blande male

It is so intriguing to me that some of you are saying “stop making everything about race”, “this show only became interesting when Laura’s story became part of the plot”, and “you’re only hating on Laura because you’re a misogynist who lets male protagonists get away with everything”. It’s interesting because these three statements are all contradictory. 

You’re blatantly ignoring that race is an integral part of the show, just like it was an integral part of the books. Shadow is meant to be a biracial person of color. In the books, he’s frequently asked racialized questions. Neil Gaiman made it explicitly clear that he did not want any of the characters of color to be whitewashed, especially Shadow, which is why Ricky Whittle’s casting was so important. Ricky Whittle is also a biracial black man. To cast a biracial black man who is visibly black brokers no arguments as to what race the character is - it is a deliberate and specific choice. You’re also ignoring that race is part of both the books and the show because this content is about Americana and the American identity. That’s exactly why all the American Gods are immigrants. These Gods are diverse - Eastern European, indigenous (and not just from one monolithic indigenous tribe but from different tribes with different histories), Arab, German, Norse, South Asian, East Asian, Irish, Egyptian, West African, etc. That they rally against the New Gods and their reductionist ways shows you that race absolutely is a very crucial point. Hell, if race wasn’t important to the show, why the hell do you think Mr. Nancy aka Anansi, the African trickster god, predicated his entrance on race and the centuries-long brutalization of black people? If race wasn’t important to the show, why does Shadow (in both the books and the show!) get asked about his racial composition and why is evident that he gets racialized treatment as a result? If race wasn’t important to the show, why do you think Bryan Fuller made it a point to emphasize that there would be no whitewashing on the show? 

Race, immigration, and nation are part of the tapestry that Gaiman (and now Fuller) wove to create his conceptualization of the American identity. Those of you who keep screaming about how “interesting” Laura is or make pseudo-intellectual statements about how “morally complex” all the characters are fail to understand one of the most salient and significant points of the story. 

And while you ignore race, you still use identity politics to shield criticisms of Laura. While you ignore that racism exists, you think every person who hates Laura is a bearded MRA with a fedora. It’s already interesting to lump people of color in with these MRA types, given that these MRA types tend to be the most racist people on the internet (so they aren’t exactly “on our side”, lmao), but what’s worse is that you’re claiming we “make everything about race” (when race is in fact a huge part of the show) while also accusing us of being misogynistic. I don’t see any of you rushing to talk about Bilquis or how significant she is. Clearly this isn’t about “feminism” or about misogyny. Or sure, it’s about a whitewashed, warped, liberal-individualist version of feminism that of course engenders racist hypocrisy and white female entitlement. 

Let’s also talk about this whole “typical male protagonists get away with everything”. You’re right. Typical male protagonists cheat on their wives, mistreat their girlfriends, get glorified by fandoms just for breathing. But I wonder if you ostensibly clever fans can tease out what makes Shadow an atypical protagonist. I’ll give you the answer: he’s black. How many shows are there with a diverse cast in a show about fantasy, mythology, and Americana with black protagonists? Little to zero. So this already makes Shadow an atypical protagonist. But that’s not all. Unlike other male protagonists, he is NOT arrogant, domineering, apathetic, cynical, selfish, abusive, adulterous, overpowered, mediocre, boring, or predictable. This is exactly why so many people gather around him, or try to fight him, or can’t figure him out. He’s just a “regular guy” in many ways, yes, but he’s a genuinely kind person with a big heart, a startlingly clever mind, and the capacity to be loyal and compassionate which has gotten him in trouble time and time again. 

Laura herself knows this. Audrey knows this. Mr. Wednesday knows this. The Zorya sisters know this. Mad Sweeney knows this. Czernobog knows this. The Technical Boy detests him for this reason. Every person who meets Shadow comes to understand that he’s a good person. Some hate him for it, others love him for it, and still others don’t know what to make of him because he’s a third party in this war between old and new gods. He is an important character because he is a black man who breaks stereotypes and refuses to be typecast because he’s a black man. He’s a tall, muscled black man who is nothing but gentle, who hates violence, who just wants to love his wife and friends and go home. He likes reading books, he’s been to prison because he wanted to make his wife happy, he used to be a thief but he redeemed himself, he wants to learn magic tricks, and he’s just trying to navigate a new and dangerous world. He’s been lied to, beaten, cheated on, manipulated, betrayed, and brutalized so many times. But he still remains kind. 

So please don’t use the “if Laura was a man” argument now. None of us are the type to salivate over bland male characters because as it is most of those male characters are WHITE male characters. Nonwhite male characters receive the opposite treatment - they don’t get the benefit of the doubt, and that’s exactly what’s playing out here. You’re randomly accusing Shadow of misogyny and his fans of misogyny when in fact Shadow is one of the very few male protagonists who hasn’t done anything wrong. He wholeheartedly loves his wife. He does not treat women like sex toys. He is nothing like most male protagonists, so stop using that argument because it just won’t work. 

