i don't even think i like it i may remake it

anonymous asked:

I'm sorry, but I don't quite understand the context of your my/your kink argument, esp. the examples you are using. While I do obviously agree that writing about something is not the same as condoning it, is that where the statement ends? I mean, if someone were to write exclusively about rape/pedophilia/sexual abuse and portray it in a positive light, I wouldn't merely regard it as a kink (afaik kink implies practice, implies consent) and morally I would condemn it. Could you elaborate?

I have (at least) five answers.

1.  The vast majority of the moral meaning lies in both the consumer’s and creator’s contexts.  Martha writes a fic in which two sixteen-year-olds explore one another’s bodies.  Pedophilia?  Which country are you living in? What about the characters? What’s the time period and context?  José writes a fic in which one character sexually abuses another but they both come to a better place.  Endorsement of abuse?  Darkfic?  Hurt/comfort?  Akane writes a senpai/kohai fic that mirrors material in the original manga.  Is writing drawn from  a culpable (see point 3) source automatically culpable itself? In specific, there’s an ancient tradition of rape-as-seduction fiction, and an enormous body of documentation showing that it’s a common female fantasy. Rape-as-seduction is rape culture, sure, but we’re embedded in it: see my point in the original post about ids. You cannot responsibly make a moral judgment unless you consider all of these, as well as the context of your own reaction.

2. Consider the creator’s point of view.  You don’t know what the creator was thinking, and you don’t have the right to ask.  The creator may be working through a painful experience and getting catharsis through fiction.  The creator may be trying to convey as subtext that a particular situation is wrong and bad.  (With or without success.) The creator may be fantasizing a situation without any intention of putting it into practice – see the very relevant quotations in my post.  And, of course, the creator may be deliberately getting off on something that the vast majority of people in the creator’s culture consider morally wrong. (To whom is the creator accountable? Transformative media is created and consumed worldwide now.)  You can’t know which of these is going on.  Intent is not 100% of an immoral act, but when it comes to writing fiction, it’s a very, very high percentage.

3.  Consider the consumer’s point of view.   All of the possibilities in 2 apply, plus “I’m reading/viewing this to avoid doing it in real life.”

4.  Consider the likely consequences of consuming the transformative work.   There is no evidence that a person not already disposed to commit rape/incest/pedophilia/abuse is likely to be moved by fiction to commit those acts.  There just isn’t.   The evidence that people who are so disposed are more likely to commit those acts after viewing supportive media is, at best, mixed; there’s a lot of “post hoc versus propter hoc” going on there.  

5. Finally we come to “What are you going to do with your moral condemnation”?  You have carefully considered 1, 2, 3, and 4, and have determined that “applying contemporary community standards, the dominant theme of the material taken as a whole appeals to the prurient interest.”  ( Roth v. United States, and you bet your booty I’m being ironic.)   Are you going to draw a conclusion and move on?  Are you going to speak privately to your friends about why the fic offended you?  Or are you going to drop the wrath of Tumblr on the head of the offending creator?   

If your answer is “unleash the hounds of Hell”, I think you’re the one who’s morally wrong.  Period.   Your moral act also has a context, and part of the context is  the expected result.  You are not going to change what the writer thinks about morality.   You are going to create a mob of haters, most of whom are not going to present a reasoned argument based on evidence, but instead are going to tell the creator, and the world, that the creator is a terrible person. Not that the creator makes terrible works, but that they are a terrible person, and there is an ENORMOUS difference.  The experience of the last (at least) fifteen years demonstrates that hate mobs are emotionally satisfying to the haters, are not a force for any moral good, and routinely drive their victims out of fandom and even off the internet.

tl;dr:  It all depends.   I lived through the fallout of 1970s feminist consciousness-raising groups, and I don’t need to watch the hi-def remake.  I am sick beyond words of callout culture.

Supernatural {Sentence Starters}
  • "I tricked you into saying yes. It seemed like the only way."
  • "I got to tell you some stuff, fast. It's gonna piss you off."
  • "We’re gonna fight this. I got the plan, you just need to hang on."
  • "Since when have you ever complained about being around food?"
  • "We know a little about a lot of things; just enough to make us dangerous."
  • "Maybe you should try Plan 'D for dumbass'."
  • "I hope your apple pie is freakin' worth it!"
  • "People in your general vicinity don't have much in the way of a life-span."
  • "Look. I mean, there's got to be an explanation for this!"
  • "You say it and I will kill you,your children and your grandchildren!"
  • "Yeah, I might have lied. But I never once betrayed you!"
  • "If you don't think that I would die for you, I don't know what to tell you."
  • "Again. You thought I couldn't handle something, so you took over!"
  • "You're not gonna poke her with a stick!"
  • "You look like hell, and I should know."
  • "Are we going to fight or make out? 'Cause I'm getting some real mixed signals here."
  • "I know it's hard to believe, but I haven't always been this cute and cuddly."
  • "Oh my god! These guys are psychopaths!"
  • "I'm not gonna die in a hospital where the nurses aren't even hot."
  • "You don't understand. I. NEED. PIE!"
  • "I hate these indie films. Nothing ever happens."
  • "I may not think things all the way through. Okay? But what I do, I do because it's the right thing."
  • "I'm confused. Why aren't you dead?"
  • "Don't you dare think that there is anything, past or present, that I would put in front of you!"
  • "Do we need a cat? Doesn't this place feel one species short?"
  • "What do you want me to say? That I've made mistakes? I've made mistakes."
  • "If you don't help us, I will hunt you down and kill you."
  • "I'm just trying to make you feel better. Don't be a bitch."
  • "You ever do anything else with your free time? Like take a ______ out for a drink?"
  • "Oh, dude, that’s totally age inappropriate.
Love Malfunction

