do you know how many female characters i can apply this to

a friendly reminder that no matter how many bad books we read there’ll always be soc a.k.a the true masterpiece of our time which is like a safe blanket for murder babies and you can throw it over your head and pretend you’re on your way to a big heist or smth equally dangerous (but exciting) :’) and while you’re dreaming of $$$kruge$$$ you might also wanna remember that soc has:

- a bi poc character who didn’t dance around the term hgtawm style and pull some lame explanation out of his ass ala ‘it’s complicated’ but he actually said ‘not just girls’ so yeah confirmed bi poc who’s a KNOWN flirt and everybody praises him for it instead of mocking/shunning him honestly what did we do to deserve jesper fahey
- a disabled gang leader who’s literally thE BADDEST BARREL BOSS TO EVER WALK THE STREETS OF KETTERDAM caw caw bitches (he also has severe ptsd, panic attacks, suffers from traumatic flashbacks and experiences nausea and all kinds of ptsd symptoms everytime he (even accidentally) touches someone but does that limit or stop him in any way?? HELL NO MOFOS here comes kaz brekker with his crow cane and he’s about to whoop some ass better beware)
- a beautiful, amazing, talented, showstopping, spectacular, never the same woc who is basically?? everyone’s treasure, heart, love, most cherished person ever, role model, etc. etc. and it’s only right tbh inej ghafa owns my entire heart and i’d gladly give it to her over and over again if that would make her smile. she’s been sold into slavery (mentions/hints of prostitution which only adds to her bravery and strength thank you very much) when she was 14 but she managed to leave the past behind her and remain INCREDIBLY kind and humble despite all the shit she’s been through?? there is no character i adore, respect and love more than inej (okay maybe there is and inej calls her sankta alina b y e)
- a CANONICALLY. FAT. FEMALE CHARACTER WHO’S JUST!!! AMAZING. BREATHTAKING. HEART-STOPPING (literally). a true inspiration to us all who was also held captive when she was younger, trained by the mighty (goddess on earth) zoya nazyalensky, held captive again - this time by a gross ass, fanatic ass fjerdan nazi soldier/leader and lemme tell you she didn’t even lose her appetite. BOI she wasn’t even fazed. she couldn’t find a single fuck to give & she was determined to move on but she was plagued by guilt so she came back to save/help the boy who helped HER so she’s not just a pretty face and she’s so?? badass and smart and funny and fierce and she’s so fucking PROUD of every roll and curve on her body i could actually cry?? nina zenik, an actual muse for young girls/readers. nina zenik, life & wife goals
- a smol (very smol but also kind of a sinnamon roll tbqh? he aspires to be one anyway) angelic boy who comes from a TERRIBLY abusive home bc his father is an actual piece of shit and humiliated him all his life bc wylan couldn’t read. well guess what joke’s on van eck senior bc my boy, my CANONICALLY GAY SON, is smarter than him and his entire sorry lot and he’s gonna take over the world one day, you just wait. also just wants to make things go boom boom POW (usually regarding explosives but also applies to jesper a.k.a THE MOST PERFECT, CARING, WONDERFUL BF EVER)
- a big yellow tulip also known as matthias helvar. so matthias is that boy who helped nina escape the clutches of his scary boss and he’s the actual literal embodiment of the grumpy cat. but!!! he undergoes the biggest character development of all imo bc he manages to change for the better (bit by bit, brick by brick) and let me tell you that’s COMMENDABLE. like listen this is a young man who’s been brainwashed into hating everything nina & the rest of kaz’s merry band of misfits stand for. he’s been taught nothing but hate hate and more hate and he manages to turn his back on those prejudices and he opened up so much and we got to see so much more of him in ck and we learned that he’s super kind and sweet and giving, and he’s so pure and wonderful and amazing. he also loves nina zenik A LOT which is smth i can get behind and relate to 100000%
- last but not least kuwei, who’s not ~an official~ member of kaz’s vip club (pity pity pity) but. he’s a gay poc (asian!!! the same as tamar&tolya from tgt so please don’t whitewash him, it’s unacceptable) who’s sassy but kind of laid back at the same time and his favourite pastime is to just chill in the back and pretend he’s not listening/doesn’t know the lingo but guess what?? boy is like an international spy bc he understands more than he lets on. he also lost his father (which kind of turned him into a living prize bc everybody wanted him for his knowledge & chemistry skills, like he could probably cook up a deadly virus in three minutes if he was feeling inspired that day - which never happened but still. it’s good to have options) and yet never complained about anything and he just let that drama unroll like 👀👂 I HATE DRAMA 🎧🔍📝 overall deserved better

I just get so so annoyed by people who come for the Celaena in the first ToG book. People always accuse her of Mary Sueing and not actually being as lethal as she claims and I am like have you considered the following:

-she has spent a year as a slave in Endovier

-she has had to fight every day of that year to remain sane 

-she was whipped. a lot. she was malnourished and weakened when she left the mines.

-it takes her a while to get back into shape after being a slave. like, duh. did you expect her to be killing ppl left and right as soon as she was free?? idk that would unrealistic and isn’t being unrealistic one the things that mary sues get criticized for?? hmmm? like idk u cant have it both ways. 

-the plot of the first book is not about her being an assassin. like, lol, thats part of her past and that is made explicitly clear. can u ppl even read i mean come on

-the plot it literally set up to give us a main character who has an intricate and painful backstory, i mean, her backstory is not completely clear in ToG1, but we do know that Arobyn is a dickhead and Sam is dead and that there is something else horrible lurking in her past. 

-so why are you all surprised when a 16 year old girl is happy to lounge in bed and read and flirt with the crown prince and go to balls

-she has literally been a slave for a year and before that she was an assassin like 

-so like same. fucking same. think about how u would act in her situation. u would flirt with dorian too. and chaol. and u would love nehemia. we all would. 

-can we stop expecting characters who are teenagers to act like they aren’t teenagers

-can u cut teenage girls irl slack as well

-and im sorry was Celaena’s participation in the competition to be the king’s champion not gory enough for you

-i mean is it not enough that she is supposed to kill like 20 other men

-i just…what else is she supposed to do?? she starts to learn about wyrds marks??? she is doing her part to begin the Hero’s Journey™ like ya gotta start somewhere

-again like the plot of tog1 is that she used to be an assassin as in past tense, as in, her assassinating people happened before the beginning of the book not during the book so stop complaining that she doesnt kill enough ppl?? 

-why is whether or not the main character kills anyone a legitimate complaint

-hint: it isn’t.

-there is literally a book called the assassin’s blade that makes her work as an assassin explicitly clear. and she does kill a lot of people. and at this point in time you can read the AB before Tog1 if youd like.

-please dont use the term mary sue to describe female characters. its pretty sexist tbh because we get tons of male characters in fantasy novels written by men who are idealized without ever proving their worth but i only ever see the term applied to teenage girls. like?? have u ever read the name of the wind. it is a bomb book but if u wanna talk about wish fulfillment and mary suing, Kvothe (yes his name is that pretentious) is ur fucking guy. 

-also an integral part of the mary sue trope is that the character is idealized and perfect and uh, Celaena is not perfect. Her flaws are what make her believable. I mean she has had this horrible past and she comes out of it being fairly selfish and a bit cowardly and vain. and thats just…so realistic? I mean that is how you would react if you woke up in a pool of your parents’ blood, were drowned in a river, raised from the age of 8 to be an assassin by an abusive dick wipe who claimed to love you but really just had a creepy crush on you, conditioned to mistrust everyone, had the one person you actually loved in the world be murdered, and then were sold out by your abusive assassin dad to the king who was responsible for your entire family’s death and ended up in the fucking mines as a slave. 

-I see a lot of people say that Celaena is a mary sue and then criticize her for all her flaws and im like…but the mary sue is an idealized character who has no substance to back up their perfection. Celaena cannot be a mary sue and also have all the flaws you claim she has??? that is just false logic?? in fact, Celaena has all of the substance and flaws and life experience to back up her actions and like, none of the perfection. 

-idk what to tell u other than that u have to allow female characters, especially teenage ones, the space to grow? and idk about you but i dont want to read about characters who have zero flaws? I’d rather read about celaena, queen bitchness herself, because hey you know who else is a bitch and immature a lot of the time? Me!!!! Myself!!! 

-But I’ve grown a lot and so does Celaena and idk about you but I am so here for extreme character growth over the course of 6 books like….that is so great…so many authors have flat character growth or no character growth and SJM avoids that completely by giving us a character who has so many issues and ways she could be improving herself.

-stop shitting on celaena for not being the perfect character u want her to be.

-bye. 

anonymous asked:

I have a female character in her early twenties. How realistic would it be for her to be skilled (enough to hold her own against larger opponents) in hand to hand combat in under two years? If not, what would be realistic for her to master?

It’s realistic, sort of. There’s a few minor issues that don’t really fit together here, making it (at least seem) unrealistic as written.

Practical martial arts training intended to put someone into combat lasts far less than two years. You can learn effective hand to hand techniques that you can then apply in combat in an eight week course. If you’re coming out of the military or from a police background, your hand to hand training took, at most, a couple months. Then you go back every six months to a year, and update it, meaning you learn what others have developed to counter your training, and how to deal with their counters.

Practical training isn’t so much about spending years learning how to fight, as checking in often enough to see what’s changed. When you’re dealing with untrained opponents, it really doesn’t matter. Most people haven’t been in a fight since high school, and even basic police adapted Judo from the 70s will take them down.

As we’ve said many times before, most martial arts apply to larger foes without missing a beat. This is especially true of the adapted Judo/Jujitsu which forms the core of most American police and self-defense forms. This may be a difficult concept to wrap your head around, but it is far easier to put an opponent on the ground when they’re a foot taller, and a hundred pounds heavier, than the other way around.

