older places, not AO3.

I'm always seeing things like someone speculating about how this and that anime fandom thing or bit of mid-00s FFN community drama led to this other thing on AO3, not realizing that AO3 came out of LJ Western fandom slash culture. To them, FFN is so central that it must be the main reference point, not the bajillion and one archives AO3 founders ran or Usenet or mailing lists or LJ.

I once saw someone asking on twitter about where a prominent Ranma fic might have been posted in the mid-90s. People claiming "My professor is an authority!" came out of the woodwork in droves to blither about K/S zines and then LJ. Not only was this entirely wrong, but the right answer was blindingly obvious if you knew enough to interpret the google results. I can only assume that the person tweeting had never heard of Usenet and didn't recognize the acronym for the big anime fanfic group that literally everything like this was first posted to.

I'm talking people insisting that fandom only goes for white characters when it's very obvious that fandom goes for majority leads who are not othered. All the bawwing in the world about "People assume anime characters are white" won't get rid of The Untamed or Kpop thirsters or whatever.

I'm talking sweeping pronouncements about gender and fanfic writers where the person hasn't even heard of FIMFiction or SpaceBattles or Dark Lord Potter cheesefests.

I've been in fandom for a long time, but I wasn't in all these parts, and I wasn't around for 80s zines. You don't need deep knowledge until you pick a research topic. But it's shocking how little shallow, broad knowledge a lot of people have when they're writing their Theory Of All Of Fandom History.

--

People are stupid as shit about survivorship bias, and fandom history is no exception. They're also dumb in the opposite direction, assuming that the thing they like now has always existed in this exact form.

For example, someone got mad at Fanlore for supposedly not documenting the history of f/f zines. Others have searched and searched for the zines of their old show they got into last year and are bewildered to not find any. The reality is that Fanlore editors are attempting to document every Media Fandom zine and have combed through old adzines looking for any mention of anything. Because of the methods of distribution—because it was expensive—small fandoms often had no zines at all.

Femslash fandom doesn't seem to have gotten enough critical mass to do much until Xena. The internet has really democratized things, but even the early internet was still somewhat in that old mindset where only certain popular things have a fandom. I think Yuletide itself, which started in 2003, really helped spread the idea of rare-but-existing fandoms being a thing. FFN and perhaps some other multifandom archives like Media Miner played a huge role.

Nowadays, we think of fic as just how you respond to media, any media, even if there are only two fics for that one car commercial, but that isn't how people saw things in every era—or at least it's not how fandom infrastructure worked. A lot of the time, the big hosting spots were single-fandom archives, often with restrictive content rules. Finding somewhere to post a m/m/f OT3 fic used to be hard. Never mind early zines when photocopiers didn't even exist yet and you had to sell out your print run of 500 to make a go of it.

All good research starts with a lot of preliminary investigation to figure out what you're even trying to look for.

Actually bothering to look for fans talking about their own history or casually chatting with your interview subjects before the formal interview will put a person miles ahead of many of the cringeworthy fandom ~papers~ I've seen.

The biggest mistake people make is going "Okay, these numbers aren't perfect, but some numbers are better than no numbers".

Bullshit.

As soon as there's a pie chart of the false numbers, everyone's brain turns off and they never look at the chart subtitle, never mind the research notes.

Bad numbers are often worse than no numbers.

Look at the logic behind the methodology first. Look at the social context. Basic understanding of human nature and familiarizing oneself with the shape and hangout locations of a community will get you most of the way there before you sit down for a specific interview or try to collect any specific numbers.

--

None of this is a fandom thing. Research is research. It's just that most people think "research" means watching a tiktok that the algorithm likes and were never taught how to evaluate a source for reliability.

Evaluating sources is a skill. I had explicit lessons on it in school. Lots of people don't, and that sucks.

Honestly, watching the more thoughtful debunking content on non-fandom topics, like Miniminuteman's stuff on pseudo-archaeology or Dan Olson's... everything, is a good window into critical thinking, and that's most of what's missing from bad fandom history.

--

But more than any of that, more is more. Not the crap stats, but the narrower, more personal accounts, the interviews. The more fans who investigate their little corner that isn't the same old AO3 site-wide "Why is there so much m/m?" ship stats or the same canned "Everything comes from K/S" history, the better.

What I object to is not amateur efforts but efforts that pull from the same small pool of data or that just reblog a tiny handful of supposed authorities.

