#tweet with an audience of three people

[topnotchquark]

The way I see it, Valentino Rossi is basically Italy's Shahrukh Khan.

[sunforgrace]

really cannot be emphasized enough how he didn’t have to do any of that

[mochlus]

I'm a character backstory hater ok. a hater. of backstories. people are always wishing they had more backstory for their blorbo well I DON'T. I don't care. I don't give a shit about blorbo's past ok. I get it I used to be in the camp of "you need to know how a character grew up and what their past was like to Really understand them" but that is WRONG. A character is not a real person. they are a piece in a story and to understand them you need to know the role they play in the story way more than you need some nebulous "past". yes, it is true that many ways people tell stories involve a character's past influencing their motivation for their present, and their role in the story. BUT THAT'S NOT ALWAYS THE CASE! sometimes a character as presented on the page or screen as they are in the present moment is all that needs to exist for them to perfectly fill their role in the story! The way they grew up doesn't matter! Their childhood trauma doesn't matter! I don't want to know more! I want the character to be engaging HERE and NOW! How much I like any given backstory is entirely dependent on how much it helps a character to be engaging in the story being told! I don't care about character pasts for their own sake! NOT EVERY CHARACTER NEEDS THEIR PAST TO BE SPELLED OUT FOR THE AUDIENCE

[starcurtain]

Hey! I apologize if this question has been asked before since it seems like a pretty obvious one, but where do you think the idea of Aventurine being a sex slave came from? Other than the obvious factor of it being something fun for the fandom to mess around with, I mean.

It's something I kind of took for granted as being true before playing his quest, but after finishing it I realized there wasn't really any indication. The only thing I can really think of is his master's comments about him having a good body. Is there anything in his behavior you can think of that would lead to this conclusion if it wasn't a popular fan interpretation already/kind of just an easy conclusion to reach with a slave character?

(also kind of related but what do you think of the idea that he sleeps around/with his clients to make deals? he's obviously willing to sexualize himself with the boob window, but that doesn't necessarily mean he goes further.)

As far as I can tell, the idea that Aventurine was involved in sexual slavery comes from three (maybe four) places:

First, the comment from the master about Aventurine's appearance. People were holding this comment up as refutable proof that Aventurine was used in sexual slavery on top of being tossed into the Hunger Games; however, the response from other players on this interpretation, especially the Chinese side of the fandom, was very mixed, with a lot of people pointing out that the context in the game probably meant the slave master was talking about Aventurine's ability to attract attention from fans watching the literal Sigonian Hunger Games, rather than having a direct sexual-slavery connotation.

Second, the comment from Sparkle about stripping naked and getting on his knees for Sunday. This one has way more implication in English than I think it might for an Eastern audience, actually. In English, this pretty much sounds like Sparkle saying Aventurine trades sexual favors for success in his gambles. However, I suspect the original intention in Chinese was more about humiliation. Western audiences don't have as much history with honor-based prostration, i.e. accepting corporal humiliation as a form of reconciliation that Eastern audiences might be more familiar with. And in any case, Sparkle is Sparkle. She probably just went for the lowest blow she could think of here.

Third, the general assumption that if Sigonian slaves were being chained, branded, beaten, sent to death matches, etc., it seems logical that they would also be taken advantage of in other ways. I honestly think this is probably the fairest take--many, many real slaves around the world faced (and still face!) sexual abuse, so if slaves from Sigonia were treated so poorly you could make them fight to the death for entertainment, it stands to reason they were probably also not safe from other forms of assault. We also have no idea what happened to Kakavasha in any of the years between his being a tiny child fleeing the massacre and then being purchased as a slave as a late-teens-early-twenties person. That's a very long time for a child to have to survive on their own on an extremely hostile planet and not face risks of all kinds or end up needing to do unspeakable things to survive. So I think this is at least not that far-fetched, although it's important to say there's nothing in the game that directly confirms this.

And fourth: I read a tweet semi-recently that stated that one of the Chinese (or maybe it was Japanese) names for a quest Aventurine was involved in was actually a reference to a book about a teenage sexual assault survivor. However, when I tried to verify this myself, I couldn't find any quest Aventurine was in that was based on a book about sexual assault in either English, Chinese, or Japanese. It's possible I just missed something, but I'm taking this one with a bit of a grain of salt currently, since I can't confirm it personally.

Regarding your other question, about whether I think Aventurine sleeps around to make deals...

I definitely think he does not, for one major reason.

First, I will admit that Aventurine is definitely willing to use his appearance to his advantage. This is pretty obvious. He wears incredibly flashy clothes, baths himself in cologne, overloads on glittering golden jewels, and absolutely calls attention to his appearance when working with clients.

We see him actively doing this in his Moment Among the Stars video, where he is clearly using his looks as an equal tool (to his wealth), to daze his target.

It's not an accident that he says things like "Use me as you wish," with all the explicit connotations preserved. The implication is there. However, unless he was absolutely backed into a corner, I think that implication is all it will ever be.

The reason I think this is that the devs go out of their way to give Aventurine three fairly noticeable physical behaviors in his in-game scenes:

For one, he has some of the most closed off body language of any character in the game.

Aventurine's default conversation pose is arms crossed directly and tightly in front of himself. This is like "Defensive Body Language 101." By crossing your arms, you put a symbolic barrier between yourself and the person you're speaking to, and also ensure that your hands are up and available in case you actually need to physically defend yourself.

Virtually all of Aventurine's conversations take place from this stance, no matter who he is speaking to (from the Trailblazer all the way to Topaz). He deliberately closes his pose off and tightens up his silhouette, which just sends a glaring "Don't touch me" message.

This closing off is also blatantly apparent when you compare it to the deliberately open poses he strikes while trying to make himself seem accessible to others (like tempting clients) or seem powerful (to intimidate):

Complementing this habit of closing himself off is a second noticeable aspect of his body language: He frequently avoids eye contact to the point that he even holds conversations while entirely facing away from the person he's speaking to.

I might be a bit lenient and say maybe he's doing this to on purpose to be mysterious, whoo~~ But... in all honestly, he just does this with everyone, even with Ratio while trying to talk about an actual important issue (wanting to look into Acheron's real identity). Hell, even the fake Aventurine does it to himself!

We can even say that wearing the rose-tinted glasses in the first place is another intentional barrier, one Aventurine deliberately removes in specific moments to give people the (false) impression that he's "letting them in" to his circle:

Now, this might be a bit more complicated in Aventurine's case, because eye contact has a whole extra meaning when eyes are the defining trait of your species and come with particularly challenging racial stereotypes. So it may be that Aventurine is simply used to conducting conversation while looking away to minimize racial prejudice against his eyes' unique appearance.

However, I'd also argue that the devs deliberately turned his entire model away in cutscene after cutscene to create a clear sense of being inaccessible, unapproachable, and unwilling to engage in the physical intimacy of standing closely, directly facing, and staring at his conversation partners.

While he faces away, he controls both the figurative and the literal direction of conversation, forcing people to keep their eyes on him while he is free to move as he pleases. Over and over again, it just says "I want to be the one in control. I'm not afraid to show my back to you, but you are not welcome to come near me."

