#what an interesting subversion kind of way

[ghostinthetumbchine]

The trend is woobification* of the villain and vilification of the hero/good guy is not a trend, did not start recently and will likely never stop and thank god for that.

Its a manner of subversive engagement with fiction that is meant for multitude of purposes from questioning the intentions, concious and subconcious convictions of the autor to exploring why darker parts of human psyche exist and validating them in a safe, contained way.

And many, many times it is about validating rage at oppressive, patriarchal, imperialist, fundamentalist religious, you name it, systems at play that seep into these stories due to centuries and centuries of indocrination and censorship and what not.

I don't enjoy the same kind of villain as i assume many of you in this thread do. I do not find the Morgoths and Palpatines of this world interesting. I could get into an argument about how Sauron never belonged in that category fully according to Tolkiens own writings again but thats not the point.

The point is fandom will do what fandom will do - explore characterisations in many ways, including imagining a set of circumstances that would cause a character to change. Because one thing none of them are is static. They all changed into what they are in the story at some point.

Understanding what was authors intent is also one thing, that doesn't mean you have to engage with fiction wholly according to his intentions.

I get not enjoying any of it but making a post in that tone, calling people pussies, insulting them and acting like theyre some infestation you want to purge your fandom of is going several steps to far.

It's not their fault you can't handle realities of a living fandom 🤷‍♀️

*I also kinda am starting to have a beef w that word bc of how its used; mostly to refer in negative terms to emotional response to smthg a character is exploring or treating their story as a power fantasy

Starting to see something more and more in other fandoms but it’s also brewing within Sauron fandom which is I don’t get villianfuckers who are deluded or in denial about the fact their fav is a villain.

Then woobify them to the gods until they resemble very closely of the “good” ML they hate lowkey which is funny.

Your fav did some pretty heinous fucking shit and should be either dead or punished severely for it and that’s what I advocate for in my villain favs cause I ain’t a PUSSY

Sauron is a villain. The reason we like him is because he’s a villain. He chooses villainy when he’s given many chances not to. I genuinely don’t get the urge of wanting to redeem him. Yes he’s complex with a lot of feelings and nuance but he doesn’t want to be redeemed. He’s not an ambiguous anti villain by the time we are in Second Age/Third Age. He’s not Adar

The serious woobification (not the semi-joking kind) needs to stop and frankly it’s lowkey insulting.

[daylighteclipsed]

@advocaado I’m trying to avoid whacking the proverbial hornet’s nest, but I agree. The fact that Cloud and Tifa’s hangout is locked behind Cloud and Aerith’s date tells me the creators want us to compare the two. And it’s really obvious Cloud’s vibing more with Tifa. Aerith’s looking for an energy Cloud can’t match. It feels like she’s looking for Zack — that fun, forward, flirty vibe that he brings. And her attempts to draw that out of Cloud have the opposite effect. It seems especially obvious at the end when it’s time to head back and Aerith says, “This is the part where you’re supposed to blurt out, ‘I don’t want to go back! I want to stay here with you!’ This date’s DOA, otherwise.” And Cloud tells her, “Okay, now you’re just being mean.” And she replies, “I’m not trying to be mean, I… Sorry.” Aerith absolutely deserves someone who is gonna give her that bold, romantic energy. But Cloud is not that guy lmao and he shouldn’t be expected to be either. He’s not Zack.

[etrosgate]

the second readthrough of world trigger is where it really kicks in

[j-esbian]

i lost the post but i saw someone talking about how some of y’all act like being weird is a choice and like. YEAHHHHHHH.

that’s fine, it might be for you. but i just live like this and don’t know any other way. like yeah i’ve worked customer service, i can do innocuous small talk, but anything beyond that, i don’t understand what i’m missing. and it’s frustrating to see the tonal disconnect especially from people who are like “uwu embrace weirdness!!” where they’re like. dressing quirky and talking about bugs and listening to obscure music and eschewing small talk to ask Deep Questions on the first date and unlearning their tendency to not infodump. and generally have an idea of what Weirdness is supposed to look like. idk man some of us wake up and get out of bed and can’t figure out why the rest of their coworkers chitchat with each other but when they join the conversation it dies.

weirdness is value neutral. let’s stop trying to turn it into a badge because quite frankly, it’s not a choice for everyone. it’s fucking exhausting to never be on the same wavelength as other people and they’re going to react the way they do and label you the way they will without any conscious actions on your end. it’s difficult to talk about this without feeling like you’ll be dismissed as immature, a teenager whining “no one understands me” but the thing is. sometimes you don’t grow out of feeling alone and different, and there’s no good way to talk about it without feeling like people will think you’re just fishing for pity.

[defensivelee]

TODAY'S ACHIEVEMENT: ALIEN ALIEN! MARLY COMPARED TO PRINCESS LEIA FROM STAR WARS(???)

[squapejuice]

"Hyur are so boring, why would you play a human in a fantasy game?"

Fine. Whatever. You find the idea of playing a human boring. But I'm kind of getting sick of people saying this to me, a hyur enjoyer, sometimes even directly under my own screenshots of my OCs.

Hyur in FFXIV are a *wildly* fascinating take on the "humans in a fantasy setting" that we often see in video games. They're an almost complete subversion of "humans are the dominant culture that everyone assimilates into and also they did a colonialism at some point, which is why their language is The Common One".

Meanwhile, hyur in ffxiv? They're MIGRANTS.

They're NOT the dominant culture. Are they the most numerous population in a lot of places? Sure. Because they have kids out the wazoo, but I digress. Hyur in ffxiv are defined by their adaptability and willingness to assimilate. They're *so* defined by adaptability that there are at least three major historical events throughout the astral and umbral eras called "The Great Hyur Migration". Hyur only arrived in Ishgard after the dragonsong war had started and you'd be hard pressed to find any modern Hyur born and raised in Ishgard who would define themself as anything *other* than Ishgardian. Their names may be slightly different than Ishgardian elezen, but I would theorize that might just come down to class dynamics as while hyuran noble houses exist, they're not common. However in Hingashi they've completely assimilated into eastern Raen culture, as an example. I actually hesitate to find any place we know ingame to be completely dominated by hyur, because in Gridania despite the elementals picking hyur to be padjal the culture seems to be most influenced by wildwood elezen, and in ala mhigo while hyur are the most populous of demographics, the entire culture seems to be a marriage of hellsguard and miqo'te. Ul'dah is clearly highly influenced by lalafell above all, and limsa lominsa is heavily developed by the sea wolf roegadyn. Hyur just kind of fit themselves in and adapt to what everyone around them is doing.