--

If people are going to read just one thing... hmm... go try to look up a history of rec.arts.anime.creative, not because I think it's the most important fandom history out there but because it's at the nexus of things a lot of current fandom history work miss.

[centrally-unplanned]

Japanese website Forest Page is shutting down ~today, a tragic loss of "Heisei otaku memories", as so many are calling it. Launched in 2003, Forest Page was a "Geocities for mobile", a site that hosted user-created websites and gave them tools to allow non-coders to make them. In practice, it became one of the premiere places for fanfiction in Japan, with the stories hosted on author-created sites.

It wasn't quite the Fanfic.net of Japan, as for one the Japanese fandom just never centralized quite the way the 2000's western one did, instead being spread out over a half dozen or so sites. But additionally, it wasn't initially popular for fanfic so much as cell phone fanfiction, because in 2000's Japan the "cell phone novel" was a specific thing. These websites were being made for flip phones, not smartphones, and not only would people read them on those phones, they would often write them. None of that was very conducive to the creation and consumption of a "traditional" novel; so starting in the 2000's Japanese writers started making stories fit for the medium, namely:

Very short

A huge focus on dialogue and inner thoughts, with no/minimal description or scene detail

Using a limited POV of a specific character

Often employing the medium-as-message, like using emojis, structuring the story as IM's or emails, etc.

Also they all had huge gaps between lines, I'm not really sure what that is about:

Probably for readability on the phone given the small screen size? But it was absolutely part of the genre. A few of these novels actually made it big, got movie adaptations, people wrote articles about the "cultural phenomenon", it was the 2000's so Hiroki Azuma had a take on it of course, and so on. It slotted neatly into the vibe of the time of technology changing culture, paralleling discourse around otaku in the same era.

In fanfic those trends met up, and anyone familiar with fanfiction probably read that list of traits of the cellphone novel and thought "oh, this is perfect for fanfiction". Skipping out on description? I don't need it, I know what they look like already. Focus on conversation and POV? Perfect for shipping fics. Short lengths? Yeah, we are shortcutting to the good stuff, that is the point. Mirroring trends in the west, Forest Page's userbase was ~95% female, and the most common content on the site was romantic or edgy-dramatic stories in the franchises you'd expect. The closure page linked above actually summarizes the site's history by year, and lists the biggest fandoms:

Which is exactly what I would expect from a female otaku fanfiction website. Congrats to Pirates of the Caribbean for making it though, freeaboo's represent.

I do think the fact that the site was a website hoster as opposed to a fic hoster did align with the way the Japanese fandom was more "creator focused" and embraced the media mix more. There were "fic circles" a la doujin circles who made their own pages, people would make fanart, fan video games, and so own to host alongside it, and all of it was centralized to the creator; it made following them-as-a-person just a little bit easier. Most websites were simple text, but others did have the full Geocities experience:

Something that was somewhat common were basic visual novel concepts where the reader could make choices, or even insert their own name so they would be the "MC" of the story:

(Dream novels are in fact their own thing in Japan) My understanding is the site was quite popular through the 2000's and into the 2010's, though over time the "cellphone novel" as a concept fizzled out. People got smartphones, more people got PCs, and the constraints didn't make sense anymore - you can read ebooks and normal websites on your phone now after all. You can probably draw a line between these kind of stories and the webfiction/light novel boom of the late 2000's/2010's, something that was equally born on the internet, that streamlines the novel to "shortcut to the good stuff" but without the need to fit on a flip phone's screen. Though I will admit my own understanding of their histories shows them more as two sides of the same "youth demand for new literature" coin.

In 2017 Forest Page launched Forest Page Plus, a new service fully optimized for the smartphone era; but it did not transfer over all the old content, starting the clock ticking on the original Forest Page. My understanding is that in June they announced Forest Page was officially closing down; and from what I have gathered from reminiscing writers on twitter, they did not provide any easy, one-touch way to save any of the content, so people are archiving Wayback Machine links or sharing tips on how screenshot-save stories (I think the rub is they gave people a way to transfer content to FP+, but most don't want to do that, as places like Twitter & Pixiv are the content kings of this era).

As of tomorrow I would bet the large majority of the content will be gone; quite sad given both the quantity of stories there and how many got sometimes millions of readers. I am sure most of the biggest stories are archived at least, but particularly the early stuff was a very ephemeral genre, one that doesn't make sense to revisit once you aren't a 16 year old teen writing and reading fics on a flip phone in between classes. Which means another legion of the ghosts of the Wired is being born today. May we pour one out for a fellow online community that lived and died!