You’re looking at me. Aren’t you? All the time. You think you know me. Well, I know nothing. Just a plastic doll, designed, I’m told, to stand embodying a male-created bland and standard wife, whose only job is prettying the Prince, and then, if possible, get pregnant with the royal and noble bump, to there produce an heir…and spare. But, being underestimated so does mean I can observe and plan and learn the way to rule. For I will be a queen unlike the ones before. My mother’s dad was in the North a miner born, my father came from Leeds, both of them when young and inexperienced did risk their house and all they had to try and make a business of their own. But it’s not just this stock I bring to these most distant regal realms, but something more important and precise. I have ambition for my husband, yes, and I hope my son will grow the finest King- but if I must put up with taunts, and make so public everything I am, then I demand things for myself. I ask no less than power to achieve my will in fair exchange for total service to the State. Yes this is what, enthroned, I will do. Not simply help my husband in his own crown, but wear one of my own.

My favourite monologue delivered by the Duchess of Cambridge, played by Charlotte Riley, in the recent TV production of King Charles III. 

This is the first time I’ve seen Catherine portrayed as a person in her own right. It is how I have always seen her. She is more than a doll for public consumption. She knows what being royal takes and she’s pragmatic about it. She’s not easily intimidated. She has a delicate appearance but I’ve always seen her as someone with a backbone of steel underneath the surface. I think Charlotte as Kate was my favourite part of the show. 

What she says: I’m fine

What she means: The manic pixie dream girl trope was first described as a criticism of writers who use a quirky, attractive female character as nothing more than a way to open the eyes of a bland male character to the beauty of the world he lives in while she gives him everything he needs with no regard for herself but the trope has become interpreted as a criticism of the female character type itself rather than the writer’s treatment of her and female characters who display any semblance of the traits associated with the trope are immediately written off as “just another manic pixie dream girl” without a second thought

@crystaltoa asked a great question
Do they all have those curvy cheekplates back there, or is it just Gali?

And, well, it’s just Gali. The two Mata models that made it to the final build of the game are pretty bland, all the male Nuva models have a pretty standard lookin’ rectangular plate covering their robotic tookus, and our favorite master of shadows pretty much has nothing back there.

While we didn’t get to play as Gali Mata in the game, we did get to see her detailed model in action for the opening cutscene. Not only does she look a bit more shapely from the front

But if you look at the next few seconds frame-by-frame, not even the compression and fast movement can hide the fact that her model had some curves where her brothers’ didn’t

And, of course, there’s some convenient camera angles on top of it all, because why not?

It’s kinda unfair, really.
We all know it’s Pohatu that should have the fattest ass out of all of ‘em!

Hi this is my Strong Female Character she’s a 20-something white chick in a skin tight black suit that reveals her cleavage her only personality traits are being cool and hating men but also not hating men because she fucks the equally bland white male protagonist. Here’s a picture of her in the tits and ass pose.

You know I keep complaining about unnecessary romantic stuff in movies (and shows) which do nothing for the plot, but deep down I know the sole reason it annoys me is because it’s always hets. I’d be okay with the sappiest, most cliche crap if the guy were a girl.

anonymous asked:

Why do people genuinely believe that Harry wearing Nail Polish is a sign of coming out?

people don’t, larries do. larries, who live life by a very loose set of homophobic and transphobic stereotypes that change in a split second if their story requires it. larries, who are convinced to the very bottom of their soul, that fetishising two dudes in their 20s is TOTALLY NORMAL and that this is, indeed, a create your own adventure fic. larries, who have clearly never seen anyone outside of a very bland pop bubble (male musicians wearing nail polish, alert the press? what will the thousands of rock/metal/alt bands do? djalfjaldk). larries, who, in 2017, continue to refuse education and are in fact demons. so yeah, people don’t think that. larries do 😂



Honestly Jaune is such a horrible character.

All he does is whine and moan about how he’s weaker than everyone else. Well, yeah, no shit. You cheated your way into the school. You don’t even deserve to be in Beacon, you inept fuck.

RWBY’s main characters are the four main female leads, and instead we have to devote more time to this bland male character? What the hell is that about?

Jaune gets more lines and screen time than any of the ACTUAL main characters and I’m fucking sick of it, fuck Jaune.

Jaune should’ve died instead of Pyrrha tbh.

V1 and V2 might had ‘‘bad’‘ writing.