So why is the language spoken by all the peoples in Eorzea the same? Isn't that the hyuran language? Nope! It's pretty explicitly said that the common language is a pidgin tongue that was deliberately developed by merchants and was adopted widespread out of convenience. They even say that Tural took inspiration from this in developing their own (and it's only coincidentally similar enough that your party can understand it with minimal language barrier, funnily enough. That's a hilarious way to handwave 'eh, game mechanics' tbh).

Anyway hyurs are really cool and I really want to see more people appreciating them for the interesting lore they do have and also exploring this concept more. Like making their hyurs naturally predisposed to learning multiple languages for example.

[tobiasdrake]

Which DBZ antagonist do you like the most?

Boring opinion, I know, but I gotta give it up for the Obvious Choice.

And I'm not just saying that because I haven't had a chance to talk about him yet.

Frieza runs a real estate empire that carries out genocidal acts of gentrification, purging tracts of land of their native inhabitants so he can sell their land for profit. Commenting on this choice for his ultimate villain, Akira Toriyama stated that he made this decision because real estate speculators are the worst people there are.

Fucking based.

From the moment we meet Frieza, he is a monster. Toriyama likes this Big Guy Little Guy dynamic where the Little Guy is the one you really need to watch out for. Frieza is the Littlest Guy ever.

He's so tiny. And yet you know exactly who the most dangerous person in this group is. Zero question.

By the end of this altercation, Frieza reveals one of his signature attacks, giving us our first glimpse of the kind of person and the kind of fighter he is. This is such an important moment for his character and I'm kinda mad that the anime had Dodoria do it instead.

Muri destroys the Scouters and blinds Frieza. I've talked before at length about the devastating impact that this move and the Namekian warriors' attack has on Frieza's campaign.

But once it's done, he has to face the music. He's not getting out of this alive.

In one last desperation play, Muri tells Cargo and Dende to run while blocking them with his body. And that's when it happens.

This is Frieza.

Specifically, this is Frieza's Death Beam. It's never actually given a name, but is generally referred to as Death Beam. We've seen a move like this only once before.

The Dodonpa, signature technique of Tsuru-senryu, first introduced by the assassin Taopaipai, was built for extreme lethality. This is not a technique for fighting; It's a technique for killing.

What makes Frieza's Death Beam stand out from the Dodonpa, however, is its accuracy and its speed. He threads the needle around Muri to hit Cargo before anyone even has a chance to react.

We see its accuracy and speed again six days later, when it finally catches up to the other child fleeing from him here.

The panelwork here calling attention to everyone's reactions as Frieza's ki bullet shoots past them, as his shot threads the needle between all obstacles in his path to strike his target far behind them. Dende is dead before anyone can even process that Frieza fired.

This is the difference between the two techniques. The Dodonpa is a gun. The Death Beam is a sniper rifle. Faced with the physical hurdle of bodies impeding his path, Frieza point-clicked Cargo and Dende to death.

He later executes Vegeta this same way.

Done with you.

All of this context for Frieza's sniping shot serves to set up the stunning subversion when Goku arrives to fight.

Frieza's never seen this before. Goku shouldn't even be able to see the shots coming until they've perforated his lungs. That's how Death Beam works. It's this moment that lays it out: Frieza's about to be tested like he's never been tested before.

Speaking of cool techniques, I've always been partial to this move from his Third Form.

The anime gives Frieza little ki bullets coming out of his fingers but I want to note that we never see a physical projectile when he's doing this. Frieza jams his fingers back and forth in the air while something pulverizes Piccolo.

I've always imagined he's poking the air so fast that it's hitting Piccolo with pressurized air currents. Similar to Goku's Mazoku air current punch from the 23rd Tenkaichi Budokai.

But that's just me.

In any case, Frieza's got some fun moves. He's something of a hobbyist martial artist. Which is to say, Frieza has an interest in martial arts. In addition to his Death Beam, Frieza's concocted a litany of other interesting techniques.

He even invented the Kienzan, independently of Krillin.

Though he can remote operate his Kienzan so it's strictly better than Krillin's. Frieza, in his spare time, has come up with a bunch of cool moves. Too bad he has no idea how to use them.

Frieza's greatest weakness is his inexperience. He practices martial arts the way a business CEO who bought a log splitter so he can cut some wood and feel woodsy practices agriculture. Frieza has never had a proper chance to truly experience martial arts, because he was born too powerful.

The only partner who's ever even dirtied his skin was his dad.

And even that isn't much. Frieza's too strong. He wants to pursue martial arts. He wants to hone his technique. But when you win every fight by blinking too hard in the opponent's direction, what even is there to practice?

Frieza created a transformation to seal away his immeasurable ki because he was born with so much ki flowing from him that he can't even contain it. At his peak, Frieza's ki bleeds out of him. He simply can't contain it.

Goku wonders aloud why Frieza took so long, even after the fight turned against him, to go to 100%. Frieza's been all "Oh I'm only using 10% power this is my 50% you made me go to 75%" and Goku's like, "Okay. My dude. What's this about, for real?

This, incidentally, is not a great translation. What Goku's saying here is supposed to be basically, "Perhaps when you use your full power, your body can't handle it."

He is correct.

Frieza's Full Power has a lot in common with Super Saiyan 3. His theoretical maximum ability is wildly different from the reality of what he's capable of, because he bleeds ki like it's going out of style.

So, while other characters wound up earning transformations that make them more powerful, Frieza created a transformation to seal away some of his incomprehensible ki.

Then he created a couple more because even though he could now control his strength and even manipulate the amount of ki he's releasing at a time, he was still too powerful for anyone to ever compete with and needed even more ki sealed away.

Again, not a fantastic translation from the people who brought us "bottom-tier boy", as Frieza's statement here could be interpreted as saying that he gets taken by a berserker rage or something.

What he's saying is more like, "My power is so great that I can't properly contain it."

Point is, Frieza transformed to lock down his ki and seal parts of it away, so he could control the rest better. Then he kept going, locking away more and more and more of his ki. And even at his most nerfed, he's still five times more powerful than the Second Strongest Guy in the Universe.

Frieza has never in his life had the opportunity to be pushed. That's what makes Goku so enthralling to him.

Frieza plays with Goku because he's genuinely having the time of his life. This guy can fight him in his Final Form. Nobody can fight him in his Final Form. He's so happy, he straight-up forgets that he's trying to complete a genocide against Goku's entire race.