[marzipanandminutiae]

do you have any good sources for reading about women’s underclothes like stays, corsets, drawers, etc.? i always find it interesting when you talk about corset myths and such, but i’ve had trouble finding places to read about it that aren’t just selling stuff.

See, I get a lot of asks like this, and the problem is that I don't usually remember where I learned anything.

Some ungodly combination of looking at old advertisements in various places, learning things from experts in the field in conversation, scholarly articles or well-sourced YouTube videos, reading analyses of extant garments in museum collections, and Books I Don't Remember The Titles Of have leant me this knowledge and I am not at all sure how to recommend Further Reading to people as a result.

I can find sources for specific facts if pressed! Don't get me wrong! What I know is good as far as I'm aware! I just go completely Blank when asked to give recommendations on clothing history in general because how I learned things is such a hodgepodge of information.

Honestly, this is going to sound very un-academic, but Abby Cox and Nicole Rudolph are two great clothing historians who source their YouTube videos well and teach facts in an engaging manner. So that's as good a place to start as any. Bernadette Banner's content can also be very fun and useful, though it trends a bit more towards the whilsical/fantastical (while still being largely based on historical fact).

The Corset: A Cultural History by Valerie Steele is a pretty good book on that particular subject, though my one bone to pick with it is that the author seems to either never mention or reject out of hand the idea that corsets had a practical application (they did- breast and back support, and providing a rigid support layer to keep waistbands from cutting into the abdomen).

Also like...wearing a historical corset if you ever get the chance is a great experience. Obviously trying it once isn't the same as wearing it habitually the way women would have when they were commonplace, but it's more personal experience than a lot of people who've been published about them have had.

Hope this helps and I'm sorry I couldn't give more specific recommendations!

[the-sappho-of-lesbos]

My summary of thoughts:

- There is a lot of evidence that men and boys don’t read as much as women and I think it’s important to both make books that appeal to them (especially young boys ) accessible BUT I also think young boys and men should be taught and encouraged to read from a female perspective and see the value in that

- Romance has and always will be a popular genre. In war times some places would even ration paper specifically for romance because it was a morale booster. It can be frustrating for some when that genre is so heavily pushed , especially if it’s one that don’t enjoy , and we are living in a time where they are taking up more space and not just being in the thin small romance collections - but that doesn’t mean those stories are all that’s available. It’s normal in times of political and financial turmoil for stuff like that to be popular.

- women aren’t “invading” male spaces. Book spaces have always been for both and many genres have their foundations in female writers.

- there has always been “bad”, fun or “low brow books”. It’s okay. They can’t hurt you. There are PLENTY of other books coming out all the time. Plenty of high fantasy (which also has a history of being massively pumped out and bad when it went through a boom), literary , non fiction and crime books to go around. It’s okay.

- People REALLY need to start going to libraries and not getting all their book recs from TikTok or target. There are more out there it’s okay.

- it’s okay to dislike a genre and critique it, but maybe keep it to the book and stop bringing sexism up into it.

- everyone is at a different reading level , even as adults , and it’s important to not shame people for what they are reading. We are in a literary crisis in many places. Reading at all and building that capacity is good. Encouraging expansion and growth of curiosity and intelligence is good and should happen , shaming others and calling them stupid for they read isn’t.

- smut has always been books and will always be in books. It’s okay to not like it. But it’ll be there. Some people are just uncomfortable because women and gay people are being able to express their sexual desires more openly and in big traditional publishing companies now more then ever and talk about it in online spaces.

- YA needs a reform and should go back to the basics of being a good bridging ground for younger people. Sex is something that can be explored but it shouldn’t be done in a way that’s obviously titillating for older audiences but rather being a safe place for teens to explore these things. That being said you shouldn’t get too Pearl clutching if a younger teen is reading somethings but more adult. Being able to read that , discuss parts that could be harmful etc is good for them.

- Publishing houses are a business and will go after what they think will sell. Older books are still available if what’s new isn’t your fancy. Trends die out and new ones emerge. It’s the way of the game. But even with that being said there are SO many books out there and new ones coming out all the time. Sometimes you just need to look a little - but that doesn’t mean you can’t critique it or demand better.

- Marginalised voices are still being squashed in the publishing world and it needs to be worked on and fixed

- there are so many great indie books out there , go explore !