(( This one was also requested multiple times. ))

“Alfred… can we talk for a moment?”

Pausing his music, Alfred dislodged his headphones to regard Arthur, noting the way the A.I. bot shuffled on his feet, a behavioral feature he knew very well had been categorized under the apprehensive or nervous emotional districts of his programming. It admittedly caused some dread to surface in his chest.

He turned in his chair, giving Arthur the full brunt of his attention. “Alrighty, shoot.”

Arthur snapped up to look at him, suddenly bewildered, electronically green eyes studying him for a moment. “… Could we sit on the sofa?”

So it was that serious then, huh? Alfred nodded, pushed himself up out of his desk chair, and followed the bot back into the living room. Things were clean, he noticed, only by Arthur’s hand. Alfred had been immersed in a research project for the past two weeks so he’d almost forgotten what the rest of his house looked like, but he’d turned it in just that morning so it made sense that Arthur would want to breach that open window in order to bring up some critical issue.

Alfred almost wished he hadn’t designed him to be so human—although anything less would have just been uncanny. But the anxiousness he felt seeping into him as they settled themselves on the couch was enough that Alfred’s foot had begun to twitch, bouncing as he waited for the bot to speak.

“So? What’s up?”

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anonymous asked:

I love you Meta, I hope I don't bother you with this but can you do a meta about the difference between Camille saying/knowing Klaus is “in love with her” (reference: “He kind of likes me" 3x07 and "The moment he looks at you like he looked at me, the moment you know he is in love with you" 3x10) and Caroline saying/knowing Klaus is “in love with her” (reference "I know that you're in love with me. And anybody capable of love is capable of being saved” 4x13) Thanks

Well that’s an incredibly simple question to answer actually, but I can certainly make it more long-winded if you like! To me this speaks to the heart of Klaroline’s relationship versus Klamille and most obviously demonstrates the starkest and most important contrast between the two, and very obviously demonstrates the difference between how Caroline and Cami see Klaus as a person. And basically, that difference is between what two people may want to see or want to believe versus what actually is. 

There’s actually quite a lot of unintentional irony in both of these situations that really jumps out at me, and in a lot of ways the writers have really handily shown how diametrically opposed these two relationships are without ever actually trying to do so.  Klamille has very obviously been TO’s “replacement Klaroline” from the start, and while it’s clearly meant to be Klaus’ “epic love” relationship the writers actually accidentally (and if I may say so, hilariously) undermined everything they seemed to be trying to accomplish with the relationship as that relationship has progressed. 

Firstly, let’s just contrast these moments of supposed “confirmed love”. What I think is freaking FASCINATING about the comparison is that first we have Klaus’ interlude with Cami. Doe eyed stares, flowery declarations of adoration unlike any other, and sweet kisses to lull each other into the most peaceful sleep in history. This is how Cami knows that Klaus is in love with her. But then compare that to Caroline’s “love epiphany” with Klaus. Caroline is near death, poisoned and delirious by Klaus’ own hand, Klaus refusing to save her or even offer her a word of comfort or hope. These situations COULD NOT BE MORE DIFFERENT if the writers were intentionally trying for them to be, and they both speak so much to the heart of Klaus as a character (at least in my eyes) and of his relationships with Cami and Caroline. 

Klaus is a very twisted, manipulative, dark, and complex character. His behavior on TO has never truly reflected that, but it should. And while I don’t consider TO!Klaus to be canon!Klaus by any stretch of the imagination, I think his relationship with Cami can offer some interesting insight into how manipulative Klaus can truly be, but also offers a lot of insight into how warped his own self perception and self image is too. So that’s really the lens that I see Klamille through. I can never really buy their relationship as anything significant for him, but I can see it in a context that would make sense for his character. Essentially what I’m saying is that Klaus is manipulating Cami, but also using her to fuel his own ego. Klaus REALLY DOESN’T LIKE looking at himself as he truly is, his entire life has really been about remaking himself into what he wants to see, and I think his relationship with Cami is just another iteration of that. Klaus is not a good person, he’s not someone that can be redeemed, but that’s what he wants for himself right now and he “in love” Cami because she reflects that. Basically, he needs certain feedback to fuel his new self image and Cami is providing that feedback. 