And, in fact, that's a third aspect of his character's body language that I am sure the devs did not include accidentally: More so than other characters, many of Aventurine's conversations are conducted from weirdly far distances. Like, half the time he's talking, he's standing all the way on the opposite side of the room!

This habit of speaking from a-larger-than-normal distance is apparent in the first scene with Himeko...

And then in just about every other conversation too:

The bubble is twenty feet in every direction.

Like yes, he does approach and have conversations like a normal person... sometimes... But it is significantly more noticeable with Aventurine than with other characters that he often conducts whole conversations--even with his allies--from a distance. Just genuinely weirdly far apart.

Leaving space for Gaiathra, I guess.

And it's because these significant decisions were made with Aventurine's in-game body language that, when he deliberately alters his own behavior, it is instantaneously noticeable.

In 2.0, he closes the distance, the glasses come off, and he gets directly up in the Trailblazer's face.

It's uncomfortable not just because the player is suddenly being loomed over, but because this behavior has already been subconsciously established for the player as out of character for Aventurine.

The barriers the character himself was putting up are deliberately stripped away so that he can use physicality and demanding eye contact to intimidate his target. He has to reverse his own normal body language in order to come across as domineering (and, I guess if you're into that, appealing in a domineering manner).

And ummmm, just a tiny aside here because I can't resist:

This does mean that when the game goes out of its way to demonstrate Aventurine altering his own normal habit of distant and defensive body language, it is absolutely intentional.

Yes, this is a Ratiorine post in disguise. There literally isn't any other character in the game that Aventurine is shown being comfortable standing so close to and interacting with in this manner. This doesn't occur in every one of their scenes, but Ratio is the only character that this happens with repeatedly. It's not an accident that the devs literally added "They were walking side-by-side" as flavor text.

But look, I'll be fair: There's a great example of this in Aventurine's scene with Acheron too, where he closes the distance and attempts to make eye contact with her--seeking her guidance and closeness--and she is actually the one stepping away, speaking with her back turned, demonstrating her power and control (and issues with connection!) in that scene.

Anyway, this was a whole longggg tangent into analyzing Aventurine's body language, but my point is that, overall, the devs deliberately adjusted his model's actions in-game to give the impression of a person who clearly wants to be in control of every interaction he has with other people, who insists on distance over intimacy, and whose stances and habits suggest that he is significantly less accessible and open than his "Use me as you wish" motto might suggest.

Long story longer, I think that there is almost zero chance Aventurine is willingly ceding control over himself or the actions expected of him to anyone he isn't 100% comfortable with, and I think that using physical intimacy of any kind would be an absolute last resort for him. Frankly, he comes across as more likely to shoot himself in the foot than let someone he doesn't trust lay hands on him.

To me, he reads very much as "You may look, but you may not touch."

[realcube]

oikawa tōru who isn't pr trained. like, at all. you'd think being naturally charismatic and attractive would give him a pass, but not when he is wishing death upon the opposing team after losing a match. and not so much when he is rolling his eyes at interviewers after they ask about questionable plays he made during a game.

to avoid that sort of childishness in the future, oikawa decided to start bringing you along to promotional events with him. whenever he receives a query that makes his blood boil, all he has to do is find your face in the crowd, and that is ought to calm him down enough to respond appropriately.

or so he thought.

the first time he deployed this strategy was a club athletico san juan press conference. a host approaches the mic, "question for oikawa tōru."

he gestures for them to continue and they ask, "what would you say to all the people that claim you have past your prime and your skills are declining?"

"who is exactly is claiming that?" he snaps with a grimace, ready to unload an flood of profanties and defensive remarks, until he catches a glimpse of you, rapidly shaking your head in the audience. mouthing for him to 'shut up', and strangely, that works, as he chokes back any mean comments brewing on his tongue and mutters plainly, "i'd say their wrong. i'm better than ever."

the interview nods, briefly thanking him before the next one takes the stand. they declare, "question for oikawa tōru."

he internally sighs, but motions for them to speak. "what are your opinions on ushijima wakatoshi from the swedish adlers replying to a tweet of your promotional image with 'fugly cunt' followed by three vomit emojis?"

"ushijima said what?" his face contorts to reflect his absolute shock and disbelief. you also pick up on how his cheeks tint red with anger, so you prompt begins shaking your head again, crossing your arms to form an x.

oikawa breathes in sharply from his nose and slowly exhales, trying to find inner peace, if it really exists. "well," he starts, shuffling through all the catty, terrible comments he could possibly reply with, searching for one that wasn't entirely offensive. "it takes one to know one."

[lazysoulwriter]

Thirsty Tweets and Subtle Touches - Paul Mescal.ੈ♡˳

FIRST OF THE YEARR requested! hope you like it. feel free to send me requests! I might take a bit, but I swear I'll get it done! ♡

─── ･ ｡ﾟ☆: .☽ . ───

The set was buzzing with laughter and a hint of mischief. Y/N adjusted their mic as the camera crew made final preparations. Sitting between Paul Mescal and Pedro Pascal, the trio radiated effortless charm. They had been promoting their new film for weeks, and this particular segment promised to be a memorable one.

“Alright, you three,” the host grinned, holding up a fishbowl of folded papers. “Ready to dive into the chaotic world of thirsty tweets?”

Paul leaned back with a chuckle, his hand casually brushing against Y/N’s arm. “Can’t wait. I’m sure Pedro’s got a fan base ready to leave us speechless.”

Pedro smirked, leaning toward Y/N. “Don’t let him fool you. Paul’s the real heartthrob here. Just wait.”

Y/N couldn’t help but laugh, shooting Paul a teasing glance. “Let’s see who gets the most blush-worthy tweet.”

The host pulled out the first tweet, reading with dramatic flair: “‘Paul Mescal could ruin my life, and I’d say thank you. Every time he wears a white tank top, I lose five years of emotional stability.’”

The room erupted in laughter as Paul pretended to be scandalized. “A white tank top, really? That’s what does it?”

Y/N leaned closer, their hand resting lightly on Paul’s thigh. “Don’t act surprised. You know exactly what you’re doing.”

Paul’s grin widened, and he glanced down at their hand briefly before turning back to the camera. “Caught red-handed, huh?”

The host, clearly loving the interaction, moved on to Pedro’s tweet. “‘Pedro Pascal could step on me, and I’d thank him. Actually, I’d beg for it.’”

Pedro’s laugh echoed through the room as he adjusted his jacket dramatically. “Finally, someone understands me.”

Y/N giggled. “See, this is why you’re the internet’s daddy.”

“Oh, we’re doing that, are we?” Pedro shot back with a mock-serious expression, pointing at Y/N. “Watch out. You’ll be next.”

The host shuffled the papers and read the next tweet. “‘If Y/N doesn’t realize they’re the hottest person alive, I might just scream. Also, their smile? Criminal. Arrest me immediately.’”

Paul placed a hand over his heart. “I’m with them. Honestly, Y/N, your smile should come with a warning.”

Y/N’s cheeks flushed, but they played it cool. “You two are laying it on thick today. Is this what promotion does to people?”

“Promotion or honesty?” Paul quipped, his eyes sparkling.