Depending on how zealous they are about keeping their training up to date, someone who underwent training two years ago will have gone back four to six times, to update. They may have also elected to retake their training just to, “brush up.” Either way, we’re not talking about someone dedicating a lot of their life to this.

That said, if you’re talking about someone who signed up at a Dojo, and has been taking weekly classes, there’s no way to know what they’re trained to deal with. Some recreational schools will get into practical applications for their martial art, and offer it as an optional advanced class for their students. At that point, it’s entirely dependent on her instructor if she gets in (as an adult, these would probably be open to her if she wanted). It’s also, depressingly common for a martial arts school to offer, “self-defense,” classes that are just their normal curriculum with a different advertising hook. A class like this will not prepare your character for a self-defense situation.

For reference: If you’re taking a self defense class, and the discussion doesn’t include a serious discussion on situational awareness, and/or your instructor puts a lot of faith in your ability to overcome via superior force then you’re probably in the wrong place. Real self-defense training focuses on creating an opening so you can retreat to safety (if possible). It’s concerned with your ability to escape the situation and survive, not your ability to win a fight. Sticking around and dealing with an assailant is something you would only want to consider very situationally.

Also, in case it’s not clear, when I’m talking about Police adapted Judo, it is not the same martial art as Judo. It was derived from Judo after the Second World War, and the modern martial art still shares some techniques, but there have been substantial modifications to it, in order to produce something functional for combat. Judo itself is intended to be a sport martial art, and not something you’d take into combat.

There’s also no way to know exactly how fast the school moves its students through, and how quickly your character would advance. These are all dependant on human interactions and how quickly they learn and internalize techniques. In a more traditional school, two years is not a lot of time, but a modern Dojo may move a lot faster. It all comes down to the instructor’s preferences.

That said, recreational martial artists are not (usually) trained for combat. There’s a fundamental disconnect between how practical martial artists approach techniques, and how recreational ones do. They’re often studying the exact same techniques, but with different goals in mind. The recreational martial artist is learning to perform it, the practical one is learning to apply it. This might not sound important, or could come across as irrelevant trivia, it’s not. This is a large part of why practical training is so much faster. You’re learning how to do things to your opponent, not how to perform the techniques correctly.

A character who’s spent two years taking a martial art in a recreational capacity, may be able to handle an untrained opponent (it’s actually, fairly likely, assuming they don’t make any critical mistakes, which is also quite possible), but may face serious issues dealing with a trained opponent (this will depend entirely on what each character’s training focused on). Someone who has trained with a practical focus will be able to take on an untrained opponent (assuming they don’t make any major mistakes or misjudge the situation). Ironically, they’re also far more likely to attempt to avoid direct confrontation, and try to defuse the situation non-violently, than a trained recreational martial artist would.

So, your character’s been training for two years, and you want to know what she can tackle. If she was simply going to a Dojo twice a week, that’s not combat ready. That may not even be combat ready, if the Dojo’s “self-defense” class was run by the same instructors who believe their decade training in a sport martial art is good enough for “the streets.”

If your character’s been training with a cop, or ex-military, relative/friend/rando, or been in police sponsored self-defense classes, then two years is more than enough time to be able to deal with an opponent.

There’s an unrelated issue that Michi would be irked if I didn’t bring up. (We both started typing up radically different responses to this question.) Mastery a term that gets tossed around a lot in fiction. In martial arts, two years isn’t long enough to master anything. It’s not enough time to master the basics, it’s certainly not enough time to master advanced techniques. Mastery reflects a very high baseline of skill, and can easily take decades of dedicated training. A character can become proficient in elements of a martial art fairly quickly. That is to say, they can perform them correctly, and present a solid (or effective) technique. But, mastery, in this context, is a much higher bar to hit, and not one a character will reach within the first few years of starting a martial art.

There’s one last thing, “hold her own,” is a very difficult goal. Unarmed combat doesn’t tend to equalize out like this. You either win, lose, or wear each other out in fairly short order. Combat is extremely tiring, it’s part of why real self-defense tends to focus on creating an opening and escaping. Sticking around and trying to win a fight through attrition is a losing proposition for nearly everyone. Getting a good clean shot in on someone is usually enough to create the distance you need to escape. It’s not, “winning,” but, if all you need to do is retreat, that’s all you need. If you’re going to stick around, then the goal is to take your opponent down quickly and decisively. Unarmed combat doesn’t allow for protracted dueling the way Wuxia films present it.

-Starke

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How to research your racially/ethnically diverse characters

chiminey-cricket asked:

Do any of you have any tips for doing independent research for PoC characters?

This question is super broad, but I’m going to see if I can give it a crack!

First of all, consume media by the group in question. If you want to write a story with a Chinese-American protagonist, read some blogs by Chinese-Americans, read books by Chinese-Americans – both fiction and nonfiction – lurk on places like thisisnotchina so you can get a feel for what pisses Chinese and Chinese diaspora people off about their portrayal in the media, google for stereotypes about Chinese people and try to make sure you’re not doing those (even positive ones), go more general (East-Asian all-of-the-above in general since in many cases the harmful tropes overlap), go more specific (if your protagonist is female, look specifically for blog posts featuring the opiniosn of Chinese-American and other Asian/Asian diapora women; same if your protagonist is attracted to the same sex, is transgender, or deals with any other form of oppression besides anti-Chinese racism.) All of the above applies to Latinxs, Native Americans/Canadian First Nations, African/African diaspora people, Jews, Muslims, etc. Find out what we’re saying about ourselves.

Lots of things are available just from Google. “I have a Black character and I want to know what kind of hairstyles are available for her!” We have a Black hair tag, but apart from that, googling “Black hairstyles” will probably bring up some articles that can at least give you a good starting point to learn some vocabulary to add to your next Google search, like “natural” and “twists” and “dreadlocks.”

Next, you can talk to people in the group, but before you do this, be sure to have some specific questions in mind. “How do I write a Jewish character?” is not a specific question. “Do I have to make my Jewish character follow kosher laws if I’ve made her religious in other ways, or can she go to shul but not keep kosher?” or “What’s a term of endearment a parent might use for a child in Yiddish?” is much more specific. Remember, if you’re talking to someone they’re answering you back with their free time, so expecting them to do most of the work of figuring out what’s most important for you to know is a little entitled.

Besides, a more specific question will give you a more helpful answer. If someone asks me “how do I write a Jewish character” one of the first things out of my mouth will be a list of personality stereotypes to avoid, which isn’t going to be very helpful if what you really need for your fic was whether or not you have to write your character as following strict kosher laws.

If you’re sending a question in to a writing blog or one of those race blogs like thisisnot[whoever], please read through their tags and FAQ to see if they’ve already answered it. Longtime followers of a blog would get very bored if all the blog’s content was nothing but “We answered that here last week at this helpful link!” Those who participate in answering these blogs are usually unpaid volunteers who provide a resource that’s already there to help people; help repay them for what they do by looking through the material on your own first.

How to tell if a source from outside the group is biased and bigoted: obviously, you’re not going to want to listen to Stormfront about Jews, or the KKK about, well, anything. If you’re not on a source created by the group in question, look for dry and academic language as opposed to emotional, informal, or inflammatory words – although dispassionate and technical language is no guarantee it won’t be racist, colonialist, or inaccurate. If you read enough books and blogs from the inside, though, you’ll probably see some of the myths from those other sources debunked before you even encounter them.

Lastly, don’t assume that all people who are Asian, African-American Christians, religious Jews, or Muslims are from cultures more oppressive, more conservative, more patriarchal, more homophobic, more sexist, or more controlling than the one in which you were raised. If your plot calls for homophobic parents or a repressive culture, that shouldn’t be the reason you make your character one of the groups listed. There is plenty of oppressive, anti-woman, and anti-queer thought in white American Christian/Christian-cultured society and personally, I believe such criticisms of the marginalized diaspora peoples I listed above belong in the voices of the cultures themselves.

–mod Shira

I’d not leave looking for dry and clinical information as the ONLY means to distinguish that a work is biased.

While yes it is pragmatic to say “look for academically toned wording,” … in addition to that, these folks really need to look into who the author is. Definitely look into the author. And the year the thing was published (because man if it’s from like the 60s or earlier, 9 times out of 10, throw that shit out).

Because people can disguise hatred and racism in careful diction so that it looks reasonable and polite. A shining example is physiognomy studies from Nazis and anti-Semite eugenecists. And the sad thing is, you really can’t trust people to read it and make the judgement call that this hate-in-disguise they’re reading is hate.  

Somehow, when someone says, “The people of the Levant express features such as […] which, at the risk of sounding untoward, suggest a very rodent-like persuasion,” people are like, “Oh, well, that was worded fancily and there was no angry or profane language, I suppose they’re right,” not stopping to think even for a moment that they just accepted that this book just said to them that Jews look like rats. I saw it happen in my Nazi Germany class when we were given reading material. It was fucking nuts.

So definitely, definitely look every outsider author in the mouth and cross-check any and everything that person says. 

–mod Elaney

Shira again: Elaney is right that you will want to be critical of outside sources, especially older ones. Also, be suspicious of blanket statements about a group such as “X group are” instead of discussing forces in X culture. For example. Because there’s going to be diversity within any group and it’s likely what’s being said isn’t inherently biologically linked to being in X group.

–mod Shira

anonymous asked:

I just came across one of your posts on love where you mention pride and prejudice in the tags- do you have any more explicit thoughts on what makes it good as a love story? I love p&p and I'd love to hear what you think if you have time!

I don’t have time at all but I can’t resist an invitation to talk about Pride & Prejudice.