[osakanone]

UPDATE: The Destiel/Supernats aren't taking this well -- explaining my reasoning for the history I gave, and why Destiel is not the big bitch of shipping that it thinks it is

An update to THIS:

"This is just a marketing thing, Gundam is a giant robot show, only men watch it!"

Gundam's fandom is silent majoratively feminine:

"But its not gay, its about giant robots!"

Gundam is very gay. The entire climax of the first story is a riff of Yukio Mishima lmao

The climax of the Amuro/Char arc of Universal Century Gundam (expounding from first Gundam circa 1979), Char's Counterattack is somewhat on the history of Japanese disillusion with liberalism which notably climaxed with the life and history of Yukio Mishima.

You know. THAT Yukio Mishima.

The one who wrote FORBIDDEN COLOURS.

It was so gay that the fanfiction inspired by it became its own damn anime:

And that's just Charmuro, let alone Charma or a billion other ships just in OG Gundam alone.

We've got This is before we get to Guin Sard Lineford and Yamagi Glimerton (both verrrrry gay), Tieria Erde (a genderqueer trans-coded character who transcends gender entirely in their arc) and a bunch of others.

Gundam was always gay.

"I don't see the numbers"

"That doesn't seem like much, Supernat is at least 2x this"

Sooooo the amount of content you do see isn't representative of how much even got written, given FFN had a huge content purge.

First, let's start with the relative proportion of users: If we're analysing the concept of fandom, we first have to look at who had access to the internet in the first place to publish works.

Yeah that's a pretty sizable difference.

Wing's fandom actually exploded in 2000, but got capped VERY early, distributing itself to fansites when FFN fragmented and collapsed.

Why?

Content purges!

"Isn't there some sort of online archive of this stuff?"

Sure, if you wanna dig through tons and tons of Angelfire and Geocities pages which have mostly disappeared. Otherwise, no! There is no archive of this stuff?

"Why?"

They've since rolled back on this but it means there's a massive amount of lost media out there, including the discussions on it and thus there's an entire history you didn't get to experience.

Its actually very difficult to reach people who've been involved, since it was so long ago that very few people remember, and a sizable proportion of that population have actually died.

"But what about SF fandoms? We have ancient records of stuff like Spirk!"

See unlike physical media like zines, when a server goes offline or there's a data-loss, or something like that there is no surviving copy of the thing in question.

The net result is we have this weird hole where content just vanished, and its now considered lost media. The work of many artists, designers, writers, even videos of events are just lost media because we didn't have the archival mentality adults develop.

You're not gonna hear about all the X-Files stuff or Frasier fanfictions or GW stuff because of these purges and the lack of physical media. FFN users were teens, not adults with resources like US/EU/JP SF fans, who had archival tendencies due to their long history.

So there is this supermassive black-hole in the history of fanfiction running between 1998, and 2008 and some of the only evidence of it are worksafe works and fansites which the owners have long since forgotten about because folks moved on. Moving on is a normal part of fandom.

So to those of you just saying "supernatural is losing to a pair of dumb anime girls" or "urgh this is just a trend tumblr will get over it and go back to supernatural"...

Uhhhhh no they won't, actually?

Supernat's fans mostly seem to be waspy Americans. Gundam is kind of a global phenomenon, one which has traditionally had a silent majority female audience, a vocal minority male audience -- and every time that majority has spoken up, its coincided with a content purge, or a TOS change that mysteriously biases American derived fiction over Japanese derived fiction.

Funny that.

tl;dr:

NATURE IS HEALING

[religion-is-a-mental-illness]

By: Bridget Phetasy

Published: Jun 22, 2023

Unless you’ve been living under a rock, you’ve probably witnessed the backlash to Pride. There have been mass boycotts of Bud Light after the beer company partnered with trans woman and TikTok influencer, Dylan Mulvaney, sending her a custom can to celebrate her first year of “girlhood.” Target was next to come under fire for its Pride display targeting children and their “tuck-friendly” bathing suits for women. 

This set the stage for the most divisive Pride month in some time. First, the boycotts. Then videos of angry parents at school boards went viral. Conservative radio hosts and commentators vowed to make Pride “toxic” to brands. But it’s not just conservatives who are pushing back; according to a recent Gallup poll, even Democrats have seen a drop in the acceptance of same-sex relations.

Which begs the question: what happened to Pride? After decades of progress for gay rights, growing acceptance of gay marriage and the normalization of same-sex relationships, Pride is unexpectedly political again. Why?