He said that five minutes ago. Gohan's hidden power freaked Frieza the fuck out. Saiyans are too strong now. They've gotten too strong. Frieza cannot permit them to keep existing because they're getting strong. Every last Saiyan, every last one, must die. Every single one. Scorched earth, no survivors.

But then he meets a Saiyan martial artist who's a technical master and pushes him more than he ever thought possible and suddenly:

He goes from "Saiyans are TOO STRONG and they all must die because they might threaten me" to "OH MY GOD I'M HAVING SO MUCH FUN CAN I KEEP YOU!?"

It's this desire for a true rival, this opportunity to satisfy his amateur's curiosity about martial arts, that ultimately unravels him. Frieza has one ruthless and pragmatic option for ending this fight once it starts to be too much for him. He can technically stop the fight any time he wants.

But he can't bring himself to do it. He wants to fight. He wants to compete. Frieza's been on the outside looking in at martial arts for his entire life and even when his greatest fears are fulfilled and the Super Saiyan is in front of him, he wants to try.

So when he does attempt to pull his Lethal Ragequit, he pulls back at the last second. He can't bring himself to do it. Goku initially assesses that Frieza held back out of fear of hurting himself.

But later, as Frieza begins unlocking the final chains on his ki, Goku changes his assessment. Noting that if Frieza really held back simply out of a mistake, he could have shot the planet again at any point to finish the job. He's been letting this play out because he can't bring himself to end the greatest fight of his life that way.

This fight is still happening because Frieza wants to compete. I mean, he wants to win, of course, but he wants to win as a martial artist. He's never truly gotten to be a martial artist before.

He is not the guy winning the gold medal at the Tenkaichi Budokai. He has never been that guy. He's the guy who buys up the land the Tenkaichi Budokai is held on and then bulldozes all the people off of it. But in his heart of hearts, he wants to be that guy. That guy is so cool. Frieza wants to play too.

In a sense, by hosting the Cell Games, Cell got to live Frieza's greatest fantasy.

This is who Frieza is. He's the cruel and wicked heir to Genocide Realtors Inc., who is in love with the idea of being Tenshinhan - A desire that exists at odds with - and undermines - his pragmatic business sense, so to speak.

He is the most vile character in the history of Dragon Ball. The worst kind of person. He is also an overeager child whose wealth and privilege prevents him from ever truly enjoying his hobbies, to an extent that he'd be almost pitiable but for all the genocides.

And he is Dragon Ball's greatest villain.

[kerorokai]

it's really interesting to see how people perceive kabru cause there seems to be a bit of a disparity between how he really acts and how he's portrayed in fanart and fan memes and such

with the way people talk about him you'd think he's this huge flirt or actively trying to use his good looks or whatever to get a leg up but he really.... doesn't? at least i can't think of a significant time where he does. is it cause he teases rinsha? or kisses her as a fish? i think those are dubious examples, but also even if you do read them as genuine flirting theyre pretty small and not repeated with any other character.

it reads more like he's just genuinely charming and good with people. he never tries to make a pass with anyone, people just like him cause he's.... likeable. and in universe characters do act aware of how charming he is (see: mickbell, holm, daya), but they never seem to insinuate that he's actually a tease or that he like, gets around. i guess there's a mention of "rumours" here? have most people seen this? is this what they based it off of?

it's also worth noting that in the same comic those exact rumours (whatever they may exactly be) are proven to be unfounded, kabru is just the type of guy people feel like they can open up to. they don't even talk about him like he's doing it on purpose!

if it's cause he MIGHT be half incubus, my friend brings up a good point: it feels like an intentional subversion to not have him be a sexual "siren" in that way. ryoko kui is very intentional with her world and characters, and to have kabru's succubus/incubus-identity up for debate while also having him be not particularly flirtatious seems like the type of irony she would write on purpose.

to me, really, it seems very indicative of how fandom at large views brown men. kabru's in an interesting position cause he seems to get most angles of this type of flanderization. he's seen as both overly sinister and drama-seeking while also being extremely flirtatious and a whore when.... he's kind of neither of those things?

he's not evil or particularly more violent than anyone else, he's just really utilitarian and has this false impression at first where you think he's gonna be some sort of secondary antagonist but he's way too smart for that. he doesn't manipulate people any more than any other character. and he's not really a whore at all he just.... likes reading people? and knowing people? and people like him? idk man.

it's part of this larger issue where brown men in fiction are both demonized and sexualized at the same time. i don't even think it's on purpose, i just think that most people don't even realize this is something they need to unlearn. it's not even cause i don't like shipping kabru! i do! i just don't agree with flanderizing him to do it.

i think kabru is much more than the first impressions of him you might have, or even the first impressions of him the characters in universe may have. and while i don't think someone posting ooc fanart of kabru is directly racist, i think a lot of it upholds the racism people are already accustomed to. it makes me a little sad!

[greisekinderschar]

regarding book!dandelion’s much discussed misogyny one thing i find insanely amusing is how the gamer bro fanbase perceives it.

because to me, it’s like, supposed to be one of his weaknesses. it’s one of the ways in which he is unhinged that continuously gets him in trouble. yeah, there’s a joke here and there. but like. dudu thinks he can get away in dandelion’s form? nah man, the angry woman with the frying pan knocks you out, worst decision you made that day. he’s afraid he’ll get murdered if they go to toussaint. he survives the quest to end up on a scaffold because he couldn’t stop fucking around.

yet, when you see the dude bro “book stans’” reaction to the queer netflix reveal there are very personal grievances when they say “you made the womanizer gay!!!”. we know he’s not gay. he’s bi. he fucks more than twice the amount. but the fact that “the womanizer” would as much as look at a man somehow hurts these people in their masculinity, which reveals they think this part of him to be the cool, masculine part.

and it’s really funny to me, because i have this idea of sapkowski using bard characters (he does it in the hussite trilogy as well) to have some, dare i say it, subversive masculinities. because dandelion is very un-masculine in the context of the story. not only does he challenge the temerian knights and others by directly insulting their idea of masculinity and often ridicules the hierarchic structures he himself benefits from despite having fled the connected responsibilities. he’s not a fighter, he’s a poet, he’s not ‘hot’, he is pretty. he’s a coward, he is vain, he is bitchy, he is emotionally intelligent. he laments the gruesomeness of war that is nothing like the heroic masculine stories told about it. he is kind of the mum of the hansa. in short, he is very ‘feminine’, except for his womanizing and his misogynist moments (and the drinking). the parts of him that are, as i said, the most pathetic of his character. and yet, readers who are caught up in the structures of hegemonic masculinities perceive it as a way to consolidate his place in the hierarchy. in a way, his assholery is his redeeming quality in the masculine order. or at least that is what i believe, because why else would they have such an extreme reaction. if dandelion loses his one hegemonic masculine trait of putting himself above women by also sleeping with men, then he is not a man.