P&P has tropes & plot structures that have occured plenty of times in romance before and since–the “misogynist with a heart of gold” that is Fitzwilliam Darcy, the general woman-rejects-man-then-later-accepts-him arc–but I think that it succeeds where a lot of other things with similar narrative structures fail.

the thing about this setup is that provides ample opportunity to showcase love as a transformative force. and fiction with this setup succeeds or fails, imo, on the strength of its success or its failure to do that. a lot of things written in this vein, including modernized or AU-style adaptations of P&P or things that were probably heavily inspired by P&P, fail because there’s no character growth and no transformation. the woman realises that she was silly to reject the man for her silly reasons (which were actually probably very sound) but doesn’t really change in any material way–the man is there to graciously accept her change of heart, but doesn’t change in any material way either. this, incidentally, is why I can’t get behind North & South in the way that I can Pride & Prejudice.

the appeal of Pride & Prejudice for me–and, presumably, the appeal of P&P to a lot of women who are into men, lmao–is that Darcy actually changes throughout the course of the book due to Elizabeth’s influence. we see this, of course, during the scene at Pemberley with the Gardiners, when he behaves w/ actual civility (in ways that are probably familiar to you and don’t need to be dwelled on), and Elizabeth is all,

Why is he so altered? From what can it proceed? It cannot be for me—it cannot be for my sake that his manners are thus softened. My reproofs at Hunsford could not work such a change as this. It is impossible that he should still love me.

but. okay. so what. anyone can change their behaviour for another person, anyone can act the way that they think they have to act to get the girl, so what? the real crux of this imo, and what makes it really compelling to me, is that I don’t think he changed for Elizabeth. because of her, yes, by his own admission, but from the time between her rejection and her arrival at Pemberley, I don’t think he ever thought that he was going to see her again. or at any rate I don’t think he planned to reform (or appear to reform) for the sole purpose of getting her to say yes to him. after she rejected him, he spent a lot of time, on his own, thinking about what she had said and looking back over his own behaviour:

The recollection of what I then said, of my conduct, my manners, my expressions during the whole of it, is now, and has been many months, inexpressibly painful to me. Your reproof, so well applied, I shall never forget: ‘had you behaved in a more gentlemanlike manner.’ Those were your words. You know not, you can scarcely conceive, how they have tortured me;—though it was some time, I confess, before I was reasonable enough to allow their justice.

so he realises, over a long stretch of time, that he was disrespecting Elizabeth, failing to pay attention to her actual feelings (during the proposal scene and before), and expecting his status to be sufficient in securing her acceptance. he realises this by reflecting on himself, at his own impetus, at some distance from Elizabeth, not expecting her to guide him through the process of becoming a better person, not expecting her to automatically love him at the end of this process. he examines himself, not because he’s being guided every step of the way by a Selfless Female Figure, and not because he expects reward, but because it’s the right thing to do. and I think that his behaviour and mindset would have changed even if he never saw Elizabeth again, even if she had said no to him again when he proposed for the second time. (which was a greatly improved proposal, btw–“one word from you will silence me on this subject for ever”? a vast improvement over launching into a proposal without noting the “cold civility” of Elizabeth’s manner. “you are too generous to trifle with me”? a far superior knowledge of her character to thinking that her refuseal was solely due to her “pride [being] hurt by my honest confession of the scruples that had long prevented my forming any serious design”.)

I can’t resist quoting this entire speech as an illustration of my point:

Painful recollections will intrude which cannot, which ought not, to be repelled. I have been a selfish being all my life, in practice, though not in principle. As a child I was taught what was right, but I was not taught to correct my temper. I was given good principles, but left to follow them in pride and conceit. Unfortunately an only son (for many years an only child), I was spoilt by my parents, who, though good themselves (my father, particularly, all that was benevolent and amiable), allowed, encouraged, almost taught me to be selfish and overbearing; to care for none beyond my own family circle; to think meanly of all the rest of the world; to wish at least to think meanly of their sense and worth compared with my own. Such I was, from eight to eight and twenty; and such I might still have been but for you, dearest, loveliest Elizabeth! What do I not owe you! You taught me a lesson, hard indeed at first, but most advantageous. By you, I was properly humbled. I came to you without a doubt of my reception. You showed me how insufficient were all my pretensions to please a woman worthy of being pleased. (emphasis mine)

my only quibble with this is that I would have wished this apology to occur before Elizabeth’s acceptance, but oh well.

of course, Elizabeth changes as a result of all of this too, and that’s part of the point of the book (Darcy’s is the Pride, but hers is the Prejudice). after she realises that she was wrong about Wickham:

She grew absolutely ashamed of herself. Of neither Darcy nor Wickham could she think without feeling she had been blind, partial, prejudiced, absurd.

“How despicably I have acted!” she cried; “I, who have prided myself on my discernment! I, who have valued myself on my abilities! who have often disdained the generous candour of my sister, and gratified my vanity in useless or blameable mistrust! How humiliating is this discovery! Yet, how just a humiliation! Had I been in love, I could not have been more wretchedly blind! But vanity, not love, has been my folly. Pleased with the preference of one, and offended by the neglect of the other, on the very beginning of our acquaintance, I have courted prepossession and ignorance, and driven reason away, where either were concerned. Till this moment I never knew myself.”

similarly, she attends to her shortcomings without outside guidance, and she doesn’t change for anyone in particular. this is important to talk about when discussing how P&P showcases the possibility of transformation, and the transformative power of love. of course, she doesn’t love Darcy at this point, and I’d argue that Darcy didn’t love her at the time of his first proposal either (he was perhaps passionate or infatuated, but real love involves respect for someone and a knowledge of them, and Darcy had neither). what’s really compelling about this for me, what really makes me care, god help me, about this straight white British couple, is that they don’t just go on loving each other w/o changing, they don’t even change because of their love for each other, but they arrive at loving each other through the ways in which they change because of their experiences with each other. and I think that this novel gets at, in a way that a lot of fiction based in the same general premise fails to get at, the concept of love as action, love as respect and mutuality, love as process, and love as transformation.

The maid

Characters: reader, Dean, Sam

Pairing: Dean x reader

Warnings: swearing, smut, Dom!dean, sub!reader, praise!kink, orgasm denial, oral (male and female receiving), unprotected sex

Word count: 3411

Summary: when you take up a new job as a maid at the bunker, you may have a slight crush on your boss; Dean.

A/N: happy Valentine’s Day, here some Dean smut for you beautiful people

You were running late to your job interview. It wasn’t like you weren’t prepared or didn’t leave on time, but this place was very hidden. You were in desperate need of money so you decided to go to an interview to become a maid at a bunker. You had seen the ad for the job, you didn’t have to book an interview you just had to show up between the time 3:00pm-5:30pm. It was 6:30pm and you had only just arrived outside of this bunker.

Keep reading

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lmao like the only time i EVER see hard disney fans even mention ghibli and miyazaki in comparison to disney films is in light of disney’s own mistakes and laziness like damn y’all need to calm down

lemme teach you a lil’ somethin’ somethin’ about stylistic choices in animation and sheer laziness

STYLISTIC choices is about having the full capability of creating characters separate from the previous protagonists while at the same time tying them to the studio that produced them.

And that’s not even scratching the surface.

Considering that a good portion of Ghibli’s library consists of LEAD FEMALE PROTAGONISTS who are usually very young, they need to find a set balance between recognizable and unique.

Ghibli was founded on traditional art and the studio still holds many of those values with it. This is of course including hand-drawn animation in which there is no single model, only the same character drawn over and over again. Is this about CGI vs traditional? No, both can and have provided beautiful films and scenes but it’s not about which one deserves more recognition. It’s about the methods used and how the choices for each one vary. I only bring up the animation methods because it’s part of the reason as to WHY these characters are so simplistic in design.

Still though, they need each lead character to stick to the Ghibli/Miyazaki style to a certain extent. They need to share certain qualities to make them fall in line with the rest of Ghibli’s library.

I mean, they have their differences but they’re obviously Ghibli characters so okay they all have relatively small eyebrows (though considering that they are Japanese that ties in with their ethnicity but OKAY moving on), they all have the eye highlight thing going on, and they all have very non-pronounced noses. I suppose yeah those are all the same. They do shift but those characteristics are roughly the same.

Still though, that isn’t a problem nor is it blatant same-facing. All LAIKA characters have skewed noses, all Dreamworks characters have thin noses, and all Aardman characters have bulgy eyes. Does that mean they’re same-facing? No. It means they’re sticking to stylistic choices to keep themselves separate from the competition.

Don Bluth MADE the choice to stick to a style closely resembling Disney. You know what happened? A whole generation grew up thinking that Anastasia and Thumbelina were both DISNEY films, not Bluth and Fox animation.

There’s a reason why studios tend to go for their own set style.

But hey! Want even more evidence that it’s a stylistic choice?

Because THE VERY SAME CHOICES CAN BE SAID FOR THE DUDES

Save for Haku because he’s a fuckin’ dragon.

While gender is never really brought up in Ghibli films, masculinity and femininity are both neutral here, it’s safe to say that their designs and treatment are both equal. Ghibli isn’t out to make exclusively beautiful/handsome characters, they make them as simple as possible to keep them relatable and much more easier to manage.

The difference here is that Disney has always set out to make their MALES different while sticking their females to the same “doe eyed, small nose, thin lips” ideal. Yes, there is a set Disney style and it has always focused on those features and that necessarily isn’t a bad thing. It’s the Disney style. HOWEVER it seems to only apply to their females. Even worse is their marketing of said females.