In search of an answer, I spoke to prominent LGBT thinkers and writers, many of them dissenting voices when judged against the views of many LGBT advocacy groups. Their answers surprised me. Across the board they all said some version of “this was inevitable.”

“When it comes to gay issues, conservatives largely lost the culture war,” Katie Herzog observes. “But something about recent trends has reignited that passion — and issues that seemed resolved are up for debate again. I guess the Nineties really are back.”

“The core reason for the backlash is pretty simple: children,” Andrew Sullivan explains. “The attempt to indoctrinate children in gender ideology and to trans them on the verge of puberty has changed the debate. Start indoctrinating and transing children… and you will re-energize one of the oldest homophobic tropes there is: ‘gays are child molesters.’”

Glenn Greenwald largely agrees: “What destroyed the culture war consensus was their cynical and self-interested decision to transform the LGBT cause into one that no longer focused on the autonomy of adult Americans to live freely — which most people support — but instead to demand the right to influence and indoctrinate other people’s children.”

“They are calling them ‘trans kids’ and medicalizing them at an early age. Lying about puberty blockers. Lying about young girls getting irreversible surgery and so on,” says trans man Buck Angel.

In 2015, the Supreme Court ruled in favor of same-sex marriages, and with bipartisan support it seemed there was a consensus on this one culture war issue, as well as broad support for the legal rights of trans adults to be free from discrimination. The war was largely won. But rather than shutting up shop or refocusing their efforts on parts of the world where gay and lesbian people faced serious discrimination, activists and NGOs moved onto the transgender issue.

“There are countries in the world where you can be executed for being gay,” says James Kirchick, author of Secret City: The Hidden History of Gay Washington. “That’s what the Human Rights Campaign [America’s foremost LGBT campaign group] should be saving its ire for.”

An average person will likely refer to this shift as “woke” and wonder how “the trans stuff” is suddenly everywhere, all at once. Parents are baffled when three out of four of their twelve-year-old daughter’s friend group “identify” as boys or, even more confusingly, nonbinary. People started putting pronouns in their social media bios, on their work résumés and in their email signatures. Biological men are competing in women’s sports and being placed in women’s prisons. In medical magazines and birthing classes, women are suddenly referred to by dehumanizing terms such as “birthing persons” and “uterus havers.”

“It’s like a new enforced public holiday thing and people smell a rat,” says Douglas Murray. “The wiser people realize that something weird is being smuggled in. This isn’t just like, ‘don’t beat up your gay neighbor.’ It’s like ‘there is no such thing as gender.’ ‘There is no such thing as sex.’”

We’ve arrived here thanks to a confluence of forces. Perpetual victimhood pushed by activist groups that need a reason to exist and continue collecting money. The corporatization of Pride. The hijacking of the movement by gender ideology.

“You can’t dress toddlers up in extreme political propaganda while lecturing the parents on committing child abuse for not transitioning their kids and expect everyone to keep quiet,” trans writer Chad Felix Greene tells me.

To a normal, not especially political person going about their life, it can seem like gay culture is everywhere. Pride was once just a day to have fun, go to a parade, and “for those who have just come out as a way to cement their self-confidence in public” as Sullivan says. Now every June it becomes “the Holy Month of Pride” as Murray dubs it. Corporations change their social media logos to rainbows (unless, of course, it’s their Saudi account). Pride™️ has become so accepted it’s inescapable. 

On the surface this might look like capitalism at work. These companies just want the gay dollar! Though there’s some truth to that, there’s also an undertow dragging these huge corporations down. They aren’t making decisions that are in the best interest of their shareholders; they are acting out of concern for their social credit score.

“These corporations aren’t getting any gay dollars from these fiascos. Gays hate corporations at Pride,” said publicist Mitchell Jackson. “Worst of all, these corporate campaigns just backfire on LGBTQ people. Gay rights are now being threatened again because big-box stores needed to sell tucking underwear.”

Jackson is exasperated that corporations listen to the advocacy groups in an attempt to do the right thing: “Corporations go to these groups for advice, hoping to avoid a woke controversy, and they get led into a hornet’s nest — and then these non-profits can fundraise off of the Bud Light controversy of the week.”

“What changed is that LGBT activist groups could not afford to obtain victory,” Greenwald says. “When activist groups win, their reason for existing, and their large budgets and salaries, dry up. They always have to push debates into whatever places Americans resist. They also have to be losing, have a claim to victimhood, a reason to assert that they are righting the bigotry of Americans.”