[i am aware the concept of masculinities has fluctuated massively in history, which is the point of hegemonic masculinities, and that medieval courtly masculinities had their own ‘feminized’ moments, with monks complaining about the knightly fashion making them look like vain women, but this is a fantasy saga that the reader perceives from contemporary standards, and the masculinities presented are very warrior-centered]

plus, i imagine it complicates his friendship with geralt. because they are bro bros, going to the BROthel together, sharing beds, kissing each other on the cheek for goodbye. if one of these bros is interested in dick, it makes emotional intimacy among men ~weird~. it makes the dude bros go “a bro cant have anything”. but bro, bro, you could have everything. you could even have a bite of dandelion.

[zvezdacito]

Diasomnia sexuality (and some gender) headcanons I just wanted to yap about for no reason:

Malleus: Demiromantic Bisexual

-> There's that joke that he doesn't gaf about gender as long as it's Yuu, but (for the demiromantic part) I also like the idea that he's ride-or-die, sentimental and clingy for anyone he gets close to. So generally the only difference for how he cares about people is the type of attraction + specific boundaries (can be slightly possessive in a different way for a romantic interest? Idk)

-> Also not really sexuality but I see his gender as that "I'm probably nonbinary but I have a job so idrc about that rn" tweet but for being the next king In general I think being acespec & nonbinary would be extra perplexing for bro since he never stopped to think about personal identity stuff like that for too long (too duty-pilled🥀)

-> Being dense about regular emotional experiences + actual difference in the norms of attraction and gender add to the gap of understanding between him and others

Lilia: Bisexual (not really a sexuality but he's also polyamorous)

-> This isn't sexuality again but I also think transfeminine Lilia is cool, I genuinely believed that Lilia was just a woman with a really deep voice the first time I saw him (I was watching him vs Leona in Book 2 out of context). There's no way to easily explain this in English but by this the specific identity i see him as is basically 'bakla' in the Philippines. It is really its own gender identity in our culture and isn't a "direct equivalent" of any one anglophone label, but for the sake of non-filipinos i guess you can just understand this to mean i see Lilia as "nonbinary transfem in the Filipino way"👍

-> I think it would align with his story in a good way with how she's maligned by the senate and such, how even as a soldier Lilia was coloring her hair for style. It's also like that thing where a guy who was already considered obviously effeminate and "one of the girls" atp (I see Meleanor as kids playing with Lilia in typically "girly" ways and encouraging his cuteness/hair styling) comes out later on as actually a girl/fem nonbinary

-> General Lilia is this is that type of situation where a transfem person can't really go all out with their expression because current life-threatening circumstances require "masculinity" or their focus to be exclusively on external matters (in this case its Lilia being a lowly bat soldier in an active war. Similar to Malleus, an idea of patriotic obligation stops him from really questioning or exploring since the country needs "strength" and "unity" in these times, there was also just really little time to wonder when you're fighting for your life everyday). But after retiring Lilia is able to realize she likes being perceived as cute and begins going all out in her appearance👍

Lilia edit with the article this headcanon reminds me of:

Silver: Aroace

-> Thought it would be a kind of cool subversion of the usual fairytale prince archetype Silver is made to emulate, where romance is the greatest and purest love and marriage is THE happy end. I think it aligns with Silver wanting to spend his life "repaying" the kindness of Malleus and Lilia; if they asked him to think about gertting a family of his own in the future, I think he'd just say the true love he's found in life is already them. A knight who dedicates his lifetime devotion to familial love instead

Sebek: Gaylm

-> One of bro's most notable character gags is glazing another man at every opportunity so yeah /j. Also fsr I just can't see him as a man romantically with a woman no matter what lol

(THIS ISN'T OBJECTIVE THOUGH this is just how I personally sense his vibes. Go crazy fellow fem yumes and OC artists. You are the pillars of this earth)

⚠️ My only disclaimer is that I am cisgender so the gender headcanons are only me relating the characters to scholarly articles on transfem experiences/from personal accounts of transfem and nonbinary people online and irl.

Another reminder that these are all headcanons made by viewing canon in a specific way, not me saying they're definitively any of these identities. You can still have cis or male malleus and lilia if you prefer that😭

That is all. Thank you for reading👊🔥

[thatbookgirl1118]

I cannot for the life of me find the original post (tumblr is a hellsite) but this was sent in an atla gc:

@the-badger-mole

and tbh i always kinda felt like kataang was weird exactly because of that one-sidedness??? like there's one episode of katara maybe sort-of seeing aang as a love interest (when the fortune teller tells her she'll marry a powerful bender), but then the rest of the show is her being passive in the relationship or actively pushing aang away (like their second kiss). and then at the end she just randomly decided "okay i like you i guess."

whereas aang got a bunch of pining moments and you actually believed he was in love with katara.

and most of their relationship was about how she helped aang - he did contribute to her character development over the course of the series especially as a bender of course but it didn't feel as emotionally/spiritually deep as katara's literal one episode sidequest with zuko.

but then someone else wrote "I would argue the opposite? Kataang is where Katara choose the peaceful nomad which subverts the trope presented where zutara is where she chooses the strong protector/combatant. Aang as a character is a subversion of the typical hero while zutara is like,,, coloniser romance idk"

and honestly... i kinda get that. aang was problematic in a lot of ways, but he was definitely a subversive protagonist, and i can see the power of allowing the woman to choose the pacifist vegetarian over the extremely obviously hot jock badboy. this is an incredible oversimplification of their characters of course, but the point stands.