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GOTTA KEEP THEM GURLS PURTY

The Disney style has shifted from time to time and it shows evidence that it CAN include more diverse female designs. Both Kida and Calhoun are wonderful examples of this. It’s not as if Disney hasn’t evolved or changed their views on female characters to a certain extent. Unfortunately, said shifts haven’t always worked out in our favor or headed in the right direction. It wasn’t until Tangled that Disney came out with it’s true “get richer quicker” scheme with their female leads.

watch as i shift into MAXIMUM PUNZEL-DRIVE

As of late it’s Disney’s sheer laziness when it comes to female design and their own avarice that has caused SUUUUCH a dramatic shift in how fans are taking the Disney style now. When Ghibli audiences and fans never look at a new movie and go “oh it’s Chihiro but tiny” or “oh it’s Chihiro but on a broom.” That is the set style, not a lazy copy-paste.

But hey, let’s bring in OTHER females to see how this works out. I mean, the Ghibli style is prevalent to ALL of their characters so surely they all the parents look exactly like their children.

Let’s look at these lovely lady leads and compare them to their parents.

Congrats, kids, you’re all adopted!

WEIRDLY ENOUGH all of the characters and their parents (if they have any) share same characteristics while at the same time remaining completely unique to each other. It’s almost as if they also take after their father and/or previous generations of their familly. Haha, genetics!

But okay, let’s be a little more fair with Disney.

Let’s look at two families with two daughters.

Mitosis or go home

There is having stylistic choices and there is being lazy.

There is creating a character with similarities to their parent and there is making a recolor of your lead character.

There is creating simple designs for a traditionally animated film and there is reusing the same model because it worked so well the first time.

There is being a small Tokyo-based studio with 300 employees and there is being a large American animation studio with 800+ employees.

THAT is why no one ever complains about Ghibli’s approach to character design and THAT is why Disney doesn’t even come close to Miyazaki.

Let’s finish this off with some MORE wonderful Ghibli characters (most of which being my personal favorites so they belong on here too.)

Now go watch more Ghibli.

Let's talk about bughead antis

Ok so I didn’t initially want to get too deep into the hate surrounding bughead as a canon ship, but seeing the number of hate comments on the cast’s tweets (particularly Lili, since she’s the one who has tweeted about the deleted bughead scenes the most) has honestly made it hard to stay out of. I understand not backing a particular ship because you just don’t see the two people connecting, or because you ship one of them with a different person. That’s all fine and good. But to go after and verbally attack the writers and cast of the show because you don’t agree with how the story is being written is unacceptable.
I know a lot of people are mad because bughead as a ship doesn’t fit with the comics, which I can certainly see if you’re comparing the show to a few specific storylines in the comics, but it definitely doesn’t apply to all of them. The Archie comics have been around for a very long time, and in that time there have been a countless number of tellings of the lives of the characters. Granted, most (if not all) of these feature Jughead as either romantically/sexually uninterested in anybody, or as strictly asexual/aromantic, which makes the argument that he shouldn’t be in a relationship a little more valid. However, that’s not to say a more romantically interested Jughead character is completely off the table, as there are endless possibilities for the story of the Archie comics characters.
The idea of endless possibilities brings me to beronica. Obviously there were a huge amount of people who went crazy for the beronica kiss in the first episode. Who wouldn’t? The idea of two strong female characters being in a relationship is more than appealing, and I would honestly like to see their relationship develop more throughout the series (maybe not romantically, but I like the idea of them as a sort of power duo). With that kiss came a lot of expectations as to where their relationship would go, and thus bringing about beronica shippers. But, when bughead was made canon in episode 6, beronica shippers, for lack of a better term, went crazy.
This brings me to my main point. Now, like I said before, it’s perfectly fine to be dissatisfied with a couple in the show because it’s not allowing for your personal ship to happen. But, as I also mentioned, attacking the actors and writers of the show for making it impossible for your ship to exist at the moment is unacceptable. No amount of hate comments or protests is going to get the writers to change anything, so you might as well just let the show run its course, and if your ship ends up working out, that’s great! But don’t spend your time angrily tweeting at the cast and writers just because you’re unhappy with how they chose to write the show.
Lastly, and I’m surprised this isn’t more obvious, it’s a TV show. It is a fictional story comprised of made up characters and a screenwriter-developed plot. Of course it means a lot to all of us who watch it, but there comes a point where you need to separate reality from fiction. The actors on the show are real people. Lili, Cole, Camila, KJ, Madelaine, Casey, Roberto and all of the other wonderful people who make this show what it is are just that: people. So stop treating them like robots who will respond to your every demand, and stop saying so many hurtful things to them. Whether or not you think they do, they see the awful things you say to them on Twitter and everywhere else. And I bet you anything that those things hurt.

TL;DR: y'all gotta just suck it up, stop being assholes and let the show run its course

pretending kairi is the most precious perfect character and the strongest girl to ever exist in the KH universe is not progressive. blindly accepting kairi and her canon characterization just bc of a few headcanons circulating tumblr doesn’t make up for how square treats her as a plot device and a sexual fantasy for purity and innocence.

by accepting kairi’s canon characterization and not discussing the extreme flaws in the canonical writing of her character lets square get away with this mistreatment of a female character yet again. they’re just gonna keep making female characters like kairi. kind of like aerith: square reduced aerith to basically nothing and they are continuing to do this with her character in KH but fans either pretend that she’s always been like that or that nothing has changed. either way, it’s still ignoring the problem. 

just bc kairi and aerith are women and characters that you personally love doesn’t mean you can’t talk about the flaws square forces on them. ignoring these flaws does not make you a beacon of progression. tumblr is making it seem regressive if you don’t accept every female character that steps out of the tired old gendered stereotypes machine square uses to create their female characters. this taboo that tumblr has placed upon discussing flaws in female characters needs to stop. advocating for a female character is not defending everything about her while applying headcanons to her story (or lack thereof).

loving a female character who happens to have these flaws is not the problem. the problem is accepting this to be a female character’s fate and resigning to writing headcanons about her to give her some actual characterization. and that said, writing headcanons about kairi having actual characterization is not the problem - it’s just kind of sad that we as fans have to make up for shitty canonical writing. but headcanons on tumblr do not and will not make this mistreatment go away. square will continue to damsel kairi (and who knows if we’ll ever see aerith’s weapon again) bc fans are letting square know that they’re okay with it by ignoring the problems in these female characters. also, not being able to talk about this on without being labeled misogynistic is the problem. calling out these flaws in a female character is not hating on her because she is a woman - it’s standing up for her. no longer blindly accepting that aerith’s weapon and characterization vanished into thin air is way more progressive than just blindly accepting an aerith that has been reduced to nothing but a mother complex.

square will not change the treatment of kairi if fans continue to act like she’s perfect. to square, that means kairi is perfect bc she holds her hands out to the sides and cocks her hips when she’s supposed to be just standing normally. to square, perfection is the box of dainty flower persona they’ve shoved kairi into alongside basically all their other female characters. to square, kairi is perfect bc she swung her keyblade once, fell down and cried for sora. to square, it’s perfectly fine for sora to pick up a keyblade and instantly be able to use it, but not kairi. to square, it’s okay for kairi to have no personality of her own bc she giggled once and fans fell in love with her and deemed her precious. it’s fine for kairi to be a plot device bc it’s not like square has very many women in the plot anyway so we as fans are gonna accept what we can. all of this can also communicate to other fans that because this is acceptable to you then it’s fine. like, “this one feminist blog i follow is fine with it, so it must not be a problem” (your headcanons aren’t always transmitted to other fans).

loving kairi as a character is not the problem. having her as your favorite KH character is not the problem. having headcanons about her to make up for shitty writing is not the problem. the problem is not discussing the huge flaws in her characterization bc tumblr has made it taboo. the problem is acting like kairi is the greatest character in the world just bc you feel like you have to since KH doesn’t have very many women. telling other fans that they’re misogynistic for pointing out these flaws is the problem. acting like you’re the best KH fan bc you picked all the female characters to be your favorite yet ignore how they’re canonically treated is the problem. it’s not progressive in terms of feminism to blissfully ignore how kairi is treated canonically, and it’s not progressive to the fandom either. just bc there aren’t very many women in square games doesn’t mean you have to accept the scraps they throw at you. love kairi, and let square know that this treatment of her is not okay. demand more from them. demand more from her. don’t let square continue this mistreatment of female characters just bc you want to love more female characters. love them by demanding a better canonical treatment.

Opportunity

Pairing: Jared x Reader

Word Count: 5.6k (haha whoops)

Warnings: Ridiculous amount of cussing (usual in my writings), OC’s, minor humour, size!kink, hip!kink, nail scratching, hair!kink, dirty talk, sweet, sweet passionate smut.

Summary: You win a competition to film on the set of Supernatural and meet your idols. During your first day on set, you notice not only that Jared Padalecki has been eyeing you, but discover the fandom’s biggest headcanon on him in the bedroom is true.

A/N: This is entirely written in first person BUT it is still technically a reader insert, just a different format. For the purpose of this fic, Jared is single. Obviously no hate on Gen, it is fiction for entertainment purposes only. This was written and posted within hours, so all grammatical and spelling errors are my own. I apologise if there is a slight switch between tense, I was tired and in a rush to get all my thoughts on screen and posted that I wasn’t too stressed. It’s fanfiction, it doesn’t have to be perfect. Anyway, please enjoy. Feedback is appreciated.


Originally posted by carryon--my--wayward--butt

Beep beep beep beep beep.

“For fuck sakes,” I groaned, slamming my forefinger on the ‘stop’ on my phone to silence the alarm. I closed my eyes for a few more seconds, already knowing my phone was about to buzz yet again with a second alarm. My sensible self knows how much I like to sleep in. My sleepy self wants to fucking punch my sensible self for being so… sensible.