Pedro leaned back, observing the palpable chemistry between Y/N and Paul. “You two should just get a room already. Seriously, the tension is suffocating.”

Paul’s response was immediate. “Why would we do that when we have a perfectly good audience to witness?” His hand shifted slightly, grazing Y/N’s fingers, and the two exchanged a look that could have melted the cameras.

As the tweets continued, each one seemed to heighten the dynamic. Pedro’s charisma kept the energy light and fun, but the underlying current between Paul and Y/N was undeniable. Every touch, every glance, felt deliberate but natural, leaving fans with plenty to dissect.

By the time they reached the final tweet, the host looked nearly out of breath from laughing. “Okay, one last one, and it’s a group effort. ‘If Pedro, Paul, and Y/N walked into my living room, I’d simply pass away. No funeral needed. Just vibes.’”

Pedro raised an eyebrow. “No funeral? Not even a memorial?”

Y/N nodded solemnly. “Just vibes. Seems fair.”

Paul leaned into the mic. “Well, we’d bring great vibes, so...”

The three shared a laugh, the chemistry and camaraderie evident as the segment wrapped up. As the cameras stopped rolling, Paul’s hand lingered on Y/N’s, his voice low. “Drinks after this?”

Y/N grinned. “Only if Pedro’s buying.”

Pedro groaned. “I knew this was a setup.”

[zoe-oneesama]

Now that it’s been brought back to the forefront of my mind in regards to yesterday’s SL asks, it really is genuinely kinda nuts how the potions were revealed in Season 2 and have only physically appeared (i.e. not just been mentioned or shown in a one-off picture or alternate timeline) in 13 out of what’s now 92 episodes (not counting specials) since their closest-to-chronological debut. Even more wild is the fact that, like you pointed out, only 3 out of 7 potion powers are canonically known to date. Apparently That Guy tweeted a few years back that one of the remaining ones is supposed to be a Fire potion (which, if true, may be the one Marinette was trying to figure out the “spicy little rock” ingredient for in Mr. Pigeon 72?) that gives the user the ability to walk on lava and/or a resistance to scorching heat, but they haven’t been able to use it since “Fire is something very difficult to use in shows watched by kids, because we have to pay extra-care that they won't see fire as a cool thing and play with it afterwards. Broadcasters tend to prefer not showing it at all.” To which I’m like?? A) You guys STAY hopping between whether you want your target demographic to be little kids or early teens in actual practice. B) There have to be a million ways that you can blatantly write the idea that fire is dangerous which is why the Fire potion would be NEEDED (or, y’know, have more faith in your audience’s ability to intuitively understand that from the get-go). C) If you already understood that a fire power up was genuinely likely to be a hard no-go with your broadcasters, maybe change your plans to only conceptualizing 6 instead of 7 potions before putting them in the actual show???

Right? And like, he said Lava as well. So do something WITH LAVA if you can't use fire! (I bet it would be easier to animate too!) Or, or! Invent a kind of goo or acid that burns LIKE Lava so they have to use the suit! That could be the debut episode, where it's impossible to get close because of the heat and burn of it until BAM! Fire Suit.

It's not like you have to use the suits OFTEN, they've only used the Ice one like two times I think, just do a debut episode and then use it for Ordinary Heroing, like actually running into a burning building and saving people. Pretty sure even kids don't think house fires are cool, so you don't HAVE to associate fire with a "cool" akuma.

A long time ago when I was ranting about this I was informed by a Anon that the others were "revealed" at some convention or expo and they were things like Air and Space (space hadn't been shown at the time), Sun and Moon, and like...Soul? So, what's the difference between Air and Space? Are Sun and Moon supposed to be Light and Dark, how is that following the Environmental Costume Change of the three we know? Wtf is Soul? Maybe it's a lack of cohesion that's making this difficult for them.

The more I hear about them, the more I think this idea was never fully fleshed out and will never BE fleshed out.

[snake-spire]

So I’m not sure if I should talk about this or if it’s even worth mentioning but, there’s a post trying to villainize Harlan for posting about the US election and “promoting” Malevolent, if anyone has seen the twitter post and those in the Invictus discord would know. And is actively trying to make him out as ableist and racist, and I am absolutely floored by this response and how people aren’t really thinking about it deeper than that. I am censoring the person’s username because I don’t want them to be attacked. Just block them and move on if you end up finding the post.

First of all, Harlan lives in Canada, and I ask, why can’t he say anything to give his audience, who’s primarily queer and American, hope to push on? He uses his podcast as an example to make his point clearer. Because people can relate to it.

It’s insensitive to think that the United States live in this bubble that other people living in different countries can’t care about what’s going on, especially when Canada’s borders are now closed. And the fascist President is actively trying to make it the 51th state for god knows why. (This tumblr post was made at least two days ago)

I’ll come back to twitter because there is actually something about promoting Malevolent that can be seen as pushy (and I do think it was) but it really comes back to bite the op if you aren’t actively paying attention and can’t be bothered to look at the person’s account.

But there are three very heavy claims that this tweet makes that without thinking, are very damning. So let’s dissect that.

1. No one cares that most women characters are dead. And if they do, they really shouldn’t. Harlan is the sole creator of the show. He is the sole actor. Because he wants to. That’s his decision to not bring on other voice actors. Would it be nice? Yeah, absolutely. But I don’t care in the sense that I’m neutral about it. Who’s alive and who’s dead shouldn’t matter. And again, this idea that the women who have died had no impact on the story is diminishing their value as women. They didn’t die for the male lead (most of them anyway). They (especially in season one) were actively doing something and they are quite literally, the only reason the story is happening in universe. So yeah, if you want to be as shallow as possible, there are many dead women in the show. Congrats.

2. What ableist undertones? No really I would like to know. Is it because you think they’re ableist? There are 0 examples in the post to back this up. Are you claiming that the entire show’s undertones are ableist? I am working with absolutely nothing here. If you’re trying to make a “call-out” post or want people like me on your side, give me something. So yeah, I’m tossing that away because op never cares in the first place.

3. Now this is the second most damming thing in the post. Because it’s a somewhat serious allegation to frame Harlan as being racist. But that’s easy to refute: it’s in the name of Shub-Niggurath. And it’s barely in season 1.

Now I’m going to state an obvious fact: H.P. Lovecraft was racist. And there are far worst examples in his work with creatures just straight up named racial slurs and many of his works contain those on the basis. And it’s bad that he wrote that.

I want to make it clear that I am white, I’m not a person of color. And the op isn’t black either after I checked their page. So neither of us can fully comment on the “time period racial slurs” in Malevolent in full. But my college roommate who is black can. And they said it was absolutely ridiculous because there are no slurs being used as it’s a part of the name. and as that roommate pointed out to me, I guess we have to go after Arnold Schwarzenegger because of his last name.

And besides, if you’re going to get on Harlan for saying the name, what about every other piece of Lovecraftian media that included Shub? Because unlike Malevolent where she’s a small drop in the overall story, she’s actually integral to those pieces of media (ie: Sucker for Love 2)

Now remember how the racism accusation was the second most damming thing about the post?

Yeah I think the Nazi claim is there too.