“It’s so tragic because we’ve reached this moment when gay people have finally won mainstream acceptance for the first time in, like, 2,000 years of history,” Kirchick said. “It’s OK to be gay pretty much everywhere in America — and there are obviously pockets where it’s still a problem, I’m not gonna deny that — but majorities of Republicans support gay marriage. I’ve seen it in my own life as a thirty-nine-year-old gay man: it’s a lot easier to be gay now than it was six years ago. And just when we’ve reached this moment, these activists have decided, in our name as gay people, to just piss off America and to make them think that we are a threat to their children.”

“I am so upset that my community has been co-opted and has been used for some other agenda,” Angel told me. “The work we have done to get here is profound and should never be forgotten. All we want is to live our lives just like you, but of course that’s not what you see now with the people driving the LGBTQIA+++++ bus.”

The real slippery slope hasn’t been the gay rights movement, as right-wing pundits often say. “When I see some of them going after Pride, they appear to blame gay people for the nonsense peddled in the name of Pride today — when in truth gay people are the victims of it,” comedian Andrew Doyle said. 

At the heart of the problem is the fact that LGBT was never the package deal that most people consider it to be. “LGBT people don’t exist,” says Sullivan. “We’re very different from each other.”

Generally speaking, it’s “the Ts and the Qs” that insist it’s all or nothing. Trans activists demand acquiescence to all their demands no matter how insane and pseudo-scientific, push to allow men in women’s shelters and allow kids to be put on puberty hormones or you’re committing genocide. People are are increasingly saying, “OK — it’s nothing then.”

“I think gays and women in general are bearing the brunt of the gender ideology nonsense,” Murray said. “And it has itself piggybacked like some kind of parasitic entity onto gay rights.”

“Gender identity ideology is essentially anti-gay,” said Doyle. “Gay rights were secured through the recognition that a minority of people are instinctively orientated towards members of their own sex. Gender identity ideology seeks to break down the very notion of biological sex and claim that it is unimportant.”

Underneath the rainbow facade are illiberal forces such as “queer theory” that have been eroding the classically liberal foundation of the original civil rights movement that won gay and trans folks the rights they have now. We’ve gone from “love is love” to trans women insisting if a lesbian doesn’t want to suck their lady dick, they’re a fascist. 

If you’re confused, that’s the point; confusion and contradiction are features, not bugs. In order to understand how this happened, and why, you need specialized knowledge. The average person can’t explain exactly what’s going on, because it’s nonsensical, you can only intuit it; but call it out and you’re dubbed a bigot — and so you retreat, keeping your head down while the gender borg marches on.

The temperature has been raised further by the Biden adminstration’s unambiguous embrace of this ideology. The White House is quick to paint anyone doubting the wisdom of what they euphemistically call “gender-affirming care” for minors as a knuckle-dragger, even though the overwhelming majority of Americans support a ban on such care and many liberal, tolerant European countries have banned it or scaled it back.

No wonder dyed-in-the-wool Democrats who disagree with the idea of biological men in women’s spaces — or are confused about the pseudo-religious idea that you were born in the wrong body, and wonder whether or not pausing puberty is even possible — are terrified to speak out. 

“It was once ‘live-and-let-live’ said Sullivan, “Now it’s ‘embrace the ideology — or else.’”

Herein lies the problem with Pride. You can no longer opt out of the ideology. The trans activism changed everything. It is coercive. It is everywhere. Big Tech acts as an enforcer, in conjunction with the state, policing language, pronouns, exacting punishments for refusing to repeat the mantras “trans women are women” and “gender-affirming care is reproductive freedom.”

“I know many gay activists from yesteryear who are coming out of retirement to address this new anti-gay movement which has usurped Pride,” said Doyle. “It doesn’t help that all criticism of Pride is interpreted as homophobic or transphobic. These are important conversations. Like most culture-war issues, we need to stop thinking of this in terms of ‘left’ and ‘right’. These things are irrelevant. There are left-wing gay people and right-wing gay people — and all of them are harmed by Pride in its current form.”

The backlash is veering into a full-blown moral panic. “I’m seeing a lot more people online talking about gay people as though we are all pedophiles who want to groom children into becoming cross-dressing strippers, and a lot of what’s going on feels like good old-fashioned bigotry rearing its ugly head once again,” said Herzog.

