gifs for your spells

that part in fellowship where gimli isn't allowed to walk without a blindfold through the Naith of Lorien and Aragorn understands that it is not about the blindfold but about being alone, and so all of the fellowship agree to be blindfolded so that they are all treated equally. That is allyship. aragorn is heir to the throne of gondor and a powerful person in middle earth but he would rather they all be blindfolded so as to point out how outrageous it is that gimli would be blindfolded. As long as the world is unfair we stand with those it is unfair to, and we deny the privileges the unfair world would give us to separate us from our friends

Op disabled rbs but they’re right and more people need to read this a few times over

Mat seeing a dead woman and going aww she died, shame about her tits from The Wheel of Time written by Robert "I have never had a normal opinion about women and gender" Jordan

...and finally...

*It's a 2nd-level Cleric spell in 3.5, which fits better, but I'll let it compete as a Sorcerer/Wizard spell.

°Sending was a 4th-level Cleric, 5th-level Sorcerer/Wizard spell in 3.5. Because interplanar communication is powerful.

^Stone shape got bumped up to 4th-level in 5e, matching its place on 3.5's Sorcerer/Wizard list. In 3.5, it's a 3rd-level spell on the main Cleric, the Druid, and the Cleric's Earth Domain spell lists.

Y'all are tripping balls if you think counterspell is better than dispel magic

Some day I want to see a show that does the “no filler episodes” thing from the opposite direction. Just a whole season worth of low-stakes character pieces that seem to move the overall story absolutely nowhere, then episode 26 pulls all the triggers at once and this massive Rube Goldberg machine of a plot the show’s been quietly setting up in the background the whole time hits you like a truck.

Incredible one-liners as always

It just kills me when writers create franchises where like 95% of the speaking roles are male, then get morally offended that all of the popular ships are gay. It’s like, what did they expect?

#friendly reminder that I once put my statistics degree to good use and did some calculations about ship ratios#and yes considering the gender ratios of characters#the prevalence of gay ships is completely predictable (via sarahtonin42)

I feel this is something that does often get overlooked in slash shipping, especially in articles that try to ‘explain’ the phenomena. No matter the show, movie or book, people are going to ship. When everyone is a dude and the well written relationships are all dudes, of course we’re gonna go for romance among the dudes because we have no other options.

Totally.

A lot of analyses propose that the overwhelming predominance of male/male ships over female/female and female/male ships in fandom reflects an unhealthy fetishisation of male homosexuality and a deep-seated self-hatred on the part of women in fandom. While it’s true that many fandoms certainly have issues gender-wise, that sort of analysis willfully overlooks a rather more obvious culprit.

Suppose, for the sake of argument, that we have a hypothetical media franchise with twelve recurring speaking roles, nine of which are male and three of which are female.

(Note that this is actually a bit better than average representaton-wise - female representation in popular media franchises is typicaly well below the 25% contemplated here.)

Assuming that any character can be shipped with any other without regard for age, gender, social position or prior relationship - and for simplicity excluding cloning, time travel and other “selfcest”-enabling scenarios - this yields the following (non-polyamorous) possibilities:

Possible F/F ships: 3 Possible F/M ships: 27 Possible M/M ships: 36

TOTAL POSSIBLE SHIPS: 66

Thus, assuming - again, for the sake of simplicity - that every possible ship is about equally likely to appeal to any given fan, we’d reasonably expect about (36/66) = 55% of all shipping-related media to feature M/M pairings. No particular prejudice in favour of male characters and/or against female characters is necessary for us to get there.

The point is this: before we can conclude that representation in shipping is being skewed by fan prejudice, we have to ask how skewed it would be even in the absence of any particular prejudice on the part of the fans. Or, to put it another way, we have to ask ourselves: are we criticising women in fandom - and let’s be honest here, this type of criticism is almost exclusively directed at women - for creating a representation problem, or are we merely criticising them for failing to correct an existing one?

YES YES YES HOLY SHIT YES FUCKING THANK YOU!

Also food for thought: the obvious correction to a lack of non-male representation in a story is to add more non-males. Female Original Characters are often decried as self-insertion or Mary Sues, particular if romance or sex is a primary focus.

I really appreciate when tumblr commentary is of the quality I might see at an academic conference. No joke.

This doesn’t even account  for the disparity in the amount of screen time/dialogue male characters to get in comparison to female characters, and how much time other characters spend talking about male characters even when they aren’t onscreen. This all leads to male characters ending up more fully developed, and more nuanced than female characters. The more an audience feels like they know a character, the more likely an audience is to care about a character. More network television writers are men. Male writers tend to understand men better than women, statistically speaking. Female characters are more likely to be written by men who don’t understand women vary well. 

But it’s easier to blame the collateral damage than solve the root problem.

Yay, mathy arguments. :)

This is certainly one large factor in the amount of M/M slash out there, and the first reason that occurred to me when I first got into fandom (I don’t think it’s the sole reason, but I think it’s a bigger one than some people in the Why So Much Slash debate give our credit for). And nice point about adding female OCs.

In some of my shipping-related stats, I found that shows with more major female characters lead to more femslash (also more het).  (e.g. femslash in female-heavy media; femslash deep dive) I’ve never actually tried to do an analysis to pin down how much of fandom’s M/M preference is explained by the predominance of male characters in the source media, but I’m periodically tempted to try to do so.

All great points. Another thing I notice is that many shows are built around the idea that the team or the partner is the most important thing in the universe. Watch any buddy cop show, and half of the episodes have a character on a date that is inevitably interrupted because The Job comes first… except “The Job” actually means “My Partner”.