And when someone asked in the reply for proof, the answer boiled down to, look it up. Because again, op couldn’t have been bothered to provide evidence or examples. Is that person still in there? How long ago was this? Does Harlan share those same views now? Does said Nazi still have those views?

I’m not implying that this did or didn’t happen. I don’t know because there is nothing to implicate anything. I shouldn’t have to do the work op couldn’t do themselves.

Now to circle back to the initial Twitter screenshot and something that Harlan can be viewed as being pushy about, I unfortunately couldn’t get a screenshot of the screenshot (again I blocked said person and I do not and will never get twitter) but I do know that when WolfytheWitch had started their listen of Malevolent and got to episode 20, they made a tweet about it and Harlan @ ed them. He had mentioned how fans and Cain needed a distraction in trying times.

Do I find that pushy? Yeah. But again, I don’t really care. Because this show means a lot to people. And they know that if they need to shut the world out for a moment, it’s just a click away.

But what really irks me were the tags about Cain in OP’s reblog of the post where this section is. And it really goes to show that the op has no clue what they were talking about and couldn’t be bothered to provide examples and evidence.

Cain is from the Philippines. They do not live in America. And it’s in their bio everywhere. They don’t hide it. This isn’t a “oh I didn’t know.” It’s an “I couldn’t have been bothered to check.”

I don’t like the idea of call out posts. Hell, I don’t even like that I have to make this post in the first place but it doesn’t sit right with me because I want people to think critically when there is no evidence besides opinions. And the claim that he didn’t ban a nazi which again, I don’t know if that’s true or not because op should have at least provided evidence when throwing out a claim like that.

And I will iterate again, please if you end up finding the post or someone reblogged it, do not harass the op or the person that reblogged it. Because that’s gross and disgusting and you have no place here.

Now I’ve said my piece about a post I probably should have ignored. But I didn’t. Because it was eating me up all day today.

Stay safe y’all

-Snake-Spire

[waywardstation]

I just want you to know in the most fanfic responder way possible this is the meanest multiple choice option yet.

My brain is on fire. It's team feels vs logic vs hyperspecific brainrot rn.

Like of course I want Akari to be roped back in ASAP but my brain says if we're going whump route it's too early

Vs of course pokémon interested in pocket ball that smell like new friend and possibly brown apricorn food I'm surprised intros were split

Vs heeheeeheeee toot tweet ancient bird find flute to toot excellent feels break to make the next sads sadder

I'm actively having decision paralysis.

In regards to my interactive reblog comic

HAHA I honestly did not anticipate it being so agonizing, but I’m seeing lots of people expressing how hard the decision is!

I like all three options myself but tbh it might not be too debilitating to me because in my head, this is picking one option, but it’s not eliminating the others!

I hold onto rejected choices in case I go on to end a segment just to see it might need to use one of the earlier rejected choices.

If the audience didn’t choose to have Emmet call Elesa for help, I’m almost certain I would have given that choice a second chance later. And there is probably a chance that taking Ingo to the hospital may become relevant again later.

All of the things listed as options are in Ingo’s pockets. Archeops will only pull out one thing, and that will influence what he remembers and talks about with Emmet in this next segment (and prove that yes, he really was in the past and this is not a concussion-fueled delusion). But the other things are still in his coat pockets, ready to be found another time! I am sure whatever doesn’t get picked now may have a chance to show up again later :) So pick what you want to see influence how this segment goes!

THANKS FOR THE ASK OP!! I appreciate all the consideration you are putting into the choices! :)

[talenlee]

Game Pile: Kentucky Route 0, One of Three Games About America

Script and Thumbnail below the fold!

Kentucky Route Zero is a magical realist point and click game of what I’d normally call Narrative Adventure, which came to kickstarter in 2011, then came out in 2013, 2014, 2016, and 2020, because you can’t have nothing for free, even things you pay for. The game is a text-driven game without any of the trappings of your typical point-and-clicker where you jam a ladder in your pants and try to work out why you want to put green dye in the water fountain. Instead it follows the haunted mind of Conway, a trucky driver and his interactions with small handful of people on a part of the Kentucky Interstate, while he to find the place he needs to do his delivery, despite being utterly lost.

I enjoyed what of Kentucky Route Zero I played, but the thing that stands out to me in hindsight is its sound design. It’s a beautifully defined game, audio-wise, with all sorts of thoughtful foley for its environments, and the way that even the pieces of the interface that Conway interacts with have their own sort of specific authentic sounds, chonks and thunks and ch-zzzzses.

It’s also visually splendid, beautiful in what it tries to represent in the heightened reality of its setting but also the format of a videogame. These places look good from the angle that’s chosen, creating lines of artwork and bars of cages, depending on what you’re focusing on, and by being a fixed-camera story of its type, Kentucky Route Zero takes on traits of theatre, with blocking and careful positioning and timing all making up part of how the story unfolds.

A story I haven’t finished.

See, I don’t feel like playing Kentucky Route Zero Act V.

Sit down, traveller. Let me tell you a story.

There’s a chance you’ve heard this story before. I’ve anonymised it here, not because I think you shouldn’t be able to work out who it is, but because the idea of focusing on the who runs the risk of ignoring the what. Plus, I don’t want to direct anyone to a person who said something stupid and encourage fights. That’s not the important issue.

This is the story of when someone perfectly represented something, and probably never realised it.

You will sometimes hear me talk about the take that ‘there are three games about America,’ with a tone of utter revulsion and derision. This is from an incident back in 2020, when a game developer and advocate for inclusive games, had an opinion, on the internet. This advocate is well-established and has a big audience, but also, he’s crucially, not a white guy, not a Christian guy, and not an American guy. These are factors that play into what he said, which was, in summary, that while Kentucky Route 0 was no doubt phenomenal, he wasn’t interested in playing it right now.

To this, an actual adult responded with:

This is legitimately the worst take you’ve ever had. There are only about three games that are actually American, and this is one of them. Everything else is designed for export. Kr0 is a precious and valuable thing. It is of immense and intense personal importance.

Now, resisting the urge to argue with a tweet, which is just generally a bad practice that leads to doing things like wanting to be on twitter, and setting aside this tweet conflating ‘this is of personal importance to me’ and ‘this should be of importance to you,’ this position describes the idea that there are only three games that are ‘actually American.’

What does it mean to be ‘actually American?’

America is a pretty pervasive presence, if you’re not aware of it. Most people in the world have to know about what’s going on in America. We know about your Presidents and your Senators and your Constitution, to the point where people can be more aware of how your country’s laws work than their own country’s laws. I’ve often seen it held up as an example of how poorly educated people in say, Canada and Australia are that we believe we have, say, a ‘first amendment right,’ but the thing is you have to ask why there is that.

We watch so much American TV.

We listen to American music.

We try to make our news broadcasts look like yours, because that’s what real and legitimate news looks like. We try to retell your stories in our local languages because that’s what real media looks like. Our children sing songs in your accents because that’s the culture that a multi-trillion dollar economy has pumped into the whole world.

America demands we attend their wars and surrender our living to become their dead and when we are done America sells the survivors a cheeseburger.