Basically, Kataang is the ship we all logically want - the sweet, friendship-based, seemingly subversive one. But Zutara is the one that actually makes sense in the story, with these characters, not their tropes. Aang is subversive, but he and Katara are also kind of terrible for each other - he isn't mature or selfless enough for Katara, who needs someone to force her to take care of herself because she's always the one taking care of everyone else (wonder what that's like). That's why she and Zuko are so perfect, because he not only takes care of her, he makes HER prioritize herself. Aang... does not. He's pretty selfish, which yes is partially due to his immaturity (I personally don't count Korra as canon because it treated ALL the og characters terribly so I'm speaking purely from his 12 yo self), but it's also just a basic incompatibility thing. And Katara is actually equally bad for Aang - she enables him waaay too much, and he needs someone who doesn't. Who forces him to stand up on his own two feet and take responsibility. She's too much of a mother, and her relationship with Aang is too mother/older sister-ish.

With Zuko, on the other hand? Katara started out HATING him, forcing him to prove himself to her instead of handing him everything she had like she tended to do with Aang and Sokka. He had to earn her care, and as a result he appreciates it way more and demands way less of it. He's a far less selfish character generally for the same reasons, and is much more mature/has a better understanding of life and gray areas. Southern Raiders is a great example of this - he's down for whatever Katara decides because he understands that there's no one right answer, unlike Aang who simply preaches forgiveness. I'm not necessarily attacking Aang about that either - I do believe that grudges eat away at a person, and taking a life does haunt you, so forgiveness isn't necessarily bad advice. But it's not what Katara needed. Aang is great as a friend, but I don't think he's what Katara needs from a romantic partner. Zuko just... is.

[nyoomerr]

Maybe some Omega Bingge for the drabble requests if you'd like? The ficlet you did of him making the nest lives rent free in my head

i'm glad you enjoyed it! i'd honestly love to do a longer omega!bingge thing some time, i love him so much... for now, here's something that's.. kind of the opposite of the one i wrote last time.

cw for omegaverse and Gender Stuff and mentions of female genitalia on a male character!

---

Proud Immortal Demon Way had many flaws, but top of the list had been that it had been an omegaverse - one of the few tropes in literature literally made for bad porn. It was a sellout’s last resort, and a reader’s most shameful pleasure, and -

“If you hate it so much, why are you still reading it?” Shen Yuan’s sister had asked him years ago, back when Shen Yuan had still bothered to complain to her about it.

Frustratingly, Shen Yuan hadn’t had much to say in response. He had reasons, but they were - not shameful, exactly, but the thought of speaking them aloud made Shen Yuan’s gut roil.

Luo Binghe was the picture perfect image of a stallion protagonist. Women fell to his feet with hardly a breath of effort, and his stamina in bed was unheard of, and he was naturally the best looking character Shen Yuan had ever laid eyes on. 

He was also, shockingly, an omega. 

An omega, someone born with instincts that would thematically tend towards feminine behavior, someone born with the bits meant for being bred, someone - someone altogether unfit to be a stallion protagonist, really. It was a massive subversion of the genres. 

Of course, Airplane never wrote it in such an interesting way. There were some interesting character arcs back in the disciple era chapters, but once Luo Binghe fell to the Abyss, they all fell apart. 

The very mention of secondary genders all but vanished. Sex scenes were as rampant as they were vague, enforcing the idea that Luo Binghe was a perfect stallion protagonist - always on top! - without giving any details about how the hell that worked. 

Useless! A waste of a perfectly fascinating subversion of genre and gender alike! Why bother even establishing an omegaverse world if you weren’t going to use the protagonist’s secondary gender at all?!

…Or so Shen Yuan had thought, until Luo Binghe himself had fallen straight into his bedroom out of a crack in reality. Because in person, Luo Binghe as an omega is - 

Shen Yuan swallows thickly, staring up at Luo Binghe with wide eyes. Luo Binghe meets his gaze evenly, his eyes half shut with a lazy sort of pride. His body is pressed close to Shen Yuan’s but not touching, and the mere inch between the lines of their bodies somehow feels more intimate than if Luo Binghe had outright plastered himself against Shen Yuan.

Shen Yuan can’t back up; his back is already against a wall. He can’t escape from the sides, either, because Luo Binghe’s arms are bracketing Shen Yuan in an honest-to-fuck kabedon, and - 

“Yuan-er,” Luo Binghe croons, jolting Shen Yuan’s attention back to him. “This Lord found your… notes.”

Shen Yuan’s mouth goes dry. “Ah… my… college notes?” He tries.

“Your notes about me,” Luo Binghe purrs. 

“O-oh,” Shen Yuan says, helplessly. He wrote… a truly horrifying number of things about Luo Binghe, before he ever thought he might meet him.

“It seems,” Luo Binghe says, leaning in so that Shen Yuan can feel his breath against his lips, “like Yuan-er has some questions.”

“Um,” Shen Yuan says, very intelligently. “Questions, uh, yeah, sure, right, like - uh, like I was wondering how you escaped the Crystal Bloodmoon Cave in chapter 347, because it just faded to black and -”

“Yuan-er doesn’t want to know how I might use an omega’s clit to fuck someone else?” Luo Binghe asks, voice low and dangerous. 

Shen Yuan’s mouth falls slack. What - what do you even say in response to that, ah!! Shen Yuan doesn’t swing that way!!

…Or, if Luo Binghe is an omega, that’s - it’s a bit different from just being a man, right? So maybe -

“I’d show you,” Luo Binghe whispers into the shell of Shen Yuan’s ear. “Anything Yuan-er wants to know about me, I’ll show you.”

Luo Binghe pulls back slightly, just enough to meet Shen Yuan’s eyes again. His expression is dark and intense and hungry.

“I’ll show you,” he says again, licking his lips, “so don’t you dare look away from me.”

Shen Yuan shudders, an electric shock running up his spine. Luo Binghe shifts, one of his arms moving away from the wall to curl around Shen Yuan’s shoulders, the claws of  his hand scratching lightly against the nape of Shen Yuan’s neck.

The touch is enough to shock some sense back into Shen Yuan.

“I’m not - I don’t have a scent gland, there!” Shen Yuan yelps, jolting away.

He doesn’t get very far. Luo Binghe’s feather-light touch turns sharp, a forceful grip on the back of Shen Yuan’s neck that keeps him in place. Luo Binghe’s other hand comes up to take Shen Yuan’s chin between his fingers, tilting it up to force eye contact.

“You don’t,” Luo Binghe agrees, his eyes glinting red. “But as Yuan-er has… so thoroughly written about, I’m an omega. I shouldn’t be scruffing anyone to begin with, regardless of what sort of scent gland they have. What difference does it make, if there’s no scent gland at all?”

Shen Yuan’s pulse is loud in his ears. He knows Luo Binghe must feel it under his hands, jumping like a startled rabbit.