When it’s a male-female buddy show, all of the failed relationships are usually, canonically, because the leads belong together. (Look at early Bones: she dates that guy who is his old friend and clearly a stand-in for him. They break up because *coughcoughhandwave*. That stuff happens constantly.) Male-male buddy shows write the central relationship the exact same way except that they expect us to read it as platonic.

Long before it becomes canon, the potential ship of Mulder/Scully or Booth/Bones or whatever lead male/female couple consumes the fandom. It’s not about the genders involved. Rizzoli/Isles was like this too.

If canon tells us that no other relationship has ever measured up to this one, why should we keep them apart? Don’t like slash of your shows, prissy writers? Then stop writing all of your leads locked in epic One True Love romance novel relationships with their same-sex coworkers. Give them warm, funny, interesting love interests, not cardboard cutouts…

And then we will ship an OT3.

I’m going to bring up (invent?) the concept of subjectification.

As in, people gravitate to the characters given the most depth, complexity, and satisfying interactions for their shipping needs, because those characters are most human, and we want the realest characters to play with.

In a lot of media, the most depth gets handed to male characters.

And, oftentimes, even when the screentime and depth and interactions are granted equally well to female characters, there can be a level of, for lack of a better word, dis-authenticity to those female characters: they are pared down, washed out, or otherwise made slightly less themselves than they could be, in the interest of making them decorative, or likeable, or “good,” or keeping them from upstaging or emasculating their male companions, or just that the writer whose job it is to write them doesn’t know how to write women the way they write men.

And you get the characterization equivalent of that comparison chart where so many animated female characters have the same facial features because the animators and designers are so worried about not letting them be ugly.

When you have a group that’s allowed to be themselves, warts and all, and another group that has to be decorative at all costs, the impression given on some level is that the decorative quality is making up for a shortcoming. That they wouldn’t be enough in their own right.

And sometimes that cost is authenticity. The interesting, striking, awe-inspiring, bold and glorious unapologetic selfhood that draws the viewer most particularly to those characters who are unapologetic in their particular existence, standing clear of the generic and bland and unchallenging “safe” appearances.

It is authenticity, not beauty, which powers subjectification. The love for a character, not because they are perfect, but because they are them.

They can be pretty, sure. They can be sweet. But being pretty and sweet is not a replacement, and too many female characters have been written by writers who think it is, while the interest—in appearance, in personality, in interactions, in plot development—goes to the men.

And when that happens, well. Surprise, surprise, that’s where the shipping goes.

Yeah I don’t really ship but I do write a fair amount of fanfic, and in most franchises working with the female characters is a chore.

You have to do so much of the work yourself, because the canon left them unfinished, with huge gaps or unexplored contradictions that you have to somehow resolve. Every female character you decide to integrate into your fanwork in some major role constitutes an undertaking in her own right as you patch together an understanding of her sufficient to model a consistent set of reactions and priorities &c.

The dudes just get handed to you. Even the ones whose canon is a mess have properly developed character cores.

That you don’t have to unearth and piece together like some sort of volunteer archeologist coming up with theories way more complex than the available artifacts truly support.

Guys read this this is an amazing breakdown of it

To @whetstonefires’s point, military sci-fi is on the extreme end of that problem for the most part, with casts that skew extremely heavily toward male, with female characters usually being ancillary to the story, if they even exist.

And like, it’s not that it’s not worthwhile to do! It is; it’s meaningful and can be deeply rewarding. It’s valuable to draw attention to the disparities and encourage people to self-reflect a little.

But refusing to acknowledge that a lot of external norms are conspiring to make Engaging With Female Characters more work, in service of an insistence that any struggle people face with this is always out of a lack of moral purity or other personal flaw, is deeply counterproductive.

Increasing the amount of guilt and shame people experience when they try to center female cast is not gonna increase the rate at which these works are produced! Let alone how genuine and nuanced and interesting they are.

Acknowledge that it’s a thing done uphill a lot of the time, and let people who do it anyway take pride in that. I think over the long haul that does a lot more good.

i think that killing a dragon should have catastrophic nuclear-fallout level environmental consequences tbh. their blood should scorch and wither the earth with fire and poison, the toxic fumes released as they decay should choke the land and all nearby living creatures, and the entire landscape where they fell should be transformed into a blighted wasteland where bleached leviathan bones loom upwards out of the ground as a warning that can be seen from miles away, the boundary markers of an exclusion zone.

i also think that it would be wonderfully ironic if those who sought the fame and glory of the title of 'dragonslayer' only ended up with the bitter, enduring reminder of the devastation they're responsible for. this is not a place of honor. no highly esteemed deed is commemorated here.

Ok, vote:

Can't they be both? They're nuclear fallout to everything else, but a nutritious whalefall to Creatures of Darkness. Things swarm a dragon corpse that aren't meant for the mortal plane but at least they eventually clean it all up, maybe after a few centuries. Not quick enough for people to notice that it's a good thing.

@monstrousproductions this feels like your vibe

What's the trope name for when someone finds out they're the Chosen One(tm) and is like "No, thank you" and goes and does something else

Refusal Of The Call is the actual trope name.  Usually followed by the tropes of The Call Knows Where You Live and You Can’t Fight Fate.

The Call is Trying to Contact you about your Destiny's Extended Warranty.

I Blocked The Call's Number, and The Call Got A New Phone And Called Again

Please Help The Call is Stalking Me

I Told The Call To Take Me Off The Call List And Got Laughed At