This is not a remarkable or controversial statement. You must know, this is not even vaguely challenging to know about. Everywhere in the world is replicating parts of the American empire, because America exports and enforces the vision of the American empire. McDonalds may sell curry in India, but it’s very important that the curry being sold is McDonalds curry because that is how you know it’s an American style curry.

What this means is when someone tries to assert there are only really three games about America, that’s a kind of specialised brain rot that requires you to consider games that are very much about America as not being really about America. And thus we see the other thing about America, which is it’s not enough for America to be the most important place in the world that everyone else in the world needs to recognise, but also, most of America is inadequately America for this vision of America. You saw this in the wake of 9/11, and the election of Barack Obama: huge amounts of American media resurged in extolling the values of ‘real’ America, as opposed to the parts of America where the vast majority of Americans lived, which just so happened to paint a lot of marginalised people living in the cities as ‘fake Americans.’

I am not bringing you unique information. This is just obviously true things if you don’t live within the boundaries of an environment that flatters you as the most normal thing in the world. The vast majority of the world is not America. There are eight billion people in the world, more or less, meaning that America is about 4% of the world, and yet, it is catastrophically, overwhelmingly, deleritously the common touchstone for how things are ‘supposed’ to work. This is through media imperialism, which is mostly supported by American companies exporting all their media to foreign markets extremely cheaply.

‘about three games that are actually American.’

This fascinating piece of doofusry still, even now leaves me agog. ‘Actually American.’ Kentucky Route 0 is actually American, you see, as opposed to… what? Is America’s Army one of them? You know, the game financed by the American Army? What about Call of Duty, a franchise that is in part subsidised by American military complex manufacturers? What about Grand Theft Auto, a videogame that tells the rags-to-riches story of American excess in criminality, setting aside the way it’s made by a Scottish company. Actually American, because American doesn’t mean America, it means one tiny little pool of ‘America’ where the speaker can imagine there’s a realness and an authenticity to the America-ness that doesn’t involve all the messy realities of what it is to be America. It’s the towns of hard-working people, that suffer under your particular description of oppression, whether that’s cities full of nonwhite people or corporations bleeding the country dry, always eliding the social cruelties and terribleness of these places, as if giving people money stops them from being bigoted (for example).

This is then used to recruit these poor, superior Americans, the you know, America Americans, whose sufferings are noble and whose authenticity cannot be impeached and they are then used as a defense against criticism of, you know, America. It’s the same speech Charlie Daniels gave about how foreigners may think they could push around Barack Obama (a dude who bombed a lot of shepherds with the most elaborate and brutal military ordinance in the world) but they were going to have a harder time taking on Americans who wrestled alligators, who at this point have exactly zero recorded drone strike kills.

This is because America America isn’t real.

‘Real’ America is a nebulous nothing that you can project whatever you want onto, and which is also not responsible for anything terrible that America does. It’s not the American Empire, it’s not the exporter of culture, it’s somehow purer, better, a sort of individualised folk who are to be protected and extolled, shriven of all the things about America that make it anything but its perfect idealised form of America.

I could go on.

I really could.

This is something that defines the world I have to live in. I speak English. I’m white. I’m from a coloniser state. I should be able to integrate easily and smoothly into the white supremacist capitalist hierarchy of American culture, but we are told, that no, we are not acceptable. We are only valid as long as our differences are invisible. We, a real people, do not get to have opinions on America, because we do not know True America. When you spell colour wrong in a chat message, when your accent isn’t quite right, when you don’t know the difference between junior and sophomore year of high school, then you are shown, you are evinced, and you are made very aware that you are other, you are outside, you are wrong.

And really, there’s no good reason for it. We send our soldiers to America’s wars, we buy America’s submarines, and we sing your songs. Our currency mimics America’s, our culture permeats with America’s, we even have such a crushing inferiority complex about the empire that there’s an academic term for what we feel about our own media compared to the media of the truer, proper empire to which we are vassal.

The term is ‘cultural cringe,’ and it was coined by Henry Lawson, who you, odds on, have never heard of. In 1894, he wrote:

The Australian writer, until he gets a “London hearing,” is only accepted as an imitator of some recognized English or American author; and, as soon as he shows signs of coming to the front, he is labelled “The Australian Southey,” “The Australian Burns,” or “The Australian Bret Harte,” and lately, “The Australian Kipling.” Thus no matter how original he may be, he is branded, at the very start, as a plagiarist, and by his own country, which thinks, no doubt, that it is paying him a compliment and encouraging him, while it is really doing him a cruel and an almost irreparable injury. But mark! As soon as the Southern writer goes “home” and gets some recognition in England, he is “So-and-So, the well-known Australian author whose work has attracted so much attention in London lately”; and we first hear of him by cable, even though he might have been writing at his best for ten years in Australia.

This is imperialism. This is a way in which we have been induced and brought by the empires around us to accept their ways as correct, as the normal, as default. And that is the mindset you must have if you want to look at the breadth of videogames, with their American ideas like health insurance, readily available guns, the importance of freedom, the ubiquity of air travel, the branding and iconography of types of food and the sports metaphors and then say ‘yeah, this doesn’t have anything to do with America, not really.’

Anyway, this thread, this incident, was a big deal at the time, in that there were a lot of people from within the community of game developers and journalists who seemed very happy to line up and get mad at a brown foreigner for being inadequately enthusiastic about the possibility of playing a videogame. But don’t worry, after a day or two, an apology was forthcoming for all of this fracas, by which I mean, the original developer apologised for being so thoughtless as to, again, express honest lack of enthusiasm in a videogame.

For me, this was a kind of break point, where I started just blocking indie devs on sight. I don’t want to know what they’re involved in, I don’t want to promote their work, and I will hold tiny grudges against them that I do not seek to transfer or encourage in others. This was one silly incident in which a lot of people said something silly because they don’t know better, or they’re arseholes.

None of this is fair to Kentucky Route 0. It’s a game with its own intentions and its own perspective. It’s not trying to make this conversation happen. Kentucky Route 0 has been choked and gripped by this position around it, where to talk about an American game, someone put a cross on it that made it the avatar for All Things America. The wild thing to me is that I had, prior to this point, played two episodes of Kentucky Route 0. I thought it was pretty good, and I liked what it did with the negative space of dialogue options – when a character you’re controlling makes excuses, the excuses you choose show you other things you could be making excuses about that you, the player, didn’t know beforehand. That’s some good Narrative Storytelling Design, I like that a lot. But now I can’t really engage with Kentucky Route Zero because the main thing it makes me think about is how this final chapter, meant to round out the game’s story and present a conclusion and a point, became this flashpoint for a lot of people to be very casually racist.

Which kinda poisons the whole thing for me. It’s an authentic thing, I’m sure, it’s a thoughtful thing, too, but the people stepping up to say I should care about it did so in a way that made me hate them.

Any time you see me say ‘three games about America’ I’m talking about this, and the attitude of a particular kind of American that America is, as always, exceptional. It’s real easy to not realise when you’re just voicing your self-centeredness and how easy that is to ignore the opinions of people around you and what they’re saying. This is what I’m talking about when I mention ‘the three games about America.’

[fade for credit text]

By the way, the three games about America are Crash Bandicoot, Sam & Max Hit The Road, and Bust A Move.