“I - um, I don’t mean to imply you shouldn’t do what you want!” Shen Yuan cries. “I mean, uh - My Lord! My Lord, I - of course this lowly one wouldn’t know anything about what my Lord should be doing, so -”

“Shh,” Luo Binghe coos. “Yuan-er is right. I shouldn’t be doing this, and yet I am anyway. I always am.”

“Right,” Shen Yuan says nervously. He can feel the way his shirt is sticking to his back, wet with sweat. 

“But Yuan-er has questions,” Luo Binghe continues, his grip loosening on Shen Yuan’s neck but curling so that his claws are once more pressed into the skin there. “And I have answers. Isn’t it good of me to offer to show you?”

“Right,” Shen Yuan says again, barely thinking. Then Luo Binghe’s mouth splits into a feral grin, and his words process with Shen Yuan, and - “Wait, wait -!”

“No take backs,” Luo Binghe says, vicious and pleased, and proceeds to show Shen Yuan quite thoroughly what it means to be a stallion protagonist omega.

---

Later, staring up at his ceiling and feeling unfairly winded, Shen Yuan figures he doesn’t really have much left to lose.

“Do you want to be an alpha?” He asks the ceiling. “Er - did you? This whole time?”

Luo Binghe’s attention on Shen Yuan is as heavy and intense as if it were a physical touch; Shen Yuan knows without looking that Luo Binghe has not taken his eyes off Shen Yuan once since - 

Ahem. Since… finishing. What they had been doing.

Now, Luo Binghe reaches out to twirl a finger in Shen Yuan’s hair, round and round and round the short locks, tugging at it hard enough it’s nearly painful. 

“Being an omega was a very dangerous thing, in all three realms,” Luo Binghe hums. “It wouldn’t have been an advantage to me to act like one.”

Shen Yuan sits upright, quite suddenly feeling a bit panicked. “I - you didn’t have to - if you didn’t want to, just now -!”

Luo Binghe grabs more of Shen Yuan’s hair and pulls, tugging Shen Yuan back down into a prone position. 

“So earnest, little Yuan-er,” Luo Binghe croons, and Shen Yuan feels his face go blotchy and red. “You have no need to worry; if it’s Yuan-er, I’ll do whatever you’d like.”

“But if you want something different -”

“Then I’ll demand it,” Luo Binghe says quite simply. “I’ll do whatever you’d like, and you’ll do whatever I’d like; that’s what I deserve.”

Shen Yuan splutters a bit but ultimately fails to protest this in any meaningful way. Luo Binghe plays with Shen Yuan’s hair for another long moment.

Finally, he says: “If it’s you, I wouldn’t mind trying it the way it’s supposed to be, I think.”

Shen Yuan turns to bury his face in his pillow. What a terrible thing to say to him! What is he supposed to say in response! It’s too much, too much - Shen Yuan really can’t possibly be expected to know what the right reply is!!

“...Don’t force yourself,” he mumbles into the pillow. “It’s - like I said, I don’t have scent glands, or a secondary gender at all. There is no ‘way it’s supposed to be,’ if it’s with me.”

Luo Binghe hums. He leans onto Shen Yuan, digging his chin into Shen Yuan’s shoulder painfully. Shen Yuan doesn’t bother to push him off. 

“Good,” Luo Binghe says. “Then: whatever I want, and whatever Yuan-er wants, and nothing more.”

[aeithalian]

Apollo and the demonization of power

I graduated and I'm back on my shit, y'all.

I saw this post by @apollosgiftofprophecy (hi Alder) about whether or not Apollo should have stayed mortal instead of regaining his godhood, and may I just say I 1000000% agree.

To summarize the post: if Apollo had chosen to stay mortal, his promise to Jason (to remember what it means to be mortal/human) wouldn't have meant nearly the same as if he'd gone back to Olympus. Regaining his godhood allowed him to chose to help people with his full ability and remember his humanity for however long it takes for him to fade.

And if I may add on: Apollo even talks about maybe choosing to stay mortal at some point in the latter half of the series, but eventually comes to the conclusion that to chose to stay mortal would be akin to running away from his problems. And he's right: if he chose to stay mortal, he wouldn't have to face Zeus again and he could shirk his responsibilities as an Olympian. So he decides against it (not that he really ever has the chance to chose). And I just love to take this as a great moment of character development and an insane amount of self-awareness for somebody who started their arc where he did.

But it also got me thinking. And, in short, I came to the conclusion that Apollo must be an idealist simply by the way he views power.

In this case, fiction reflects reality: villains want power. They want control. They want to squash rebellion. And that, typically, is an occurrence we typically only see with villains. Never with the heroes, who rarely want power outside of defeating their enemy. But here we have Apollo, who spends the entire series literally seeking power in his attempt to regain his godhood.

And that has morphed into something really interesting when it comes to representation of power in classical media. More often than not, power is demonized. It's seen as something inherently evil. If a character wants power for themselves, they're likewise seen as evil. Any one of your classical antagonists are going to, at some point in their stories, want power in any which way it presents itself. Voldemort of Harry Potter wanted to live forever. Sauron of Lord of the Rings wanted the Ring of Power. Palpatine of Star Wars wanted control of the galaxy. Zeus wants to rule the Olympians. The list goes on.

On the other hand, in stories where a protagonist seeks power to destroy their opponent, they eventually end up discarding their items of power because they don't want to be 'corrupted'. Harry Potter refused to use the Elder Wand. Frodo destroyed the Ring of Power. Luke Skywalker turned down the Dark Side. Even Percy Jackson declined godhood.

But Rick, in writing Apollo's character, takes an interesting approach and a fun subversion of this trope that I, for one, absolutely love. Previously, he'd written Percy to turn down godhood because he primarily wanted to maintain his humanity. To Percy, being a god and being human are two mutually exclusive concepts. They don't coexist. For Apollo, on the other hand, he accepts power out of a sense of duty, and vows to use it well in the spirit of his promise to Jason. There is no demonization of power. And to Apollo, humanity and godhood are not exclusive concepts. So what does that mean post-trials?

There are two perspectives at battle here. First is demonization: 'power is inherently evil'. But the idea that power corrupts is not necessarily a fact: in my opinion, power in and of itself isn't evil. Yes, it's dangerous, but it's more or less a blank slate. What you do with power, who you are when you have it, is what defines it. And that's a pretty nuanced take, and it comes with its ups and downs, requiring those powerful protagonists to be your most responsible, most dutiful, most kind characters who take up the mantle of power with the full understanding of what it means. Who's to say that you can't achieve power and use it well? So there's the other perspective: 'power is a blank slate'.

