real life violence

Shoutout to younger people in fandom:
  • It’s okay to enjoy “problematic” fiction.
  • It’s okay to draw fanart and write fanfiction that appeals to you, and you alone.
  • You’re allowed to ship whatever you want. Let me repeat this for emphasis: YOU ARE ALLOWED TO SHIP WHATEVER YOU WANT PERIOD.
  • Your own enjoyment and entertainment are valid  reasons to write, draw, or consume something. 
  • If this enjoyment takes the form of sexual gratification, that’s also a valid reason to writer, draw, or consume something.
  • Fiction does not have to be morally pure. Fiction allows us to explore things that we wouldn’t want to experience in real life, things like violence, sexual violence, drug abuse, sexual taboos, or kinks: all kinds of weird or disturbingt things, and that’s okay.
  • No, the narrative does not have to condemn these things explicitly.
  • You don’t owe other fans an explanation or apology for the things you enjoy in fiction 
  • If someone asks you to reveal personal information, it’s okay to tell them to fuck off. 
  • There’s no such thing as a fandom police. Whoever claims to have the authority to tell you what is or isn’t acceptable for you to enjoy, is just arrogating that right. Their strategy only works if you let them have this power, so don’t. 
  • It’s up to each person individually to create a “safe space” for themselves.
  • Other people’s mental health is not your responsibilty.
  • Not wanting to hear about anyone’s personal trauma does not make you a bad person.

somebodylost-chan  asked:

I'd like to ask, how do you know when fight/smut scenes are necessary? Or how to make them effective & not simply as fanservice or just for word count? Usually, I find myself skimming through fight scenes as a reader, bored. As a writer, I'm inclined to just 'fade to black' and imply stuff at the next chapters. I'm not really a fight/smut-scene writer, even though my characters know & need to fight. Thanks for keeping this blog. :D

A good fight scene (and a good smut scene for that matter) always works in the service of the narrative. It works toward the cohesive big picture.

From an entertainment standpoint, violence is boring.

You need your audience invested in the characters participating in the violence, in the actions and events leading up to the fight, in the aftermath and how this will effect the character’s overall goals.

In a narrative context, if you’re bored during a fight scene or a sex scene it’s because the build up to that moment failed. The scene itself may also have failed. However, your foundation is what makes your story sing.

Think of a story like building blocks. You’re playing Jenga with your reader on a homemade house, they’re slowly pulling out the pieces and you’re betting you built your blocks well enough to withstand scrutiny. You’ve got to keep them interested long enough to get to the end before the whole thing comes tumbling down.

A fight sequence which works in concert with it’s narrative is enjoyable, doesn’t overstay it’s welcome, and ultimately works to build up the story it’s telling. Fighting isn’t fighting, you see. Combat is a form of problem solving, the fight itself is an expression of the character’s individuality. Everything we’ve been learning about them, their goals, and their behaviors are being put in a pressure cooker and dialed up.

You should be learning about the character as the fight progresses, the fight working on multiple levels in concert with its narrative to get the story where it needs to go. Often, a first fight is like an establishing shot in film. You get a feel for who this character is when under pressure, who they are. Peril can be a great way to get the audience invested, but its up to the author to prove why they should.

Poor fight sequences don’t tell you anything. They’re there to establish the character as capable of fighting but don’t even do that because their concept of combat is generic.

The combatants aren’t individuals expressing themselves, the fight isn’t proving anything except fighting, it doesn’t have meaning except for its attempts to prove the narrative’s poor concept of badassery. This often happens with no regard for the setting’s rules, the aftermath consequences, what the character’s actions will effect in the long run.

It doesn’t mean anything and, while violence is shocking and terrifying in real life, in fiction violence has to mean more than just an exchange of blows.

How many times have you read a book where several mooks show up to get their ass kicked by the protagonist? They limp off at the end and while they’re often in a perfect position to be seen again due to their connections, we never do.