But here’s the thing. In order for Klaus to be getting that feedback Cami still has to be providing it. It takes two to tango, and in order for this relationship to be the relationship that Klaus needs then Cami needs to be bringing something to the table. And she does. She doesn’t just look at Klaus as someone she wants to save, she looks at him as someone she believes she can save, as someone she is in fact already saving. Klaus is completely delusional, but Cami is taking part in his delusion and helping him to believe that it’s real. And god, the irony of Cami’s trigger being Klaus looking at her the way that she looked at Aurora could not illustrate this shared delusion any more perfectly. Not only is Klaus’ “love” for Aurora more than a little dubious in both the past and present, but Klaus’ relationship with Aurora took place A THOUSAND YEARS AGO. Klaus was an entirely different person with her. So for Cami to believe that she has somehow magically undone all that Klaus has experienced, that with a few nice therapy sessions and some well placed tears she managed to make the Grinch’s heart grow three sizes and save all of Whoville, is hysterical. 

So then, really think about Klaus’ experiences with Caroline in contrast to this. What’s interesting right off the bat to me is that when Klaus met Caroline he was really trying to portray the exact opposite image that he has been trying to portray with Cami. With Cami Klaus wants to be the doting father and consummate family man who could barely hurt a fly if he thought it might shame his daughter, but with Caroline Klaus was trying to be the diabolical and undeniably suave supervillain. And, while Cami bought everything Klaus was selling hook, line, and sinker, when Klaus comes at Caroline with his fakery she literally laughs in his face and tosses it all right back at him. She calls out his game for what it is the moment he tries to play her and she refuses to play along. 

And this really speaks to the heart of what interests me about Klaroline as a relationship. I really love the push and pull between these characters for sure, but when it comes to Klaus in particular I find it fascinating. Klaus is already a bit of a character within a character. We have the character of Klaus that exists within the TVDverse, but then we have the character that the character of Klaus is playing at the time. And he’s almost always playing a character, almost nothing with Klaus ever comes at face value. But that’s what makes his relationship with Caroline so interesting. She refuses to play along, but she also forces Klaus out of the character he’s playing too, and nothing demonstrates that better than this particular incident. I mean, this is CAROLINE. She gets Klaus, or she at least gets him much more than anyone else does. She would have known the right thing to say or do to get him to heal her if that’s what she wanted. And yet, she doesn’t. Klaus essentially plays a game of chicken with her life, and she fucking wins. She forces him to decide between letting his facade drop or killing her, and he caves. 

He tacitly admits that he loves her, or at least admits that he cares. But what I love (well really, love probably isn’t the right word, but I can’t think of a better one) about the whole situation is that it so perfectly represents what Klaus’ “love” really means. Klaus loving someone is NOT all hearts and flowers, it’s not swooning declarations or sweetness and light. It’s THIS. It’s something that mangles people. It’s destructive and delirious. It’s something that takes you to the edge of death and might just pull you back, but might make you feel like you wish you hadn’t been pulled back anyway. Being loved by Klaus IS NOT SOMETHING ANY SANE PERSON WOULD SEEK. It’s more of a punishment than a gift, which is something that Caroline recognizes and forces Klaus to acknowledge. And looking at it that way it’s easy to see why Klaus’ fantasies with Cami got her killed, because that’s all it ever was, a fantasy. Making Klaus took more blood and wrath and misery and torment than any human being is even capable of conceiving, and “saving” him would probably take just as much destruction. That’s why Caroline says that Klaus can be saved but doesn’t say that she’ll save him, and that’s why Cami is now just another name on the long list of Klaus’ collateral damage.

fluffalotae-deactivated20140405  asked:

hey! so i just finished the mink bad end in the first game and was wondering, what are your thoughts on it? i am a bit curious about what would motivate mink to behead aoba and all of that. i suppose i don't know his character well yet, but i was just hoping that you might have some opinions on it

Oh my god I plan to cover this in a future essay, but I can give you the quick-and-dirty answer.

TW: body horror, decapitation under the cut

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Potential Arc Reviews: Alpha Kids

Kicking off part two out of three of this post. I spend less time digging into the alpha kids’ characters, so this may be less thorough (or alternatively more so because I can’t rely on quite as many links). The disclaimer attached to the first post still applies. If I say ‘character x needs to get beyond issue y’, I’m talking about it in relation to character dev that needs to happen within the frame of the story. Telling someone actually struggling with those issues to 'get over it’ is of course hurtful and harmful (not to mention ridiculous). As always, feel free to come to me with questions or concerns.

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