But the writing hasnt improved at all, it just gives an illusion of ‘‘better’‘ writing because its edgier, and that is it.

Just look at how V3 ended: filled with horrid writing tropes (Fridged female character for the bland, white male wannabe protagonist, asspull powers and reducing the faunus racism conflict to a shitty grey morality milquetoast centrist oppression expy designed to scare off the less amount of white het reddit weaboos and possible japansese otakus as possible) that are only played even more in V4 (redemption for a genocider waifu, Chungus McLuna manpain in a show made popular thanks to supposedly Strong Female Characters, ‘’anti-racism is just as bad as racism’’ centrist bullshit, to name a few).

halfdeadhalfdrunk  asked:

Please preach about why 8-man is so easy to root for despite being superficially despicable.

Wataru Watari, author of Oregairu, has gone on record saying many times he doesn’t like a ton of stuff on how (japanese) fiction and content creators do stuff, specifically, the inherent formulaic nature and how generic and same-ish it gets: Japan is a culture of bandwagoning, so once one thing catches on, everyone, and I mean EVERYONE follows it.

He really doesn’t like that. So he took matters into his hands.

Hikigaya Hachiman is, and at the same time isn’t, the normally identifiable, relatable reclusive and solitary no-friends loner at school who gets thrust into a series of events that end up in the story and in him being in constant contact with these desirable, pretty girls he otherwise wouldn’t have had any chance of coming into contact with otherwise, also known as “romantic comedy” or “harem” (and make note of how I am avoiding the word “befriending” here). He is in the sense that he definitely is the loser, socially awkward protagonist that otaku should feel identified with to live vicariously through him, as is the case with basically any other modern school-setting piece of fiction in Japan in the last I don’t know how many years with maybe one or two exceptions. At the same time, he isn’t, however, and this is the very important part, because Hachiman hits too close home. He IS what the demographic of the usual romantic comedy is, with no sweet lies disguising the ugly package and no gateway into fantasyland letting one live vicariously through an ideal character who is everything the reader could want to be: Different and armed with an opportunity. Hachiman is not the “actually nice just socially awkward teen boy with perhaps a perverted reputation but actually very nice and legitimately good!”. Hachiman is the ugly truth. Hachiman hates himself, is bitter and jealous, doesn’t have any hope left, and, this is the best part, is an actual, medical case of depression. Not “fiction depression”. Actual, textbook, medical, real, cruel, painful depression. Following me so far? Let me elaborate so I can go deeper.

The generic romcom protagonist is someone who also has zero to few friends, a generic, blank slate of a male character who is just “understanding and legitimately good”, an extra addition to the main dish of romcom/harem that the demographic is looking for: The girls. It’s just a POV character that exists for two express purposes: 1) so the reader can relate and project through them, living vicariously through this bland male character and 2) for the girls to fall in love with him for this or that reason, which leads to the romcom/harem situations. This bland main character archetype is everything the normal unlikable as hell lonely otaku wants to be: Someone legitimately likable armed with opportunities, “opportunities” being “the childhood friend with a hidden crush”, the “loving younger sister who may or not be adoptive and who doesn’t really care about the whole incest thing”, the “assorted girls who have been thrust into contact with the main character”, etc. It also works because some people that aren’t unlikable as hell lonely otaku can, by all means, like this formula and have fun with it, and there’s nothing wrong with liking romcom, all I am saying here is that this is the technical process behind the construction of a romcom. Don’t take it from me, do your own research if you want.

The point I am trying to make here is that Watari breaks that into a million pieces with Hachiman.

Hachiman is not someone you want to identify with because not only actually unlikable and lonely people can identify with him a bit too much, but because he does encompass, at first, the pain and melancholy of a period Japanese media romanticizes way too much: High School. He is not having fun. He has abandoned all hope by the time the story starts. He has accepted that he deserves no happiness (one of many aspects of depression), and instead vies for loneliness, excusing it over and over as his true nature via many speeches that, through different wording, say the same: Humans are scary and I don’t want to be around them. When he does interact with others? He is awkward and nasty. He doesn’t know how to deal with people. He doesn’t want to. He hates it. Initially, it’s treated as a joke how many horrible experiences Hachiman had in Middle School, but as the novels advance/as the show advances, you see that everyone stops treating it as a punchline and instead they try to be kind about it with him. The only one who keeps treating these as jokes is Hachiman himself, which is brought up, because trying to make light comedy of one’s pain all the time, too, is part of depression. He is told to stop by Yuigahama and by Hiratsuka. He is told to please give himself the chance to deserve happiness. He doesn’t want to because he already decided he doesn’t deserve it, and this is not explicitly said, it is clearly visible in his actions. Show, don’t tell. Hachiman is a mess. You do not want to be Hachiman.