In even just a moderately competent narrative, those same mooks are characters. We’ll see them again in bit roles. They’ll play a role, either to help or hurt later as an aftermath consequence of the protagonist’s earlier actions. These are callback characters we can use to remind the audience of what happened previously in the narrative, and offer up some catharsis.

In a really well written scene, these mooks serve an important purpose when it comes to establishing the protagonist’s character in a quick snapshot. Like the moderately competent character, they come back later to the aid or the detriment of the protagonist. The mooks’ response actions are a direct result of their encounter with the character, often acting as an inciting incident. The protagonist suffers direct consequences as a result of their actions, whether its injury, loss, or the attention of the villain which causes them to lose something. In these fight scenes, you can see the story’s trajectory because it acts as another way to get to know the hero, the secondary characters, the tertiary characters, and whoever else is participating. It’s working on five different levels.

What you often see in a good fight sequence, whether it’s in a written medium or film, is the culmination of a great deal of hard work on the part of the author. A smut sequence is a reward, it’s a way to pay off on the reader’s investment in the relationship between these two characters and the narrative’s investment in them. It doesn’t matter if that’s hardcore sex, or a Victorian hand touch, or a knockout blow to the jaw, the end result is the same. It’s entertaining, satisfying, and even cathartic.

A poor sex scene is just dolls bumping bits. A poor fight scene is just dolls trading blows. Nothing occurs, nothing happens, there’s none of the underlying satisfaction or catharsis in the outcome. You don’t have any investment, no consequences, it overstays its welcome and tells you nothing about the characters.

You’ve no reason to care, so you don’t.

As a reader, you don’t owe a writer attention when reading their work. They’ve got to earn it. If they aren’t, then it may be that the story isn’t for you and that’s okay. Take into account your tastes,

It takes practice to choreograph a fun fight scene. Writing sex and violence is mostly about learning to find your limits (i.e. what you’re comfortable with writing), and overcoming embarrassment. Determine the difference between need and want.

Are you avoiding writing these scenes because you’re scared of being bad at them or because they just don’t interest you?

These are two very different issues, and it’s easy to hide from the first behind the second. Be honest with yourself. If it is fear, then don’t give into it. The easy solution if you’re afraid of being bad at something is to practice. Start looking critically at the media you consume, when you start to get bored during a fight scene or a sex scene, when you want to skip ahead, ask yourself, “why?”. Check out the sequences and stories where this doesn’t happen, and try to figure out the differences between the two.

When it comes to the mechanics of both violence and sex, the more you learn the better off you’ll be at writing it. The more you practice writing violence/sex/romance then the better you’ll be. Like with everything, it’ll probably be pretty terrible in the beginning but the more you practice, the better you get. Writing itself is a skill, but its also a lot of sub-skills built in underneath the surface. Being good at dialogue doesn’t mean you’ll be good at action, having a knack for great characterization doesn’t mean you’ll be good at writing setting description. Putting together great characters doesn’t mean you’ll automatically be good at worldbuilding.

Don’t be too hard on yourself.

All it takes to figure out whether or not the time to fight is right is by listening to your gut.

Remember, the best scenes are based in narrative cohesion and emotional investment. They’re a pay off in and of themselves for your audience, dessert after dinner. They aren’t the meat and potatoes. If you set out to just write a fight scene or write a smut scene then it’ll get gratuitous. Then the focus is on the fight or the sex itself, hangs entirely on their shoulders, and you’ve just upped the ante for how entertaining you need to be.

It’s not “how do I write a fight scene”, it’s “how did my characters get to this point and why are they fighting”. If you start from a character place, it gets easier. The same is true with romance. “How do my characters participate in a romance (sex or not)”.

Make it about the individuals, that’s when it really gets fun.

And, if you get too stuck, try writing fight scenes with characters who don’t know much about how to fight. Sometimes, it’s easier to get into it when you begin at the beginning. There’s a lot less pressure convincing an audience with a character who knows nothing than one at the top of their field.