Let's look at power from a Zeus vs. Apollo perspective:

Zeus wants power (or at the very least, to maintain his power) as a way of controlling people, squashing rebellion, and maintaining order in the way he sees fit, without any sense of legitimate justice or care for others. It is Zeus' actions that make him evil, not his power.

Apollo, on the other hand, seeks power as a way of solving problems, creating solutions that benefit the greatest amount of people possible, and creating a lasting difference on others to change for the better, just as he did. More often than not, when he reminisces about having power in the series, it's more out of a place of 'this terrible thing wouldn't have happened if I were a god', or 'I could help better if I were a god'. Never once does he view power as a way of controlling or manipulating others. Power, to Apollo, is just the ability to love to the greatest extent possible (re: my meta on Apollo's fatal flaw).

But the interesting thing here is how Apollo views power in general, outside of his own. The idea of demonizing power doesn't even occur to him, despite the fact that he's been the subject of abuse for millennia. What's fascinating to me is the fact that Apollo, having been hurt so often by Zeus' power, doesn't ascribe that same generalization to his own person.

I find that very interesting: abuse does wacky shit to people's brains. By all means, that should have irrevocably changed Apollo's perspective on power as a whole, right? Not if you've learned to view power as something that is part of you, no.

I don't know how other gods besides Apollo view their own power, I actually think it's accurate to say that gods view power as something inherent to their nature. And, honestly, maybe it is. But that's besides the point.

Regardless of whether or not power is inherent to gods, Apollo, throughout his journey, realizes that it must go hand in hand with responsibility and humanity. Power is a privilege. That 'blank slate' perspective is one he learned in his trials, the knowledge that the power he has is something he shapes, and something he has no excuse for. If power is inherent, all of Apollo's wrongdoings are his own failings.

And that's even more interesting when you relate it to his relationship with Zeus. Apollo must likewise know that Zeus' wrongdoings are solely his fault, not a result of his power. It's a fascinating perspective of power coming from somebody who has none, who's been hurt by somebody who has so much. To maintain that optimistic view of power as non-corrosive when faced with your abuser is, I think, the glaring mark of an idealist.

So, what does this mean post-trials?

I think, along the same vein, there is a point where the idealist breaks. They have a glimpse of reality: all is not well. For Apollo, that's at the end of the series where he decides that Zeus is beyond all hope. Take this quote from the Tower of Nero:

Some fathers don't deserve [reconciliation]. Some aren't capable of it. I suppose I could have raged at him and called him bad names. We were alone. He probably expected it. Given his awkward self-consciousness at the moment, he might have even let me get away with it unpunished. But it would not have changed him. It would not have made anything different between us. You cannot change a tyrant by trying to out-ugly him.

More often than not, my favorite stories are the ones where the main character gains power, keeps it, and uses it for good. Aragorn accepted the crown of Gondor. Luke Skywalker chose to train a new order of Jedi. Apollo regained his godhood. And readers of any of my multichap fics know that I love to write this trope as well.

But, much like my mutuals and I have been yelling from the rooftops for LITERAL YEARS, Apollo's story is not over. And once the idealist has 'broken', like we see in the scene above, there's only one way it could go.

To see somebody mishandling their power in a way an idealist knows is corrupt is quite literally a recipe for revolution. Look me in the eye and tell me that the way ToA finished wasn't setting up a revolution. Do it, I dare you.

Regardless, it's safe to say that, at some point, somebody's going to take a look at Zeus and say "you know what? Anybody could do better." Just saying.

Anyways, vive la révolution.

[a masterlist of my other metas]

[meanbossart]

What horror games have you played/wanted to play? Also have you tried any rpg maker horrors?

I actually don't play that many horror games, I don't think? Between you and me most of them are... Kind of garbagee. But I like when really weird things are taken dead seriously, which most video games don't succeed at. But in the rare time they DO, it usually falls into the "horror" genre at least loosely. I'm just going to list my favorites:

PS: I'm really showing how insufferable I am with these summaries, sorry!

The Outlast series: the most Tasteful tasteless gory-shit-fest of a horror series I've ever seen. I don't like shock for the sake of shock, and Outlast somehow manages to always make it for the sake of SOMETHING. The original game+DLC is a buttload of fun, and if you pull back one layer it also poses some interesting and difficult questions about the place and treatment of the criminally inclined in society. Pull yet another layer back and you find a fascinating subversion of the expected role men are supposed to inhabit in horror games. The second game is a vastly different, and profoundly emotional experience, opinions on it vary for reasons I find very understandable, but I personally really like it.

Fear & Hunger: I guess this answers your question about RPG horror games! Unfortunately, this is the only one I ever played that I liked, but REALLY like it, I have a tattoo of the circle of perfection on the back of my hand, even, lol (I already had other hand tats, don't freak out). I just really like the absurdity of the story and all of the lore that the developer has cooked up for it, and the way it all matters but also kind of doesn't. I think its an insane feat to have achieved the atmosphere he did with the limited tools he has, not to mention the massive amount of respect I have for any creator that simultaneously wears their influences on their sleeves while displaying massive creativity and originality.

Pathologic: This game kind of speaks for itself honestly. Its just brutal, creative, infuriating, I could go on - It's probably the most immersive experience I've ever had in a game. If you've never played it before I would suggest buying Pathologic 2 (don't worry about it) and playing it completely blind. Forget about "winning", forget even about succeeding, just go about it as if you were in the protagonist's shoes and see where you leads you.

Scorn: Without a doubt in my top 5 games of all time and I don't care that that is an insane take. This game is everything I want from interactive stories - entirely intuitive, doesn't spoonfeed you a single grain of its lore or pushes its story on you, it just puts the pieces in your hands and its up to you to feel it on instinct. This 5 hour game with no dialogue, no text, not even any named characters to speak of had me crying at its ending and I didn't even know whether I was sad or overjoyed. I fucking LOVE scorn.

Honorable mention:

The Space Between by Christoph Frey (not to be confused with The Space INbetween.): Is a short, 30 minute experience about intimacy presented through a horror lens. I really don't want to say anything else about it, but I played it like 5 years ago and I still hold it near and dear to my heart. It's a master's guide to storytelling through semiotics and exemplary in it's... Emotionally charged visuals? Like, I had never before seen a story make sentiment into and external, tangible thing quite like this one does, like turning sound into an object or something. Amazing little indie game.