[yumeka-sxf]

There were two panels related to Spy x Family at Anime Expo this year, with the first on Day 1 being Toho Animation's panel featuring both Spy x Family and Kaiju No.8.

The panel started with the SxF portion, with the special guests being the series director, Kazuhiro Furuhashi, and the CODE: White director, Takashi Katagiri. They also had the six SxF ThreeZero figures on the stage with them 😀

The MC asked them some questions, like what their favorite scenes were from their respective works and who their favorite character is. They also showed behind-the-scenes footage of both the Loid/Fiona tennis match in season 1, and Yor's fight scene against Type F in the movie. We got to see both of these scenes in rough animatic sketch form and then in line art form, which was pretty cool (it wasn't clear if photo/video was prohibited at this panel, but I didn't want to risk it by being caught blatantly recording these exclusive clips, lol). Then they showed off some of Anya's unused outfits from the movie.

At the end, they showed this original illustration by Kyoji Asano, made specifically for this event 😁

And that was it for the SxF part of the panel before they moved on to Kaiju No.8...and to be honest, it kinda overshadowed the SxF part, mostly because it featured two of the main Kaiju No.8 voice actors, one of which was extremely hilarious and charismatic. Plus there were a lot more segments compared to the SxF part. The interview with the guests seemed longer, they did three live voice overs, showed a pre-recorded special message from the band that performs the Kaiju No.8 opening, and then they took a group photo with the audience (and maybe something else that I'm forgetting). It seemed like the SxF part took up about 35% of the panel's time while Kaiju No.8 took up 65%. Not sure why it felt so unbalanced, but it was still fun.

Next was the panel on Day 3 for Production IG and their related studios WIT and Signal MD. Heads of each studio were there, including George Wada from WIT. Photo/video wasn't allowed once the panel started, but it basically consisted of an interview with the different guests, then trailers/teasers for their upcoming projects, then a Q&A session.

WIT is the studio that makes SxF, so I was hoping for any news about season 3, specifically if WIT would be more involved with it than they were with season 2. For those who don't know, season 1 of SxF was made by both WIT Studio and Cloverworks. But when they decided to make both season 2 and the movie in 2023, they split up the work, with WIT focusing on the movie while Cloverworks did pretty much all the work on season 2 (which is why the animation in season 1 and season 2 looks a bit different). According to this tweet, the official staff listing for season 3 is the same as season 2, meaning WIT will once again have little involvement. But despite this, they had a slide during the presentation with the season 3 promo image (preceded by the CODE: White teaser trailer, which made the crowd go wild - glad there were lots of SxF fans in the audience!) George Wada also said in regards to season 3 that they're "working hard on it."

I wanted to confirm during the Q&A if WIT would again take a backseat during season 3's production as well, but unfortunately the panel only had a few minutes left when it was close to my turn, and then they opted to pick a few random people in line for their last questions (which I thought was kind of unfair). Guess we'll just have to wait and see if anything changes with that staff listing once we get closer to season 3's release.

Overall, while Takuya Eguchi's appearance at last year's AX was more fun, it was still cool to attend this year's SxF-related panels as well. Hopefully season 3 will either be airing or close to being released at next year's AX, so we'll have even more SxF events!

[tomorrowusa]

Silicon Valley has its own variety of racism. And you'll never guess who is the leading figure in spreading this poisonous ideology. [CLUE: He left South Africa at age 18 when the country had just begun the process of eliminating apartheid and moving to majority black rule.]

Racist pseudo-science is making a comeback thanks to Elon Musk. Recently, the tech billionaire has been retweeting prominent race scientist adherents on his platform X (formally known as Twitter), spreading misinformation about racial minorities’ intelligence and physiology to his audience of 176.3 million followers—a dynamic my colleague Garrison Hayes analyzes in his latest video for Mother Jones. X, and before it Twitter, has a long-held reputation for being a breeding ground for white supremacy. [ ... ] Musk is amplifying users who will incorporate cherry-picked data and misleading graphs into their argument as to why people of European descent are biologically superior, showing how fringe accounts, like user @eyeslasho, experience a drastic jump in followers after Musk shares their tweets. The @eyeslasho account has even thanked Musk for raising “awareness” in a thread last year. (Neither @eyeslasho nor Musk, via X, responded to Garrison’s request for an interview.) “People are almost more susceptible to simpler charts with race and IQ than they are to the really complicated stuff,” Will Stancil, a lawyer and research fellow at the Institute on Metropolitan Opportunity, told Garrison in a video interview. He added: “This is the most basic statistical error in the book: Correlation does not equal causation.”

Racist pseudo-science simply sprays cologne on the smelly bullshit of plain old irrational bigotry. Warped theology, which was used to justify slavery, passed the baton of officially sanctioned race prejudice to pseudo-science in the late 19th and early 20th century.

DNA and other real science not only undermine the pseudo-science of racism but has revealed that "race" is not even a valid scientific concept among humans. What is widely regarded as race is defined by rather generalized phenotypes.

There has always been petty bigotry. But racial pseudo-science has been used to justify exploitation, colonialism, and territorial expansion by the powerful and ignorant. Elon Musk certainly qualifies as both powerful and ignorant.

In 2022, just one week after Musk purchased Twitter, the Center for Countering Digital Hate —an online civil rights group— found that racial slurs against Black people had increased three times the year’s average, with homophobic and transphobic epithets also seeing a significant uptick, according to the Associated Press. More than a year later, Musk made headlines once again for tweeting racist dog whistles in a potential attempt to “woo” a recently fired Tucker Carlson. But, his new shift into sharing tech-bro-friendly bigotry carries its own unique set of consequences.

If you are still on Twitter/X then you are indirectly supporting the propagation of pseudo-scientific racism – as well as just plain hate. Like quitting alcohol and tobacco, ditching Twitter/X can be difficult. But after doing so, you'll eventually notice how much better you feel.

[real-total-drama-takes]

Sighs so I’m sure a lot of people here saw that tweet that blew up about a TD movie “supposedly” being talked about by the production crew. I really don’t think this is going to happen and I wish everyone would shut up about it because a movie just doesn’t really work with TD’s format but what’s really pissing me off rn is how everyone is saying if this movie happens it’s for sure gonna be about gen 1. I into another fight with a genwunner about this and need to share some points I made:

So like, think about it: logistically, gen 1 coming back, at least not without pissing off some of the same fans who act like any TD content that doesn’t involve gen 1 isn’t feasible. First off, there’s the voice actors. Some of the gen 1 characters VAs no longer live in Canada and legally wouldn’t be allowed to be hired again to work with Fresh so they’d have to be replaced. Not to mention there’s several POC characters who have white VAs; you’re going to piss people off no matter what happens there (yes, I am on the side that POC characters shouldn’t be played by white VAs, but yeah there’s some people who very strongly disagree with that). Given how much genwunners whined about Chris’s VA change, I have no doubt they’d whine here too.