There’s a lot less stress about “is this right?” when you’re trying to get a feel for the flow if you’re dealing with a character who doesn’t know jack shit. Fight scenes with characters who know nothing can also be really, really, really fun. They’re wild, improvisational frenzies where all you have is the character sorting through their alternative, non-fighting skills trying to figure out how to survive.

Believe it or not, this will help you because you don’t get to cheat with the idea that your character already knows what they’re doing when you don’t. It’ll help you tap into the character, seeing scenarios from their perspectives, and writing to that instead of “generic fight scene”. When you’re unsure, characters who know nothing about the subject matter they’re engaging in but still have to engage are great. They teach you how to write from the standpoint and perspective of the individual. You need those skills just as much when writing characters who are professionals or at the top of their field.

If you don’t think you can write an interesting fight sequence with a neophyte, then that might be a part of the problem. A character doesn’t need to be good at something to be entertaining. A smut sequence where everyone’s fumbling, knocking into each other, embarrassed, stuck in their clothing, cheesy, corny, and laughing can be just as fun (if not more so and more honest) than the ones that generally get envisioned.

For me, good is entertaining and the entertainment is based in humanity but you need to define “good” for yourself in your own writing. Be honest with yourself about your fears and you’ll find a way to bridge yourself to the kind of writing you want to be doing.

Freeing yourself of your own internalized preconceived notions will help a lot, and produce stories that are way more fun.


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No. They weren’t real. - You didn’t kill her…

Imagine seeing a joke post on tumblr made by a gay person and thinking it’s the same as real life systematic opression and violence lol

Cities in Films #65: NEW YORK


Like its source novel, this cult thriller loosely adapts the events of the 401 B.C. Battle of Cunaxa.  A gang are forced to travel, mostly on foot, from the Bronx to Coney Island, through the territories of militant rivals. The city they traverse is rendered as a dystopian extension of the real-life problems of violence and urban decay in 1970′s New York City.

tell me ur podcast recs!


I am in need of a new podcast! I just got caught up with the Bright Sessions (love) and am floundering. I started Sawbones and like it a lot, but history says in a few days I’ll get antsy since there’s no extended storyline holding it together (see: why I haven’t finished mbmbam or cool games inc or interrobang or honestly any mcelroy podcast other than taz).

here’s what I have listened to, liked, and am caught up on, roughly in order of my love:

-the adventure zone (obvs)
-friends at the table
-the bright sessions
-alice isn’t dead
-wolf 359
-welcome to nightvale
-within the wires
-king falls am

I like slightly weird fiction, preferably kind of funny. I’m ok with horror if it’s more unsettling than gruesome. don’t like real life violence.

please give me your thoughts!!