That is what makes him fascinating. He hits too close home to many of us’ pain. He is not someone we want to be, yet we want to see where he goes. He is a character, a person, of his own, not a bland main character meant to be used as the relatable vicarious living-through character. The thing with Hachiman is that he’s not a romcom character, he is the main character of a story that is not a romcom, as the title really clearly states.

The parallels grow apparent when you look at it technically: Hachiman has a little sister, except, this little sister also is a character all of herself instead of the usual over-protective-or-tsundere imouto masturbatory aid incest character usually associated with romcoms, this little sister is a spunky little pepper who gets along well with her brother as siblings and wants nothing more than to match him up with a girl, ANY girl. Hachiman has a childhood friend, except instead of being a twintailed-or-tomboy hot girl, it’s that fat chunni fuck who is only pathetic comedy relief except when he gets his guns on and, what do you know, is an actual superbro that helps out Hachiman in his moment of great need. As I’ve said in all these previous paragraphs, Hachiman is a lonely high school boy, except instead of being a bland, gold-hearted boy meant to be used as the object of the reader’s projection, he really is a mean bitter nasty fuck with serious attitude problems and a despicable, shameless nature when it comes to how he just doesn’t even want to work for himself. Hachiman ends up meeting these hot desirable girls, except they initially dislike him just as much as he dislikes them. He doesn’t want this. They don’t want this. He was just put up against the wall and into this shit by his teacher, the one damn person that apparently cares for the poor, bitter kid. If he had the option, he’d up and leave during the Oregairu early game and we’d have no novels/show.

To finally answer your question, it’s easy to root for Hachiman because we are constantly seeing him grow as a person, despite having hit the bottom, despite having been left a depressed, self-hating mess of a person. We see him go through these situations, and we see how his shitty experiences have affected him, and we want to see him change. What is his main method of problem solving initially? Self-sacrifice. He doesn’t mind bearing everyone’s hatred if it can solve a problem. Why? Because Hachiman hates himself and believes he deserves this hatred in the first place. It’s initially seen as something that gets results, but it soon becomes apparent it doesn’t. Not only does it horrify and hurt Yuigahama and Yukino, two people he has grown to become friends with after their joint struggling, but it also provides a quick fix to things that doesn’t really solve the problem’s root: Ruri still gets ostracized in her school even after he broke all the relations around her, for example. We see him do this to himself and we want him to stop, to see how he has legitimately impressed and helped the people around him without him even knowing, to stop using these methods, to maybe start believing in himself and his right to joy again. Taking the heat for someone else and sacrificing yourself for something or someone, in Japanese media in general, is seen as an exclusively righteous thing. Oregairu, as you can see, doesn’t share that view. We share for Hachiman because it’s refreshing to see things in more than the formulaic way without it being a heavy handed critic, because Oregairu is still, despite all that’s been said here, a funny and endearing story that will split your sides with some good jokes and catch your attention for real with its interesting developments. We see consequences to actions, and we see growth to the characters.

It’s easy to root for Hachiman because he feels like a person. We can relate to him in the sense that no doubt a lot of us had some of the problems he has. No doubt some of us were loners at school, or had/have depression, or maybe something as comparatively minor as being socially awkward. He doesn’t “get better” from one volume to the other, we see how long it takes, because change takes time. We are 11 volumes in and we are still seeing how Hachiman is growing and slowly but surely solving his inner demons. We root for him because he is a person we want to see win, because his adversity is palpable and you can’t help but feel invested in his victory. I want him to win. I want him to accept his happiness again. I want to see him discard the essence of self-destruction in favor of coming up with solutions that don’t involve gathering everyone’s hatred, like he has finally started doing, 11 volumes in. It doesn’t feel cheap. It’s not something that got solved from one moment to another. The healing has taken time, and it’s paying off.

It’s easy to root for Hachiman because it is only natural to want to root for someone who is trying so hard to get that genuine something he so dearly wishes for, someone who doesn’t have it conveniently easy (and man, does he have it hard), but keeps going anyways.

anonymous asked:

It's funny when Marvel fans are butthurt when they see "Wonder Woman does one thing most Marvel movies don't have the guts to do" article, they're like "pretty sure I can say at least 5 good Marvel movies. I don't think dc makes an effort at all bc they still don't learn from the harsh critics for Man of Steel. Even Justice League trailer is bad. Marvel still wins in all areas while dc fails." I guess they really love Marvel villains that are mostly forgettable & bland white main male characters

Jesus They can’t let DCEU fans have one fucking thing, can They? I don’t know what I expected from people who spent a solid year loudly throwing a tantrum that certain films from a rival company They spent all Their time talking shit about weren’t made with Them in mind.