Might the public backlash to Pride push moderates and independents to the left the way the overturning of Roe v. Wade did? From an optics perspective, attacking Pride can often look like attacking the whole LGBT community; just from what I’ve witnessed online, an unsettling amount of homophobia is rearing its head, using boycotts as cover for bigotry. Last week a video went viral that showed Muslim children stomping on the rainbow flag while their parents cheered them on.

“I don’t want to name names but there are certain conservative commentators who are using the backlash against LGBTQIA plus to include a backlash against gays,” says Murray. “But I think it’s inevitable because not enough gays try to do the decoupling that I’ve tried to do myself in recent years and say, ‘Sorry, not my party.’”

Yet the decoupling has begun and it seems to be the only way to navigate our way out of this moment without throwing the baby out with the bathwater. #LGBwithouttheTQ and the #LGB have been trending on Twitter almost every day in June. Even if people don’t understand the forces at work, I think most Americans are smart enough to make the distinction between their gay loved ones and friends and some of the more insane gender stuff.

Like most things, this requires nuance. “You have to say, ‘we respect the rights of adults to undergo a gender transition,’” says Kirchick. “And ‘we want full equality and non-discrimination for transgender people in society, but there are real live debates about at what age it’s appropriate to administer these sorts of medical treatment to kids.’”

“Keep biological sex as a central characteristic in the law and culture,” Sullivan says. “Gender can be added, but can’t replace.”

“I think many LGBT people see this mess but are scared to lose friends and community if they speak up,” said Angel. “But it’s our duty as LGBT members to call this out. To show the world that these people are not a representation of us.”

[rosyronkey]

hi! i wrote an essay about rosy ronkey and her clothes, and i hypothesized what time period i think shes from/inspired by ^^ below if you wanna read more :))

ive been fixated (or had a special interest or whatever you want to call it) on rosy ronkey for a YEAR today. i've always been pretty interested in her outfit from an aesthetically pleasing point of view, but recently i wanted to see if i could find any trends and time periods in the inspirations of her clothes, which is what this essay is about! it’s going to be an explanation of most of her clothes, top to bottom, from what i can assume with the research i've done. i say research, but i probably don’t have the best sources? they’ll be linked below, but it was really more cross-referencing than anything else lol

i reached out to annie montgomerie for comment/criticism, but she’s obviously very busy and i enjoyed my research from a subjective point of view :)

basic specs on rosy (no one else but me cares): looking at rosy, the only zoomorphic, or animal looking, aspect of hers is her head. judging by proportions and cross-referencing, she looks to have the body of an american girl doll. this is just what i’ve noticed, but annie’s most recent stuff is way less anthropomorphized compared to rosy and the group she was made with. looking at annie’s most recent exhibit, hand me downs, every single piece is completely animal, with hand-sculpted claws, paws, wings and hooves. some of these dolls legs still look like american girl doll legs, but most everything else is animalistic. this isn’t important, but i just thought id mention it because artists’ growth over time is cool!

starting with her coat, it looks like a double-breasted red childrens’ coat with two rows of two buttons each. these kinds of coats are still available today, but i could find the closest matches by looking at 1920s childrens’ coats, specifically rothschild coats. the rothschild family has a long and complicated history, but all that’s important to know is that they are new york based (which doesn’t totally fit my assumptions about her; in general i assume all of annie montgomerie’s dolls are british because of her nationality) and they’ve been in business for over 100 years. by cross-referencing the growing style of double-breasted coats in the 1920s, and the style of rothschild childrens’ coats in ads from the time, i feel like it’s easy to assume rosy's character has this coat, or at least was very heavily inspired by it.

a theory i’ve seen before is that the ticket on her coat is a luggage label. these were used during WWII to evacuate british children during the blitz. the history press site says luggage labels listed “name, school and evacuation authority,” and is also where i got most of my information. i want to tentatively deny this theory. i'm pretty sure the ticket is an annie montgomerie staple opposed to a part of rosys' character. she's shown with the tag in the yorkshire sculpture park video, and on gerard way’s website, but she’s missing it in all the photos posted by annie montgomerie herself on facebook and instagram. almost every single annie montgomerie piece on display or for sale has a tag as well. i love this theory, and it’s probably what got me interested in researching her outfit in the first place, but i don’t think i could prove it if i tried.