tw for violence, murder, weapons, all that good stuff

“I hate scary movies.”
“It’s good to be scared. It’s primal.”
“Listen, I read my Entertainment Weekly, okay? I know my shit.”
“I got my money, I asked for your money.”
“You know, I don’t even know you and I dislike you already.”
“I don’t like being scared. I don’t like that.”
“Scary movies are great foreplay.”
“Hey, move your ass! You’re late.”
“You know me and organized religions.”
“Lower the walls for the next few days, okay?”
“This self-induced isolation you got going is not healthy.”
“You can’t blame real-life violence on entertainment.”
“It’s a classic case of life, imitating art, imitating life.”
“I lived through this. Life is life. Doesn’t imitate anything.”
“Are you suggesting that someone is trying to make a real-life sequel?”
“Many sequels have surpassed their originals.”
“Well, there’s no accounting for taste.”
“I’d let the geek get the girl.”
“It’s starting again.”
“Multiplexes are just a dangerous place to be these days.”
“You’re in extreme denial.”
“This has nothing to do with us.”
“Can’t we just go back to our psuedo-quasi-happy existence?”
“I skipped. I couldn’t take all the ‘That’s Her!’ looks.”
“You’re playing with the big boys now, got it?”
“Your flattering remarks are both desperate and obvious.”
“Be kind. She saved our lives.”
“She had calf implants!”
“I’m gonna get closer.”
“This must be flat-out hell for you.”
“How are you holding up?”
“It’s really weird, isn’t it? To think this fuss is all because of you!”
“What are you doing here?”
“I was worried about you.”
“Things were okay, until now.”
“I’m seeing someone. Nice guy, pre-med, no apparent psychotic tendencies.”
“I just want you to be careful.”
“What am I supposed to do? Cut everybody off? Crawl under a rock?”
“I want to make sure you’re safe, if that’s alright with you.”
“Nothing like a funeral to bring the family together.”
“What the hell are you doing?”
“I forgive and forget. Just like you, I’d like to get back on with my own life.”
“You bitch!”
“Did you get that on film?”
“You need to check your conscience at the door, sweetie. I’m not here to be loved.”
“I don’t condone violence, but maybe you deserved it.”
“Don’t you think your overreacting, just a little bit?”
“How do you know that my dim-witted inexperience isn’t merely a subtle form of manipulation used to lower peoples’ expectations, thereby enhancing my ability to effectively maneuver within any given situation?”
“I’m sorry. I don’t know what else to say.”
“Now if you’ll excuse me, I have some oozing to do.”
“I think you’re taking your psych major a little too seriously.”
“ ‘I’m fine,’ yeah—fucked up, insecure, neurotic and emotional.”
“HI! No, I really mean that—hi!”
“That shit only calls you when he’s drunk. Don’t go over there.”
“You sound loaded. What’s up?”
“Drink with your brain, that’s our motto.”
“Do you want to die tonight?”
“I’m outta here!”
“Did anyone call for me?”
“It’s your ill-conceived boyfriend.”
“Everyone thinks that sororities are just about blow-jobs, but it’s not true!”
“It’s happening again, isn’t it?”
“Better hurry. Might get scooped.”
“Get your jacket. Let’s get you home.”
“Why don’t you show your face, you fucking coward?”
“You know, I knew this was coming. I knew this wasn’t over.”
“You are not alone, okay? We are all here for you.”
“He needs to realize the nineties is no time to play hero.”
“Why would anyone go back in that house anyway?”
“You’re lucky he didn’t kill you.”
“I think we have a copycat on our hands.”
“Do these guys have to follow you around everywhere?”
“How am I ever going to get you alone?”
“To be honest, I think it would probably be in your best interest to stay as far away from me as possible.”
“I hope that was an off-the-cuff remark that holds no subtext whatsoever.”
“I’ll take my chances.”
“I don’t want to see you get hurt.”
“Come on, smile. Just once. Please?”
“I’ll smile when I catch the killer.”
“I’m not here to do your job.”
“He is a gemini, single, but I think he’s gay.”
“Penny for your thoughts?”
“I think I love you!”
“Why won’t you let me touch you?”