After silencing the second alarm, I stretched and rubbed my eyes, already reaching back for my phone to browse my social media like I do every fucking morning because I like to ignore my daily responsibilities and shove my eyeballs onto a screen to pretend like my life is interesting.

I go through all of my notifications, none of them worth really looking at, and begin to scroll down my Facebook page. I stop suddenly when I see Jared Padalecki’s latest post, my eyes catching the photo of Jensen, Misha and himself holding up a sign that read ‘WE WANT YOU!’

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Temperance Brennan represents lonely souls and misunderstood minds. She represents the children who find solace in their knowledge and curiosity. She represents the adults who yearn for something more. She represents the women who realised that their independence is not a reflection of their relationship status. She represents the women that put their careers first. She represents the women who do it all. She represents strength. She represents loyalty, love, and intelligence.

Temperance Brennan is a strong female character who has graced our screens with passion, determination, and emotion for the past 12 years. She has taught us that education is the best thing we can do for ourselves. She has demonstrated what it means to be a leader and how we can share our knowledge with others. She has showed us that unwavering faith and love in friendships is possible regardless of our interpersonal skills or lack thereof. She has made us brave to express ourselves. Temperance Brennan has made us better people.

Temperance Brennan has evolved majorly over the past 12 years. Not only has she grown, but we have grown with her. Every tear she shed, every smile that graced her face, every laugh that left her mouth… We experienced it with her. We were there for her highs and lows, her ups and downs. We watched with anticipation as she saw her father again after 15 years. We cried with her and told her we knew who she was when she didn’t know who she was herself. As her cheeks grew red with embarrassment when she kissed Booth under the mistletoe, we smiled. We were making our own new friends while her friendships with Angela and Cam were being established. We took what we learned from Temperance Brennan and we applied it to our own lives.

We have learned to be logical. To think clearly about our experiences and the situations we are in. We have also been swayed to act in ways that aren’t particularly helpful. This is because Temperance Brennan has learned many skills and lessons throughout the duration of the show. We have watched her make mistakes and say the wrong things. We have said similar things in our own lives. But it is with the patience and willingness to learn that Brennan and ourselves have been able to right our wrongs (or have the skills to do so in the future if we so choose). We struggle together and we flourish together. That’s what happens when you allow yourself to become emotionally attached to someone. Whether it be a real life person or a fictional character. For me, and for many of you, Temperance Brennan is the one person who has stood by my side and I owe every good thing in my life to her.

Temperance Brennan, a child who had been abandoned by her family, a teenager who had been abused by her foster families, a young adult who aged out of the system and supported herself through college, a woman who became the best in her field, a scientist who became a New York Times Bestseller, an accomplished author who became a mother, a mother who got married, a wife who loves and lives and learns and leads. She has experienced happiness beyond her expectations. She has been loved harder than she ever thought possible. Temperance Brennan deserves a good life and that is what she got.

May she live on through our future endeavours. May she stand by our side while we take risks and become the people we want to be. May she stay close to our hearts while we find the happiness that she was blessed with. May she continue to be our inspiration, our friend, and our favourite person.

Goodbye, Temperance Brennan.
I will love and miss you forever.

Pluto

If Saturn represents our struggle with the external world and with our own difficulties living in it, Pluto represents our struggle with ourselves. Saturn and Pluto must be best friends, because they sure do know how to make life a living hell. More accurately, they make life a living hell when you resist their influence. And as Carl Jung said, “What we resists persists.” This is Pluto’s tagline. Pluto, the sign it rules over (Scorpio), and the house it rules over (The Eighth House) all represent the human shadow. The dark side of life. The things we don’t easily own up to. The sides of ourselves we’re more comfortable projecting onto others. It’s much easier to view ourselves as perfect beings of light, and to point the finger at all the people out there in the world that are evil and bad, than to recognize that we’re all human. Jessica Lange’s character Sister Jude in American Horror Story might have been right when she said “All monsters are human.” There are true horrors in this world and sometimes we get lost in news stories of this murder and that war. We’re all quick to condemn and judge our fellow humans committing atrocities. But do we ever stop to think, what made them that way? What happened to them? What is their place in the great cosmic story? Could causing others pain possibly be their life purpose, or has a tragic childhood forced them to wander off their divine path?

These are questions that I have grappled with recently. They’ve made their way into this piece but I don’t necessarily have the answer. I do know that the greatest force in this world is love, the greatest connection empathy. Libra is the sign of relationships, and afterwards, Scorpio comes strolling along. Scorpio and the Eighth House are the things we share in a relationship. Shared finances are relegated to this pair, along with the distress they may cause. As everyone knows, sex is Scorpio’s thing. Taurus, Scorpio’s sister sign, can lay claim to it, too, but Taurean sex is candles, whip cream, and foreplay. Scorpio is bondage, whipping, and power-play. The darker side of emotional intimacy, the power struggle. Scorpios are known to be fiercely loyal and possessive. The Eighth House is where bodies and souls melt together, where transcendence is found through unity with another soul. Scorpio is known to be a psychic sign, in tune with the undercurrents in the room. Especially the darker ones. The collective shadow. They’re known to love the taboo, the occult, the mysterious.

Astrology, by relegating the darker side of life to this sign, shows that it has its place in our lives and the universe. And don’t think you can escape it by not having your Sun, Moon or Rising in Scorpio. It will rear its head in whatever house it’s in, wherever Pluto is in your chart, and in your Eighth House. It must be faced, or it will be repressed. Freud, who was Scorpio Rising, spent his career investigating the id, our instinctual side, and how repression of it leads to neurosis. The id is composed of our sexual urges, our aggression, and our death drive (thanatos). All very Scorpio. And all very human. I think this has been an especially hard thing for females to integrate into their lives in the past, as they run counter to what society thinks a woman should be. Lilith, an asteroid in astrology, may in some ways be the female expression of the Pluto principle. I wrote a little about it in an answer to a question, here. The struggle with Plutonian energy, though, applies to all genders and all peoples.

So how does Pluto operate in our lives? It’s the farthest planet, so its cycle through the zodiac is the longest. It spends about 21 years in each sign, so it is the most generational. To see how this force manifests in your personal life, look to its house placement. Wherever Pluto is, you will be prone to some extreme transformations. When it comes to the darkness, it’s always trying to be noticed. I read somewhere that Buddhists, rather than exorcising demons, would invite them to a grand feast. After being fed and paid attention to, the demons would transform. You see, we cannot fight our demons (or drown them - “they know how to swim,” as Bring Me The Horizon sings in “Can You Feel My Heart”). We all have inner demons, darkness we hide from others, that tears us apart when we are at our weakest. It’s a sad fact that most people don’t talk about this, putting on a show of happiness. You aren’t alone in this struggle, it is life on Earth.

We overcome our demons by looking at them, taking them for what they are. Bringing the darkness to light. Although Carl Jung parted ways with Sigmund Freud because the latter was too sex-obsessed, Jung never repressed the shadow in his studies. He’s made so many important statements on the human shadow that I must include more than a few:

“Everything that irritates us about others can lead us to an understanding of ourselves.”

“Enlightenment is not imagining figures of light but making the darkness conscious.”

“The most terrifying thing is to accept oneself completely.”

“We cannot change anything until we accept it. Condemnation does not liberate, it oppresses.”

“If there is anything we wish to change in the child, we should first examine it and see whether it is not something that could better be changed in ourselves.”

“There are as many nights as days, and the one is just as long as the other in the year’s course. Even a happy life cannot be without a measure of darkness, and the word ‘happy’ would lose its meaning if it were not balanced by sadness.”

“There can be no transforming of darkness into light and of apathy into movement without emotion.”

“Knowing your own darkness is the best method for dealing with the darknesses of other people.”

“There is no coming to consciousness without pain.”

“God is the name which I designate all things which cross my path violently and recklessly, all things which alter my plans and intentions, and change the course of my life, for better or for worse.”

This is Pluto. This is the unconscious force inside all of us that changes our lives in drastic ways. Whether you’re orchestrating your own transformations by confronting your shadow, or if the only thing that can get you to change is some catastrophe hitting you from the outside, Pluto will destroy what you thought you knew and replace it with something much greater. It will be painful - Pluto is the planet of death, and we will have to die to ourselves many times over to get closer to our truth. Pluto is also the planet of rebirth, because every end is a beginning. Pluto is a big fuck you to the ego we’ve carefully crafted, and it can be hard to let go of an identity you’ve held for so long. But the unconscious has bigger dreams for our time on Earth. We are not whole until we integrate our shadow side. This is the true essence of power - being in contact with your whole being. No longer being unconsciously directed by your shadow side. I think we’re so quick to look down on the criminals and the neurotics of this world because we’d like to think we’re nothing like them. But the one that makes peace with his demons knows the truth, that one soul contains the collective experiences of all souls. The only thing separating us is the material illusion we’re all under - this is the true source of “evil” - thinking that we’re not all One. Peace on Earth will come when we feel in our hearts this Oneness - and inner peace comes when you become One with your shadow.

Pluto is an earthquake. Pluto is a force of nature. A disaster, a murder, a suicide. It is everything we’re afraid of. But that which we fear cannot have power over us once we accept it. Understand it. Integrate it into our lives. Just as we all must face the inevitability of our own deaths, we must face the fact that we’re better off leaving our old masks at the door, as we enter into a new chapter in our lives. Embrace change, and embrace the darkness.

Luckily, this month there has been talk of Pluto being invited back into the solar system after its exile. This spells of great change in our collective psyche :) It will be interesting to see if, as a society, we begin dealing with our collective shadow.

veenia  asked:

Hey su. Could you do a character analysis about tenten covering things like her development also whether or not she is as "useless and weak" as many perceive her to be. Is she really that inferior to her fellow team mates? Does she deserve any hate/negativity at all? And is any of the hate/ negativity she gets valid/justified? And lastly do you ship her with Rock lee or Neji and Why and also what are your overall personal thoughts on tenten :)

Hey, Natalie!