[buttered-milky]

Russingon being an incestuous couple is so fucking interesting to me for what it represents narratively. (Yes, I know they are not canonically a couple. No, I do not care, because I do believe the coding is on purpose. Even if it’s accidental, it’s still there.)

If you don’t have a lot of experience with incest in other fiction (for example: the staple gothic horror), incest usually represents deviance. That’s just what it says on the tin: diverting from norms. Usually in a bad way. Deviance can be narratively treated as bad or wrong, and there is plenty of deviance from our meta societal norms with these two, but I digress. I don’t want to talk about that today.

I want to talk about subversion, and the deviance that is sometimes good, actually, and the message that sometimes you must break norms to do good.

[PS guys if you read all this and want to add your thoughts please do! This is kind of half-baked and I’d love to see more opinions because I’ve not seen anyone talk about this much.]

They are so fucking fascinating, because they are deviant! They are! Their entire relationship is baffling politically because of the Finwëan house feuds. More importantly, they have individual deviances that this relationship is telling you to pick up on.

.

Maedhros is a Kinslayer. Maedhros is also arguably the most heroic one of his siblings.

.

No, we can’t burn the ships. How the fuck are we gonna get Fingon over here?

No, I have to go parley with Morgoth.

I have to abdicate the crown because I’m becoming something I don’t want to be.

No, I have to put myself in front of everyone else. I have to hold Himring so the rest of Beleriand doesn’t get nuked.

I have to summon everyone for the Nirnaeth.

.

And then after Fingon dies in the Nirnaeth, Maedhros (as we all know) goes fully off the rails—which is to say, he becomes fully Fëanorian. He goes back to the norm for his family.

There are more Kinslayings. He tries once to save two twin children, and that’s it. He gives up. There is no more hope. Maglor is responsible for taking in the next set. Maglor also wants to beg the Valar for forgiveness, and maybe Maedhros would’ve seen the sense in that once, but instead he becomes the second coming of his father and dies burning, clutching onto his Oath.

The deviance from Fëanorian standards was the only thing keeping him from becoming a monster for all that time.

.

Fingon is also (very likely) a Kinslayer. He’s also the family extrovert and hope incarnate.

Unlike Aredhel and Turgon, he does not seclude himself for his own protection. He does the opposite.

.

No, we can’t just stay here in Aman. We need to protect the other half of our people??

No, we actually have to get Maedhros. Fine, I’ll do it myself then. I’ll reach out to the gods while I’m at it, since none of you will.

Of course we’re going to join every battle. Of course we’re going to help hold down Beleriand.

If I have to face evil alone I suppose I will, then.

.

And he dies when he’s alone against those Balrogs. Fingon is also like his father in many ways—but in some ways he is not. He is brighter, sometimes. He is hope incarnate in the worst of places.

.

I’m far from the first person to acknowledge that what Maedhros and Fingon have going on is a very strong message to never give up hope. But like—not just that. What kills me is that, you know, the hope and the heroism and the goodness is the deviance.

They like each other while most of the Noldor are off getting doomed or fighting with their relatives. You get to those little bits where it mentions Maedhros and Fingon still keeping up their friendship and you kind of have to think “damn, at least some people still genuinely love each other in the midst of all this horror.” It’s sweet. And yet it’s deviant.

And that’s weird, right? Usually deviance is bad. But I think here it’s more neutral. Just presented as: this is not the common option, not the norm. It’s not the common option, but it leads to one of the kinder relationships in the Silm.

The Silm wants you, the reader, to take away that you should have hope and goodness, even when everything around you is hell. Even when it is the hard option. When it becomes hardest to hold up light and help others, that is when it’s needed most.

It will be scary sometimes to be hopeful, and that’s okay. It will be scary to extend yourself. It will be scary to trust and to defend others. That’s okay. Do it fucking scared and keep doing it.

[girlfishes]

Hi, I was wondering what convinced you to believe in Radical Feminism?

This answer took way too long for me to write, and for that I’m sorry. I struggled a lot with writing this response, because I simply had too much to say. I started with trying to explain as much theory as I could and then I realized that I was basically writing a book which you didn’t ask for.

You asked not why radical feminism is correct or why it makes sense, but why I believe in it. I believe it can do for women what liberal feminism and queer theory are incapable of. Free us.

I do believe that many individual queer activists are genuine in their desire for human rights and freedoms. So why do I think the movement continues the patriarchy?

Modern liberals and their activists have become infatuated with subversion for its own sake. It’s fun to go against the grain. It’s sexy to be different and unexpected, to “queer the boundaries”. However queerness cannot stand on its own; it must be queer in relation to something. The word “queer” means strange, after all.

Subversion itself depends on the context in which it is preformed. And the context is patriarchy. Those who find such delight in the subversion will fight to uphold the backdrop in which their actions and identity remain subversive. In order to continue giving the finger to the establishment, the establishment must remain. In this way queer activism has a vested interest in upholding the patriarchy.

This kind of activism will always be futile, because subversion for its own sake has no end except for its own continuation.

When I say “this kind of activism” I mean activism that is focused on making aesthetic changes and statements instead of fighting for structural changes. This activism comes in the form of an intense focus on changing language, making art, and individual development and identity-making. None of these things are necessarily bad, and can even serve useful, but they are not sufficient for structural change.

While activists are operating solely on this aesthetic level, oppression continues in material ways. A female human being can change her pronouns or the clothes she wears and find a million different micro labels for herself and draw her own pride flag, but she will still be oppressed because of the body she has. Abortion bans will still exist. Rape still happens. Medical misogyny, period poverty, child marriage, and pornography still exist. Queer activists do all of the aesthetic and preformative activism and then pat themselves on the back as if they have changed anything outside of their own head.

Radical feminism focuses on the material world, and the real issues that physically affect billions of women everyday. We recognize that changing words does not change reality and we are willing and able to meet oppression where it finds us: in the physical world. We do not think “how can I be subversive within patriarchy”, but “how can we dismantle the patriarchy”. We don’t search to find a gender that makes sense for our personal experience because we recognize that gender itself only makes sense in the context of female subservience. We disavow cultural relativism. We have clear goals that don’t move and that we will know when they are achieved. We know what we want, and our goals still make sense outside of the context of patriarchy, because they are based on material outcomes for real women.

Queerness doesn’t exist if patriarchy doesn’t exist. But radical feminism stands apart from any cultural context. And that is why I believe in it.