“I think you just need to deal with that and move on.”
“How do we find the killer? That’s what I want to know.”
“Let’s not move on. Maybe you are a suspect.”
“Well, if I’m a suspect, you’re a suspect.”
“That’s what reporters do! They stage the news!”
“If she’s not a killer, she’s a target.”
“I’m gonna do what any rational human being would do, and get the fuck out of here.”
“I wanna report the news, I don’t wanna be the news!”
“I need you. I cannot do this without you.”
“Let’s go get killed!”
“I’m a fighter.”
“None of us can avoid our fate, but as an artist, you can honestly face it, and fight it.”
“How long have you been here?”
“I need to be alone right now, okay?”
“Do I get a say in this?”
“The killer’s trying to finish what was started.”
“I’ll be back when you start talking about something a little more Saved By the Bell-ish.”
“What do you wanna do, bonehead?”
“Want to wait here and see who drops next?”
“I’m not interrupting anything, am I?”
“Have you ever felt a knife cut through human flesh and scrape the bone beneath?”
“No matter how hard you try, you’ll never be the hero and you’ll never, ever get the girl.”
“Where’s your innovation? Why copycat two high school loser-ass dickheads?”
“This isn’t a good time.”
“Come on, you sent me to prison. You can give me two minutes.”
“There’s been enough exposure. Why would you want anymore?”
“Yeah, I bet you’re real sorry.”
“There was no attack. We were talking, very heatedly.”
“I don’t know about homicide but you’ve definitely got me for raising my voice in a public library.”
“It should’ve been me.”
“Stop treating me like glass. I’m not going to break.”
“Until you find me standing over a body with a knife in my hand, I think you’d better treat me with the rights and privileges afforded to every innocent citizen in this country.”
“Enjoying the show?”
“I just wanna find this fucker!”
“Now we’re getting somewhere.”
“I never meant to hurt you.”
“Stay here!”
“There’s no one there.”
“When this is all over, I’ll still be here.”
“I wanna know who it is.”
“I’m going back.”
“Stupid people go back. Smart people run.”
“We’re smart people, so we should just get the fuck out of here.”
“I’m sick of running!”
“If we know who it is, it’ll be over.”
“Get away from me!”
“This isn’t what it looks like!”
“Shit, who tied these? We gotta get out of here!”
“The killer, he’s here!”
“I wouldn’t do that if I were you.”
“You really wanna trust your boyfriend?”
“Don’t you know history repeats itself?”
“Surprise, [name].”
“Thanks a lot, partner.”
“He’s crazy! You know me better than that!”
“What do you think? Experiencing some déjà vu?”
“I never would’ve hurt you.”
“You should really deal with your trust issues.”
“Oh! So vulgar!”
“Did he let you talk to him this way?”
“He was a sick fuck, just like you.”
“No. He was a sick fuck who tried to get away with it. I’m a sick fuck who wants to get caught.”
“I’ve got my whole defense planned out.”
“I’m gonna blame the movies.”
“I’m an innocent victim.”
“You’re a psychotic.”
“That’ll be our little secret.”
“See? It’s all about execution.”
“You’re forgetting one thing: I fucking killed him.”
“You piece of shit!”
“You got a Linda Hamilton thing going on. It’s nice. I like it.”
“Nice twist, huh? Didn’t see it coming, did ya?”
“It’s called a makeover; you should try it.”
“I’m very sane.”
“You’re never gonna get away with this.”
“Not wise to patronize me with a gun.”
“Don’t you FUCKING MOVE.”
“I have had a very, VERY bad day, and I would like to know exactly what the FUCK is going on here.”
“I can still help you.”
“Let me kill her!”
“Personally, I think it’s rather poetic.”
“No, don’t you listen to her!”
“Quite a predicament you’re in.”
“Give me the gun.”
“I want you to know I would never, ever do anything to hurt you.”
“We should probably talk about what exactly happened here, you know? Get our stories straight.”
“I’ve been shot!”
“Jesus, you scared the crap out of me!”
“You’ve got more lives than a cat.”
“They always come back.”
“How’s it feel to be a hero?”
“I’m back.”
“I’m coming with you!”
“I can’t believe you’re alive!”
“It’ll make a helluva movie.”