Second, a lot of genwunners complain that the reboot lacks the “edgy humor” of gen 1. The thing is, too much of the humor from gen 1 just wouldn’t fly today. I tried rewatching Action during the summer and literally could only get about 5 episodes in before quitting because of how disgusted I was by the constant misogynistic jokes. There’s definitely misogyny in the reboot too, but at least Chase and Ripper aren’t spewing it out literally every five fucking seconds like Duncan. There’s just so many jokes in gen 1 where the punchline is racism, homophobia or the characters being sexualized. That last one could be fixed if they visibly aged up the characters and stated that they’re all adults now, but given how many people have said the complaint that Owen wasn’t aged up for his reboot cameo is “ridiculous” I don’t think the genwunner crowd would be too fond of that idea. A highly profitable studio like WB isn’t going to approve a show with problematic humor without seriously watering it down before release because it’s 2024 and they know their studio releasing content like that marketed at children could get them labeled as problematic and lead to a drop in profits.

Speaking of which, a gen 1 movie probably wouldn’t do too well at the box office. Total drama is marketed at ages 8-16, the majority of whom were not alive during 2007-2010 when the first three seasons were airing. Given how successful the reboot was in both the US and UK, it’s safe to say that it’s very likely the reboot was popular with its target audience. When all the kids who watched the reboot hear about the movie, they’re gonna be really confused about why a total drama movie doesn’t have the total drama characters they’re familiar with in it. I know there’s plenty of people who grew up with gen 1 who are still active TD fans, but not a lot of adults care that much about shows they watched as kids and haven’t thought about in years. I’m an adult who loves cartoons (and there’s nothing wrong with that) but there’s def quite a few shows from my childhood that I haven’t thought about in a long time because I grew out of them and I certainly wouldn’t be opening my wallet to buy a movie ticket or streaming service subscription should I hear a movie was made about one of said shows. Again, there are plenty of people who grew up with the show who still care, but I don’t think the majority of the people who watched TD as kids who are well into their 20s now are gonna be all that excited about a movie. I could definitely be proven wrong on this one, don’t get me wrong, but still

As I said before I don’t think a TD movie is actually gonna happen and that tweet was just a rumor/misinformation, but if a TD movie does happen it needs to be about the reboot cast. It just doesn’t make sense for it to be about a cast that isn’t up to date with the standards of what is socially acceptable for children’s shows in the 2020s.

-🐈

[kookies2000]

Watched Matpat video on TADC ep2.

Can I just say this? Only three characters acknowledged the audience/ camera. Caine, Jax, and Ragatha. Caine talks directly at us as the host. He's in the spotlight and makes it obvious. Jax looks at us for fun like a cartoon. In a way that's only obvious to us and no one else. Like in the pilot when he looks at the audience but Ragatha thinks he's looking at her. And finally, Ragatha. She glances at us when she gets stabbed.

It's not obvious to any of the others, and we can easily miss it as the audience. It's just a glance. I would like to acknowledge how they are the only three in Pomnis' dream, too.

And the only three who have some sort of authority. Caine is the one in control of everything. Jax is like second in command physically. Ragatha seems to be at his level, too, but emotionally.

Just a few things I wanted to point out. These three seem to have some kind of power/knowledge the others don't.

EDIT: Amanda and Michael seem to be the most interactive with Goose! Ever since the live they did, we thought it was fan service to the Bunny Doll people. But they talked about Ragathas nice hair in the live and the show. Jax says "epic" in the live and show. They also talked about evil Ragatha in the live and then Goose tweets about evil Ragatha. I'm starting to sweat. Micheal and Amanda weren't just doing fan service. They were staying in character. So now I'm really nervous about how Michael said Jax would be devastated if Ragatha abstracted. I don't think it's the fan service we thought it was.

[rosalindbeatrice]

Thought I'd dust off this 10-year-old Tumblr and invite A03 readers and any Bob Dylan fans to keep up with my writing here. Other unrelated content to maybe be added, maybe not. I really struggle with personal writing. I always think of it as looking at one's own excrement and then inviting others to gawk too. It feels strange and gross to write a blog and expect others to be interested in it. RE: The Patient. Part VI is in progress. I got blocked in late October--or maybe that's just a grand way of saying "busy." I have a personal life into which I'm forever cramming little interests in side projects, and then it was November 5, 2024, and then of course the unthinkable happened again, which I suppose makes it thinkable. And maybe that's why it wasn't as devastating this time around. I used the occasion to disconnect from the political news cycle and continue a recent left turn into poetry, which I haven't written in 15 odd years or so. Actually Bob Dylan was the reason for my foray back into it. I saw him live in September and was quite moved by the experience. I got to thinking about his legacy, all the interpretations and expectations people put on his lyrics and performances and public endeavors throughout the years, and the disappointment it seemed like 5/6 of the audience that night felt over the fact he's not attempting to play recognizable versions of his songs. Which is ridiculous, because you can go back to 1966 and he wasn't attempting to replicate the recorded versions. It seems ridiculous that anyone should expect an 83-year-old to try to mimic a 25-year-old. So a poem came pouring out and I sent out it for publication. I secretly hope it will be so good that the editors will have no choice to select it. I'm also realistic, since I've gotten my first rejections the past couple months. That's one of my other behind-the-scenes projects. I'm shopping around a book to an agent (not fiction) and I've gotten three or four rejections so far, and I'm just letting it "bake" for now, just like I've been letting The Patient bake, but more on that in a moment.

In November, Bob tweeted: "Saw Nick Cave in Paris recently at the Accor Arena and I was really struck by that song Joy where he sings ‘We’ve all had too much sorrow, now it the time for joy.' I was thinking to myself, yeah that’s about right.” I read Cave's response, and particularly loved this:

I did indeed feel it was a time for joy rather than sorrow. There had been such an excess of despair and desperation around the election, and one couldn’t help but ask when it was that politics became everything.

The world had grown thoroughly disenchanted, and its feverish obsession with politics and its leaders had thrown up so many palisades that had prevented us from experiencing the presence of anything remotely like the spirit, the sacred, or the transcendent – that holy place where joy resides.

While I abhor the lazy line of thinking (and I'm not at all suggesting this is where Cave is coming from) that "both sides are at fault/just as bad/to blame" and have no intention of disengaging from politics, at least locally, Bob and Cave's reflections had me reflecting. Life is so short. Music, poetry, writing, and nature make it worth living. There's something to be said for tuning out of the hateful noise and tuning into those things, at least for select periods. So I wrote poetry and I drank in music and I finished the book I started that night at Bob's concert, Susan Hill's Strange Meeting. I'd never heard of Hill before but had picked up my 1970s paperback copy at a "donate what you can" book sale earlier that day because it was slim enough to carry around. This chance purchase ended up being my favorite book of the year. Not only is Hill an amazing writer, the whole experience of the book was just gutting. I realized midway through that it's a love story. There are no overt overtones of queerness, although I suppose you could read the book that way if you wanted. I kept thinking about the characters days after I read it. I've just bought three or four more of her books. So to get back to The Patient, I haven't written partly because I've been busy in my personal life and partly because I've been directing my creative energies elsewhere. I'd be lying if I didn't acknowledge I was stuck on the story, though. I know how it ends, but I couldn't see the footpath there. It didn't bother me overtly. I don't know if I really believe in writer's block, at least for me. I've learned that I go through periods of fallowness and periods of intense growth. I was letting it percolate before I started pushing it along with pomodoros. At some point today, though, I started chewing over Bob and Joyce again, and things clicked. I know fan fiction is "only" fan fiction, but I still take it seriously. I want to do right by the characters.* They just weren't talking to me lately. I know what Joyce wants and what she thinks so wants, and I know what Bob thinks he wants and he's afraid of, but I didn't know what happens in the meantime. So anyway, I'm about 4k words into the chapter with 5k to 6k to go. Estimated completion date is January. The overachiever in me wanted to finish it before the Chalamet film was released yesterday, partly because I didn't want anyone to think the story had been influenced by the film, but the part of me that's gone to therapy said, 'Slow down and chill the fuck out.' I haven't seen the Chalamet film, but I'm cautiously optimistic. I might go catch it on Monday or Tuesday. I don't find Chalamet much of a heartthrob. It's the elder millennial in me I think. Also the me that just detests pop culture. I saw him in Little Women and completely forgot he'd been in it. The more checked out I am from pop culture the better. Anyway, enjoy this photo of Bob by the pool ca. 1965 that I stole off the Internet. You can find The Patient here: https://archiveofourown.org/works/55283422?view_full_work=true