Tenten is firstly introduced as the only female student of Gai’s team. As the series progresses, we learn that she has the goal to become a legendary kunoichi, admiring Tsunade, which she openly shares with others. This is initially one of the motives that set her apart from her fellow female comrades. Her dreams don’t revolve around a man. During this time, she attempts to emulate Tsunade, building up her raw strength and trying to become a medical-nin. Unfortunately, she seems to fail, but she later discovers her talent for weapons, developing a unique fighting style. Interesting to note is, Tenten’s skills are the most ninja-like in the entire franchise.

Moving forward, she still wants to become a legendary ninja without following in Tsunade’s footsteps. At this point, Tenten is strongly opinionated about women, defending girls by saying they can be just as skilled as boys when Neji claims otherwise. And while she has potential, Kishimoto decides to sideline her in order to make room for her male teammates. Especially the ending is disappointing, as she suddenly gives up her dream for reasons unknown. I fully respect any woman to choose her career; however, one cannot deny the fact that Tenten never expresses the wish to own a weapon store. 

There are three categories Kishimoto puts his female characters in 700: 

  • A married mother and housewife
  • Unmarried and heavier/older
  • Unmarried yet unsuccessful

Tenten falls into the last category since she has an unsuccessful weapon shop and isn’t married. To put it bluntly, she doesn’t achieve anything of significance, leaving her underdeveloped. By definition, character development is a change in characterisation. At its core, it shows a character changing. 

Didn’t Tenten change? Well, yeah, she kind of did. The problem is, her change was a downgrade and didn’t add anything to her characterisation. In conclusion, Tenten has rather poor development. I cannot say what Kishimoto did with Tenten was sufficiently developed. I cannot say how he chose to end Tenten’s character journey with her having not much screen time anyway was a good idea. I cannot say the message he sent was positive. 

As for Tenten’s skills, we know her as a quite capable ninja. Her skills are being held in high regard by her team. As an adult, Tenten is considered Konoha’s best weapon user. The question we have to ask here is, why would anyone in their right mind describe her as useless and inferior to her teammates with all these prestige surrounding her persona?

The answer is simpler than one might assume.

We never see Tenten being great. Despite her having incredible ninja skills, Kishimoto doesn’t show how she achieves her power. This makes people believe Tenten is weak and useless. We’re merely told she is powerful, and she doesn’t bring the plot much further with her abilities. Basically, Kishimoto is committing one of the greatest mistakes in literature. He tells—he doesn’t show. Now, the rule “show, don’t tell” is a technique often employed in various kinds of texts to enable the reader to experience the story through action, words, thoughts, senses, and feelings instead through the author’s exposition. Readers need to interpret significant details in texts. Said details shouldn’t be forced down readers’ throats. Keep in mind, this applies to all forms of fiction.

Here is an example to bring my point adequately across:

“She was scared.”

This is what Kishimoto does. It’s telling and describing. How would showing look like, then? Perhaps like this:

“She felt her throat constrict with something unidentifiable—behind her smile, she was experiencing all forms of sheer panic. In fact, she couldn’t explain to herself why her mind was suddenly whirled with chaos, completely unable to form a coherent thought.

This is more vivid, more relatable, more real. 

Tenten is the best weapon user in the village, which is a huge title considering how many talented ninjas live in Konoha, and yet, we rarely see Tenten display her skill set. Thus, readers perceive her as someone weak and useless.

Does this justify the hate she gets? No, it doesn’t. Hate is never justified because it’s deconstructive. Criticism, on the other hand, can be legitimised and actually expands one’s knowledge. Therefore, the hate she gets is not justified—valid critique is. One final point, I don’t ship her with any of her teammates, but if I were to, I would most likely ship her with Neji because it’d interest me how both interact with each other in a romantic context.

I hope this answers your question! 

Calling all artist friends/followers of mine!

If you’ve been following me for a while, maybe you can remember a certain post I made back in fall, where I talked about wanting to write my own comic after being particularly fed up with the Palmiottis. 

Well, it’s happening! I’m currently outlining the story and will actually be writing that comic during the month of April as my Camp NaNoWriMo project. And since I want this to be more than simple fanfiction - I want it to be an actual comic - I need your help. 

I can’t draw to safe my life, which is something I’ve made peace with a long time ago. I can tell a good story and I can write it down, but drawing simply isn’t one of my talents. But I know for a fact that a lot of my lovely friends/mutuals can draw, and I’m sure I have even more followers who are talented artists as well. 

So I thought, why not turn this comic into an amazing collaboration project? I’m looking for as many people as possible, so nobody will have to draw until their hands fall off. Basically what I’m hoping to achieve is visualizing my comic in as many different art styles as possible! Once done, I’m planning on publishing it piece by piece here on tumblr. 

I don’t want this post to be too long, so more info and details under the cut!

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California Dreaming
Not all my romantic relationships were bad, but some of them challenged me in a way that I didn’t want to be challenged, and I am happy I don’t have to do that now.’ Lana Del Rey.

Does Lana Del Rey really live right inside the middle of the ‘H’ of the Hollywood sign and spend most of her nights perched high above the chaos that swirls within the city of angels below, as the teaser for her new album, Lust For Life, suggests?

Or does she rent a house in LA’s Santa Monica or Silver Lake or someplace else she’s not about to divulge, in case, having taken a cryptic February tweet of hers literally, a posse of her 6.3 million well-meaning Twitter followers showup on her doorstep with the ‘magic ingredients’ to cast spells on President Trump?

Does she really only dip her toes into ‘the muck and the mires of the city every now and then’, as she says in the album’s trailer? Or does she ‘go out quite a lot actually’, as she tells me when we meet, and spend her nights having fun with a tight crew of mainly musician mates, dancing at house parties, going to gigs and occasionally wrestling the microphone from her male friends to sing Hotel California in karaoke bars? In this post-truth world, it feels pedantic to care too much either way.

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anonymous asked:

I really love your art. Could you possibly show us your way of drawing different body shapes?

Sure!

This will go well with my thoughts on developing your own style, and it uses same basic principles as my tutorial about cartoony skulls, meaning it’s all about simple shapes!

Here’s some sketches of two basic body types on the left, and two more shapely/complex ones on the right;

If you haven’t noticed the basic difference right away; the heavy body type has round, soft lines, while the slim one has sharp lines and corners.

If you want to draw a heavy-set person, you should stick to softly curved lines, while if you want to draw someone who’s slim, the sharper the lines and corners, the skinnier they would seem.

A curvy female figure can often have sharp and round lines, giving it a very dynamic feeling.

A muscular male figure often appears very triangular, with the triangle pointing downwards, while a female figure is pear-shaped / a triangle pointing upwards.

Ok so I finished these and they were just kinda weird floating dismembered torsos so I added something to make them nicer to see;

First there’s the skinny two;

A female body tends to have a bottom-heavy figure, while male body is often top-heavy (but that’s not always the case, figures can be very different).
I added some bottom curves to the left one and wider shoulders to the right one to show that the triangles pointing up/down can be applied even to characters who don’t have a very shapely figure.

Next is the chubby two;

How fat is distributed in a human body is important to know when drawing heavier characters; a female body will primarily become bottom-heavy, while a male body will generally gain a big stomach area.

Also! Pay attention to lines on this one and the previous one; notice that the skinny two have many straight lines in their figure, while nearly all the lines on the heavy two are curved.

Lastly, they shapely two;

These two have their fair share of curved and straight lines, generally with a female shape there’s more curved, less straight, and with male shape there’s more straight, less curved.

The curved/straight line dynamic is the most important one when it comes to drawing different body types.

Often (but not always) starting / young artists have a much easier time drawing skinny people, because your hand is still stiff and in search of style.
As your hand gets looser, you become more familiar with round shapes - they come more naturally, and you add layers of thickness to your figures. 

It can be hard to get the right curve and get the body looking right - and study of anatomy will help you IMMENSELY with that might I add - once you get comfortable with drawing curves, they can easily become one of the most fun things to draw.

One suggestion I have about drawing curved lines is, don’t go steady. Don’t draw them slowly and carefully, just release your hand, and do it over and over and over until you get it right. Pretty sure I suggested this in my style ramblings but, drawing croquis is a GREAT help to get familiar with the human figure and it’s curves.

So that’s about it, I hope this helped!

anonymous asked:

Hello! I really enjoy reading your thoughts on Tokyo Ghoul, and I was wondering if you have any thoughts on where Mutsuki's character arc might be heading? (Besides Kaneki and Touka, Mutsuki's probably my favourite character, but I'm preparing myself for a lot of pain while still hoping for some redemption.)

Aw thanks anon! I have many thoughts on Mutsuki; maybe too many thoughts on Mutsuki, so do you mind if I go overboard and extend this question into a mega Mutsuki analysis post? I figure now’s as good a time as any.

(NOTE: Based on Mutsuki’s internal monologues herehere and most definitively here, I think it’s clear that Mutsuki considers herself to be a woman and merely masquerades as a man due to her fear of male sexual attention stemming from her childhood trauma. Thus I will be addressing her with ‘she’ and ‘her’ pronouns accordingly. Discussion below about ‘gender confusion’ and the like is entirely unrelated to transgender issues, and solely applies to these characters’ individual psyches.)