other than the ticket, she has white roses on the left side of her coat and some smaller twigs? sticks? pinned to her collar. white roses symbolize purity, youthfulness, innocence, and in some contexts, respect for the departed. i couldn’t find any historical photos of children with roses in their outfits, but across the board that was the result i got for their meaning. i can’t discern what she has on her right collar for the life of me, if someone else can figure this out, PLEASE tell me

her dress is pink, with a cinched embroidered waist and a peter pan collar. peter pan collars became popular in the 1920s, and have been a staple of childrens’ dresses since (sources for this one were a few blogs and wikipedia, but also some ads, so i feel pretty confident with it.) some ads for girls’ dresses in the 1920s had the same soft pleats and embroidered waist as seen on rosys’ dress. i don’t think there’s a meaning behind the color, except that it compliments the red coat and her fur.

her stockings are standard, I couldn’t find much special meaning behind them, british children have been wearing stockings forever, and for girls especially, stockings became more popular in the 1920s as dresses got shorter. usually they were sheer and nude, and rosys’ look like the gray kind kids wear today, but i think it’s still period appropriate to an extent. her shoes look like red mary janes for american girl dolls, just more scuffed and dirtied. mary jane shoes themselves have been around for a while (called “bar shoes” originally,) but they got their name in 1904. in one of the first drafts for this, i read the fairy tale “the red shoes” to see if it offered any insight. i thought it’d be fun to relate, but it’s just a popular danish fairy tale, and it was hard for me to entertain the idea for long.

TLDR: i think rosy ronkeys outfit is inspired by british 1920s fashion!

that’s all I have! i apologize if this was underwhelming or overwhelming or whatever, i had no model to base this off of and the only tumblr essays i read are from my friends <3 i hope you enjoyed! i love rosy ronkey!

link to my dumbfuck google doc with all the links and braindump on it :)

[nylacouldntmakeit]

heyyyy!!! i absolutely LOVED your hcs for soda x ditzy!reader, so i was wondering if you could do the same for ponyboy? i imagine it would be different since he’s a lot smarter then soda is, maybe get annoyed a bit but he could never stay mad? tysm!!!!!!!!

yayyy! n’ yes i can <3

Ponyboy Curtis x ditzy! y/n

tw: swear words (thats all.)

Ponyboy teaching his sweetheart how to sound out hard words because he thinks with the mindset that, “if i can do it, so can you.”

Ponyboy who is just a tad envious with the far-away look in your eyes, because he wishes life could be so blissful to him as it is to you.

Ponyboy and his dense love who have weekly dates at the playground, and though pony finds your childish behavior occasionally annoying, he cant help but grin at your laugh as you swing.

Ponyboy who reads stories to you with words you couldn’t even imagine trying to say, but he pauses every so often telling you what a word means without you having to ask.

When you ramble about the latest trends, or about the rude girl who scuffed your new mary-janes at school, he’ll feel his heart flutter.

(teensy drabble because why nawt.)

“She stepped all over em’! Ugh, and-and um…I forgot what I was gonna say.” You frowned, starring intently at the clouds while trying your hardest to remember what in Gods name you were gonna say next.

“Thats okay, how bout’ you tell me somethin’ more positive instead hm?” Pony sat next to you, his hands clasped together. He peered at you occasionally with a raised eyebrow, a key signifier that he was indeed listening.

“Kay’! uhm…oh yes! Today I explained to Mr.Auther that I did write my history paper on my own! He said “there’s no way on God’s green earth that I knew what fluncuate meant”, but I told him I really did!” You jutted your lip out in a pout.

“That ain’ too kind of em’ is it? Well, you’ll just have to keep provin’ em’ wrong.” Pony shrugged, his voice laced with nonchalance. He knew you could do it, you just needed a few small pushes from him.

“Everybody always callin’ me dumb. I ain’ dumb! But…I ain’ to smart neither…” you shook your head. Sure you didn’t know what most words meant, or how to say em’, and you sure as hell didn’t know quadratics, but that didn’t make you dumb!

“I know it, so like I said, just keep provin em’ wrong.”

Pony never was one to hop on your pity train. He knew you better than anyone. If he gave in and gave you the sympathy you agged for, he’d end up just doing everything for you.

“Well, can you read this book for me? Oh and do the thing you usually do, where you stop n’ ‘splain it for me! ‘kay?” You batted your eyes at him while holding the worn book up with both your hands.

“I will, let’s head back to my place alright? Ain’ no sense in reading out here in the cold.” He stood and stretched before offering you his palened hand.

“Okay!” You grabbed his hand and stood with a bounce, sure school and stuff was hard, but pony made learning oh so sweet.