*Make no mistake, Joyce and Bob are characters. I have no pretense that I know Bob Dylan. I can make educated guesses about Bob Dylan. Plus writing is just fun, doubly so with real musical artists and writers because they're so multilayered. There's a lot of material to work with, but you get to fill in the interstitials too.

[khalidistan]

It seems like every year I end up writing an iteration of the same idea. But here I am! Writing it again! If you haven’t seen the tweet that sparked this conversation, I’ve screenshotted the tweet and artwork below. It’ll help inform this discussion. Full piece under the cut.

It would help to check out my essay from 2021 about the emasculation of Abdul Ali from Squid Game, since both pieces share similar references.

Maryam Khalid writes “Orientalist notions of the masculinity of the ‘Eastern’ male as uncivilized also inherently ascribe primitiveness, ineptness and a certain amount of weakness to the barbarized ‘other.’” Those doomed to the mythical Orient are automatically placed lower in masculinity than their white and colonial counterparts.

The reason for this emasculation is to defang them, to ensure they can never attain the same power conferred by white masculinity and to maintain racial purity: “This feminizing divests the male body of its virility and thus compromises its power not only to penetrate and reproduce its own nation (our women), but to contaminate the other's nation (their women) as well” (Puar, 99).

To be South Asian is to be pathologically queer, irrespective of the one’s true sexual orientation. “The Orient becomes a living tableau of queerness” by virtue of being from the Orient (Said, 103). There is already a robust amount of artwork depicting Pavitr with tons of gold jewelry and piercings, which to the West are typically feminine accessories. This essentially reduces Pavitr to a stereotype of South Asian culture.

Fanworks use the bejeweled, indulgent, exotic, and sultry attitude as a short-hand for their perception of South Asia. They are “caricatures stripped from movies like Disney’s Aladdin, the Arcana or people’s sexual fantasies about our men,” as allahrakhi writes in her essay on fandom's reception of Claude von Riegan from Fire Emblem: Three Houses, a character similarly mischaracterized by virtue of his brown identity.

Puar describes that the (implied white) nation defines “upright, domesticatable queernesses that mimic and recenter liberal subjecthood, and out-of-control, untetherable queernesses” (47). Nonwhite queerness is “untetherable,” leaving white queerness as “domesticatable.” This inability to engage brown queerness forces brown queer people to assimilate into white queerness.

In fandom’s and society’s mind, there is no such thing as a queer South Asian without them discarding their brown identity and adopting white queer practices, behaviors, and aesthetics. Queer South Asians are “either liberated (and the United States and Europe are often the scene of this liberation) or can only have an irrational, pathological sexuality of queerness” (Puar, 13).

Which brings us to the recent depictions of Pavitr in fanworks, stripping him of his masculinities to render him as a vapid, neutered, and yes, whitewashed queer boy, completely unrecognizable from the source material.

Interestingly, this reduced masculinity co-exists, paradoxically, with the idea that men from the Orient are simultaneously aggressive, belligerent, and violent. Elgin Brunner writes: “Such a framing—the association of the enemy with barbarism, as opposed to the self, which is civilized—includes two, often simultaneous, moves, that is: the ‘hypermasculinization’ of the enemy on the one hand, and his ‘effeminization’ on the other… The very same opponent is, by virtue of being categorized as a cowardly barbarian, rendered effeminate.”

The flip side of the effeminate brown man is the hypermasculine brown man, which can be seen through Miguel, one of Across the Spider-Verse’s antagonists. Both instances of brown masculinity confiscate personhood from characters who would have otherwise offered rich, nuanced, interesting perspectives to the story and to the audience.

It would be myopic of me to not mention the implicit genderings of other nonwhite ethnicities in this discussion. Brown men hold a unique positionality to other nonwhite men in a racial triangulation I’d like to examine further in another essay for the future. Brown men can either be gendered the way that East Asians are (feminine, asexual, neutered, timid, obedient) or the way that Black people are (hypersexual, predatory, dangerous, aggressive). Both misgenderings are in opposition to the “ideal” male gender, which is of course, the white man. This fallacy is why we see Hobie depicted as cruel, mean, and irritated in the exact same artwork from earlier.

Many people in this artist’s quoted replies have accused the artist of being white. I have seen some criticisms of the backlash, that people shouldn’t assume the artist’s ethnicity. I think both opinions miss the point: anyone can be orientalist. Membership within a nonwhite ethnic identity does not absolve the individual of perpetuating orientalist or racist depictions of characters of color.

As Edward Saïd said, “Everyone who writes about the Orient must locate himself vis-a-vis the Orient” (Orientalism, 20). That is to say, if you write and depict the Orient and people from the Orient, you have to consider your positionality in relation to the Orient. Naturally, this would mean that white people should always be cognizant of their depictions of Orientals. But East Asians can also orientalize, whether it is other ethnic groups like South Asians; or self-orientalization. Similar can be said for South Asians who self-orientalize.

Khalid writes “Gendered identities do not exist independently of other factors, and must be viewed as intertwined with, for example, race or ethnicity if we are to understand the hierarchical organization of identities.” There is no examination of gender without an accompanying racial context. And Pavitr’s emasculation in fandom certainly requires a critical eye for both race and gender, lest we repeat the same dehumanizing characterizations of him in further fanworks.

Works Consulted:

Brunner, E. M. (2008). Consoling display of strength or emotional overstrain? the gendered framing of the early “War on terrorism” in transatlantic comparison. Global Society, 22(2), 217–251. https://doi.org/10.1080/13600820801887223

Khalid, M. (2011). Gender, orientalism and representations of the ‘other’ in the War on Terror. Global Change, Peace & Security, 23(1), 15–29. https://doi.org/10.1080/14781158.2011.540092

Puar J. K. (2007). Terrorist Assemblages: homonationalism in queer times. Duke University Press.

Said, E. W. (1994). Orientalism. 25th anniversary edition. With a new preface by the author. New York, Vintage Books.