As soon as we see Mutsuki, we are instantly reminded of Kaneki - specifically Kaneki as he was at the start of the series, the persona we call Kuroneki. She has the same wide, innocent eyes and a similarly prim and proper haircut, with her head stuck in a book. And of course, if you were left with any doubts, the eyepatch vanquishes them immediately. As we get to know her better, we find out she is polite and kind but meek and easily frightened, without a great deal of faith in her own abilities. It’s not exactly subtle paralleling, but then, it’s not meant to be. 

Because while in :re, Kaneki is slipping out of the mould of his tragedy, there needs to be someone to take up the mantle of the tragic hero. The gift of a sequel series spared Kaneki from his death at the end of the original, but the author must maintain a balance - tragedy must have its tribute, and here is a person as ideally suited to the role as Kaneki once was.

In fact, Kaneki in his amnesiac ignorance ends up symbolically helping Mutsuki down the path he once walked. In the Christmas chapter - the same chapter where Kaneki’s own self-discovery takes a new turn with the gift of his mask - Kaneki offers Mutsuki a new eyepatch, without having a real reason other than instinct. He feels as though Mutsuki ought to have a new eyepatch because he subconsciously remembers how he changed in the past.

Mutsuki is pushed along little by little towards her ultimate revelation on Rushima Island throughout her time in the Quinx Squad, with snippets of the truth slowly revealing themselves to her. This evolution is sped along by several encounters with various characters representing different aspects of herself - the true self that she has been suppressing. Kaneki was the first, but the second of her doppelgangers was Torso.

Even before his torture irrevocably changed her, the two were already alike in their abusive backgrounds and, most importantly, their mental confusion between love and violence. Seeing one’s doppelganger is traditionally a harbinger of death, and in Tokyo Ghoul, an encounter with your doppelganger escalates your character’s tragic arc, often to that very final point. It is Torso who first begins to unravel the relative security she had felt living as a man, together with the web of lies Mutsuki had spun around herself to protect her. We learn more about Mutsuki as her own safeguards are torn down around her, much like with Kaneki before her. Our initial assumption that Mutsuki is transgender is disproved when we get deep inside Mutsuki’s head and it becomes clear that she considers herself to be a woman. 

It establishes that Mutsuki is comfortable with living a lie in order to protect herself - and if she’s willing and able to hide her gender from the rest of society, who’s to say she’s not hiding something from herself? But already, ever since Torso lands that first crucial blow against the safeguard of her false gender, she finds it quickly crumbling as she is compelled into situations like the Auction that require her to dress (and therefore be treated) as female, and it isn’t long before Urie finds out her gender and eventually Saiko too. Because it’s not just Torso that finds out, it’s also the reader. And once the reader knows, the author can begin gradually undermining her defences to fit her into the tragedy she was written for.

I’ll be talking a little more about Torso later, but for now I’d like to get to Mutsuki’s third doppelganger: Juuzou Suzuya. 

The two bond very quickly out of an unspoken connection to each other. Indeed, they share much in common: their sadistic tendencies, their reliance on gentle paternal figures to make up for their lack of a real childhood, and   the ambiguity of their genders stemming from their sexual abuse as children. The latter connection in particular is highlighted by the inclusion of Big Madam (also of confused gender) in the arc, reminding us of Suzuya’s past and making us suspect similar activity in Mutsuki’s, and by the two of them dressing up as women for the Auction. While Suzuya believes them both to be pretending to be women - both to be lying - the truth is that Mutsuki is actually being honest, suggesting a misunderstanding in Suzuya’s connection with Mutsuki. 

Although they’ve never discussed their pasts to each other in any great detail, Suzuya senses their similarity, and tries to help Mutsuki along by training her in the same lethal artwork that allowed him to cope and find purpose in this brutal world - until Mutsuki eventually even joins Suzuya’s squad. But again, Suzuya misunderstands how they are similar and how they differ. Suzuya’s trauma left him numb to feelings of empathy and love, and so he used his bladework, and the strength it gives him, as a distraction from that hole. Mutsuki is still connected to those feelings, only in a very twisted way. She instead starts filling that hole with knives, mingling violence hopelessly with her notion of love. There’s no better proof of that fundamental difference between the two than their individual reactions to Uta’s masks.

When Suzuya finally learnt how to love, he learnt to do it in a healthy way, and so he couldn’t bring his knives against the image of Shinohara because violence and love are completely disconnected for him - when he killed Big Madam, it was not out of personal desire for revenge (a reaction to the spurned love he should have been given by his maternal figure), but merely out of duty. Love can never involve violence, and violence can never involve love - those two sides of his personality are entirely cut off from each other. Mutsuki, on the other hand…

…sees the two as the same, having gone down the second of two opposing paths stemming from similar trauma. And so Suzuya’s attempt to aid Mutsuki only escalated her tragedy, just like Kaneki’s gift of the eyepatch, and even Torso’s warped attempts at love.

The last of Mutsuki’s parallels are solely antagonising figures. In the midst of the Auction, three of Mutsuki’s parallels intersect due to their mutual interest in her.

Mutsuki catches Nutcracker’s attention at the nightclub and she is quick to take advantage of her. She embodies the sexual abuse that made Mutsuki who she is today - only in reverse - and where Mutsuki covers up her sexuality, Nuts flaunts it. But like Mutsuki, Nutcracker just wants to be loved, and ends up expressing that desire in violent ways.

But as soon as Mutsuki escapes from Nutcracker, she runs straight into another of her parallels. Karren is another female character who masquerades as male, and whose actions, good and evil, are motivated out of a powerful desire for love. But she quickly finds herself battling for control over Mutsuki with Torso - yet another of Mutsuki’s parallels.

 After the Auction Operation forced her to confront her femininity by dressing up like a girl, she spent the rest of it wandering through a maze of her own mind, running into a grand total of three of her alternate selves all seeking to control her in this space alone. The effect? Mutsuki begins remembering the thoughts that she had locked up, presenting them to the reader for the first time:

But with these memories unlocked, a certain gruesome aspect of Mutsuki’s behaviour does as well, as we learn later on at Rushima.

Being attacked on all sides by agents of her inner psyche externalised, she is slowly pushed to a very dangerous point that requires a very dangerous spark to fully ignite. 

Ken Kaneki underwent his transformation as Aogiri started to gain power. Tooru Mutsuki underwent hers towards the end of it. The Rushima arc serves as an excellent parallel to the original series’ Aogiri arc, as Mutsuki finds herself trapped in the tragic hero’s role that was once Kaneki’s. But where once there was Yamori, now there is Torso. Mutsuki is trapped by Aogiri, all alone, in the hands of a mad torturer. Her hair becomes pale and dishevelled as Kaneki’s once did, and she remembers something vital about her family that kicks her transformation into motion. She adopts the nervous habit of her torturer, accepts her sadistic urges, and gives her torturer a taste of his own medicine.

And right afterwards, she goes on a battle spree, far more confident in her kagune and far more ruthless in its use. Mutsuki’s ability to suppress large parts of her memories lines up with the entire conundrum of Haise’s existence.

Urie functions as the Touka to Mutsuki’s Kaneki; someone initially cold to Mutsuki who warms up to her and becomes the most determined to save her when she’s captured. But even then, at the start of their heartwarming, but sadly doomed, relationship, Mutsuki only thinks to show love towards Urie after being wounded by him. As @linkspooky points out, she is completely accustomed to abuse by male figures at this point. For Mutsuki, love and pain are one and the same.

But where does all this lead? With all these parallels set up, where can we see Mutsuki’s journey finally taking her?

Nutcracker is dead. Karren is dead. Torso is dead. If the original manga is taken as a separate entity, in that world, Kaneki is dead. Is there hope in the precedent set by Suzuya? While I do think Suzuya will survive the series, I’ve already established the great point of difference between the two, and I think it will be what keeps Suzuya alive. You’re right to prepare yourself, anon. I don’t think Mutsuki has much hope of surviving this series.

Will she be redeemed? I think, before the hypothetical raid on :re that I believe will be happening soon (especially since Mutsuki has considered it as Kaneki’s possible hiding place), a confrontation with Urie may lead her to question her actions, but it won’t be enough to stop her. As she hunts for Kaneki in :re, she will find her efforts will come down to nought as members of the CCG begin defecting and her way is blocked by enemies. Her single last thread of hope will lead her to a God of Death, and as his scythe takes her eyes out she will deeply regret ever coming to this place, but all too tragically, all too late.

We’ve been given reason to doubt Suzuya’s loyalty to the CCG for some time now. He asserts his obedience too boldly for me to trust him completely. If he does defect, he would be ideal to fill Arima’s shoes and have Mutsuki meet the tragic fate that originally was meant to be Kaneki’s, especially since they already have the mentor/student relationship Kaneki and Arima would go on to have. To have these two, so similar and yet so different, fight each other to the end would be a fitting end for Mutsuki’s arc. Urie’s attempts at reason, like Touka’s before him, won’t be quite enough to stop her. I’m sure Suzuya would try not to kill Mutsuki…but I’m not sure it will be that easy. 

The tragedy will have its due.

anonymous asked:

Sorry to bother but it happens that I have a friend who sees Supernatural an he says that Destiel will never be canon because Dean is too male chauvinist (this friend is not homophobic, he'd be okay with a gay couple) and that the whole show is male chauvinist too but I don't know how to argue it with him. I mean, I think that about the show too, but not so much about Dean Winchester. Maybe you could explain what you think about it?

Whoa, no bother at all - what are tumblr friends for if not proving RL friends wrong?

So, first - this has nothing to do with anything, but you woke my inner language monster, and now you’re going to suffer a paragraph of consequences, because chauvinism - now, that’s a word I haven’t heard in a long time. It’s a ‘70s thing, ins’t it? Male chauvinist pigs and all that. I know we used it back when I was desperate to be a Communist, and we comrade’d one another in a laudable effort to pretend the Berlin wall was still up and everyone was into LSD and free love and we actually had something to be angry about.

(Turns out the word comes from Chauvin, some officer guy in Napoleon’s army who was extremely patriotic, and that’s mostly what it means - how it came to mean “an attitude that the members of your own sex are always better than those of the opposite sex”, that’s something I wish I had the time to investigate.)

My second point is, why couldn’t someone be gay and chauvinist? Gay people are people, which means some of them are complete and utter dicks. I personally know at least two gay men who have horrific political opinions and are complete mcp despite being out and proud and sharing an apartment with a (male) partner and an assortment of cats, pianos and art books. I mean, in an ideal world, people who belong to a minority group should, like, avoid sympathizing for a majority group who’d have then hanged and quartered if at all possible, but sadly, this isn’t always the case. I still remember a thing that happened in Italy a few years back - a black guy who tried like nothing else to become a member of a Nazi ‘party’ and went all the way to court because they wouldn’t let him join. And he wasn’t doing it out of some cunning political design or anything - he actually held Nazi beliefs, but he’d apparently forgotten that, in the eyes of European Nazis, he was the ‘undesirable’ one. Whoops.

That said, I don’t see how the term applies to Dean at all. I mean, again - the definition of ‘male chauvinist’ goes as follow: “a male who patronizes, disparages, or otherwise denigrates females in the belief that they are inferior to males and thus deserving of less than equal treatment or benefit”. Now, I think I said before that when I started to watch the show, I didn’t particularly like Dean. He had this fuckboy aura, you know? The love ‘em and leave ‘em personality I just can’t stand in real men - and, well, I like to think even fictional men have to work very hard to be likeable when they’re like that. But even back then, I never thought of him as a male chauvinist. Sure, he was a bit of an idiot, but nothing more than that. Like, when he’s short and dismissive with women, that generally comes from a place of genuine concern - for instance, he didn’t want Haley to come with them to hunt the wendigo back in S02E01 because he knew she would get hurt, or worse, not because she was a girl. 

His default functioning mode is to lie to everybody, and his tactics involve, first and foremost, to maintain a safe distance from others. This normally translates into flirting and smiling, which come off as a bit assholish when he’s in a position of power, and as downright irritating when he’s not (for instance, think about how he is around police officers - the textbook definition of ‘little shit’). So there’s that, and okay. But when he’s around women who can take care of themselves, like Ellen or Jody, he never treats them any differently than he would men. I think he even discussed the thing out loud, maybe with Jo? How his main categorization there was hunter vs civilian, and not men vs women? I’m slightly feverish and out of focus right now, so I’d rather not check, but I’m sure there was something like that. And also: one of the things I like about him, and, incidentally, another argument to use against your friend, is that Dean never thinks less of a woman just because he’s slept with her. This, in my book, is the mark of a true misogynist - how they tend to divide the world between ‘bitches who won’t sleep with me’ and ‘sluts who’ll sleep with anybody, including me’. I’m currently locked in a vicious fight with a colleague of mine who’s exactly like that, and it’s truly amazing how he can both be pathetically grateful to this woman he’s seeing because, yay!, sex and companionship, while disparaging her every chance he’s got because, you know, that’s not how proper women should behave. And Dean - Dean’s not like that. The most glaring example is perhaps Lisa - how they had a weekend of dirty, dirty, dirty sex and yet when they see each other again, Dean’s not dismissive of her in any way. Just like he never says a word against Cassie, or those two hunters we know he’s slept with, because that’s just not who he is.

(This goes both ways, of course: when faced with a female opponent, Dean never underestimates her and never holds back.)

The thing is, I think your friend may be referring to performing!Dean, because, even though Dean’s not like that, the world he lives in - that’s a different story. Or, well, that’s what we believed until S11 went and shit rainbows all over our screens, because, man - turns out hunters just don’t care? That there are women who hunt alone and gay hunters who’re well-known and respected in the community and whoa, Dean got it so wrong all these years. And this, as many discussions here on tumblr have been pointing out for months, is the real game changer: not Dean’s feelings, per se, but what happens around him. Because if Dean had grown up in this world, and not his father’s - well, we don’t even have to imagine what kind of person he’d be today. We know.

So, @bluestar86 is finally back on tumblr *throwsconfetti*, but she didn’t spent her tumblr hiatus doing nothing but binge watched How to get away with murder instead (good choice) and was pleased to learn about the show’s diversity & queer representation. And I hope you don’t mind that I quote you here, but it is actually what this post is about (yes, I have a point)

All this show has lead me to believe is that it is SO NOT HARD to show REAL bisexual characters on mainstream television, OR to show REAL INTIMACY between gay men on TV and not make a big fucking deal out of it. Jesus, this show made me kinda PISSED OFF at Supernatural really because while they’re still keeping Dean Winchester firmly in the fucking closet HTGAWM just laid it all on the table in the first season. Urgh. I hate Bob Singer.

I know, I know, I can’t really compare the two… except I fucking can and will. Because we are not comparing SPN to a show on Netflix or HBO here, we are comparing it to fucking ABC during primetime and frankly, the CW needs to up its game and SPN needs to grow some balls.[x]

And I mainly agree with this, except… this isn’t a CW problem. It is a Supernatural problem. Because if we look at the shows the CW is currently airing there are actually a lot queer characters. Mind you, I’m not catched up on any show (CW or not) currently except Spn, so my data here is not up to date and I don’t watch all these shows, so I just name the characters I know off who are queer (and recurring characters). So if I miss out on some feel free to add.

  • 2005: Supernatural: Charlie Bradbury, introduced in s7, came out in her first episode
  • 2009: The Vampire Diaries: Luke in s5 and s6;  Nora & Mary-Louise in s7, all queer from the start, I probably forgot some
  • 2012: Arrow: Sara, came out as bisexual in s2; Curtis in s4 and s5, queer from the start
  • 2013: The Originals: Joshua since s1, Aiden since s2, both queer from the start
  • 2013: Reign
  • 2014: The 100: Clarke, main character, came out as bisexual in s2
  • 2014: The Flash
  • 2014: Jane the Virgin
  • 2015: Crazy Ex-Girlfriend
  • 2015: iZombie
  • 2016: Legends of Tomorrow: Sara, since it is a spin off from Arrow she is queer from the start
  • 2015: Supergirl: Alex, main character, came out in s2 (when the show moved from CBS to the CW)
  • 2017: Riverdale: Kevin, queer from the start

As you can see, the network doesn’t have a problem with queer characters. And some of them aren’t random side-characters, but main characters. And not all have been introduced as queer from the start but some had their coming out later in the show. With some, like Clarke in The 100, there wasn’t much buzz about it, as in Clarke was always bisexual, the audience just didn’t know until s2. Others, as Alex in Supergirl, had a beautiful coming-out-story.

So where does this leave Supernatural? I added the time the show started airing, and as you can see Supernatural is the oldest. They are even older than the network they are airing on (the first season was on the WB). The second oldest show, TVD, just ended this year. And as you can see they added queer characters pretty late to the show (s6, s7). (I might forgot about some though…. there had been a lot of characters on this show in 8 years… I think Caroline’s dad was gay from the start though) That is to say that of course newer shows of course start out more progressive and diverse than Spn did back in 2005. There aren’t many shows that even make it to season 12, so in some ways it feels like Spn is a show out of time. That isn’t to say they are completely stuck in their old ways. I think they try to be more diverse, to add more poc-characters, more female characters, more queer characters etc. But still, if Spn would be a new(er) show I think they would have created some chraracters quite different from the start.

And that’s another thing: changing a character after almost 12 years. Of course I don’t think if the show would confirm Dean as bisexual and/or we get canon Destiel the character/the show would change at all. Dean would be still Dean after all. Yet some would scream OOC. And there has been a great discussion about the very nature of OOC characters on @k-vichan blog (which you can read here). The John example there applies to Dean/Destiel as well. If you already interpret Dean as bi/Destiel as a thing, making it canon wouldn’t surprise you. But if you don’t, it most definitely would. Revealing a characer is queer in s2 is different than doing it in s12. Because we can argue that in early seasons we still learn who this character is (and that is so great about HTGAWM, s3 and I still don’t know who Annelise is). But after a decade we all have a very good idea who Dean is. And it is different than subverting for example Mary, because she wasn’t a rel character before s12 (@elizabethrobertajones wrote some great meta about this). This isn’t meant as an excuse though, but just might be a reason why Spn is so hesitant in revealing Dean as bi. Then of course doing it now/that late in the show would be great because how many times does something like this happen? Seeing a character in his thirties/almost forties having his coming out. Because those things aren’t limited to age. And this season is all about subverting how the show was before/past seasons. And Dean is realy tired of lying lately. Plus of course all the great Destiel content we already this season.

So yeah, my point is: this is not about the CW. It is about Supernatural. But with Dabb as a showrunner and the current direction of the show (which I am a great fan of) I remain hopefull.

Thoughts?

anonymous asked:

How sexist is the Fire Nation? It's interesting to see how they have female soldiers in the main islands, but don't have any on the invasion forces. This seems to be a reference to Total War, World-War-style societies, where women and old men held the Home Front, and these were pretty sexist societies... although much less sexist than even a few decades before.

Tbh I hadn’t quite thought about it that way. I had thought about the fact that I can’t name any high-ranked women in the army, though. You have a great point with that, though. I do reckon the Fire Nation was progressing in regards of equality for the sexes, but they’re not 100% there yet by ATLA’s time.

Goddammit, I know I’ve ranted about the softcore sexism in the Fire Nation before, but I can’t find the post. Linking you to it would have been a lot more useful than going on about it again, but what the heck. I guess I’ll have to do it again after all! :’D Brace yourself! Long post!

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