I keep up the near-futile hope that people - especially big update blogs that claim to be on the side of sense - would just stop reblogging from open larries. Just have that much restraint and principle and say that no, as long as your blog openly supports false, offensive tinhat narratives, we will not give you the visibility to spread that support. No matter how attractive and plentiful your edits; no matter how desperate we are for content. 

I think it could really make a difference, but it just doesn’t seem to be happening. 

26 Things to Remember When Reading Literature Like a Professor

According to Thomas C. Foster

1) Think of every trip as a quest…even when it’s just to the grocery store

2) Whenever people eat together, shit’s about to go down

3) Remember: vampires, ghosts, and ghouls are never just vampires, ghosts, and ghouls (except for, maybe, in Twilight, I guess)

4) Every time you see a poem

That is shaped in a square

It is more than likely that

You are reading a sonnet

(Except for this right here,

this is not a sonnet)

5) There is no such thing as an original story, seriously a lot of things authors do are allusions to other works…

6) Like Shakespeare

7) Or the Bible

8) Sometimes they like to allude to fairy tales too

9) Plus Greek Mythology…that’s really popular

10) The weather is, like, really important and metaphorical

11) Violence in real life: bad.  Violence is literature: highly symbolic.

12) Actually, everything is a symbol if you squint hard enough

13) Politicspoliticspoliticspoliticspoliticspoliticspoliticspolitics

14) Celibate? Self-sacrificing? Overcomes temptation? Chills with thieves and kids? Drives a crappy car? Probably a Christ Figure

15) Flying is not only cool, it’s metaphorical


17) …accept for actual intercourse…

18) Not-drowning = Baptism

19) Also, geography is kinda metaphorical…

20) …well, look at that, season is metaphorical too…

21) Oedipus. Quasimodo. Harry Potter.  Scars/disfigurement always means something*

22) *Also applies to blindness

23) Heart disease is the new consumption

24) Literary diseases are a lot like modern day YA love interests: pretty and mysterious

25) You should try reading with somebody else’s eyes every once in a while


26) Irony trumps everything

For a more in-depth explanation, please refer to the lovely guide: How to Read Literature Like a Professor

Recommendation List

So I asked people to tell me any Pynch fics that they’d recommend - particularly ones that don’t get the attention they should - and I figured I should probably return the favor. 

I’m trying to specifically highlight ones that I think deserve more attention, maybe some of these get quite a lot of attention in your opinion - it’s subjective really - BUT, I love them all the same. There are many of my favorite authors who aren’t on this list simply because I’m pretty sure you already know about them. 

I’ll probably add to this sometime, or maybe write a different post, but for now, in no particular order:

1. Ghosts of the Past by LostGansey (Ao3)
Slightly angsty, because it’s an alternative-meetings story about Pynch and how they break up, but it ends happy! 

(Also, any of LostGansey’s works, but I’m a sucker for AUs so I particularly liked this one.) 

2. Had to Start it Somewhere by Memorde (Ao3)
AU. Adam works at a grocery store and Ronan keeps coming in to buy ridiculous items and flirt. It’s very charming. 

3. Game, Set also by Memorde (Ao3)
AU. Ronan is a famous tennis star, Adam needs to interview them. 

4. Keeping You Close by Emeryuu (Ao3)
After he leaves for college, Adam keeps stealing Ronan’s clothes. 

5. Hit Reset by e_cat (Ao3)
This is still being written, but it is so so good! Ronan and Adam lose their memories of one another, and basically they have all these instinct and habits about loving one another and don’t know why. The prose is amazing. You should read it!

6. To Feel Your Heartlines by RenlyBaratheon (Ao3)
AU. Based on Four Weddings and a Funeral. Still a work in progress but it’s SO GOOD so far. It has sexy times, though, so you underage folks use your judgement. 

(Also, check out the camp AU as well! It sounds like @cabeswatergreywaren is focusing on this one for now, though, so if you like to read fics once they were done or have a hard time waiting, maybe start with this one!)

7. Dating A Catholic Boy is Hard Work by ronanlynchisneversleepingagain (Ao3)
I love this one because it tackles an issue that, realistically, Ronan and Adam would struggle with. Basically how these two dummies would handle having sex, because Ronan has a lot of Catholic-guilt and Adam has no understanding of religion. 

8. Bad News by ronanlynchisneversleepingagain (Ao3)
AU. Ronan and Adam meet in college, when Ronan is trying to get over Kavinsky. Also, the meet-cute story of Julie and Rachel, as I like to call it. 

9. This is Not Deja-Vu by Endymien (Ao3)
AU. Also a work in progress BUT it’s beautiful. I forget who recommended this to me on Tumblr, one of my mutuals for sure, but it’s great. Basically, Adam returns home after leaving unexpectedly to find his old friend, Ronan, completely changed. Involves time travel and beautiful prose. 

10. Kids of the In-Between by (Ao3)
AU. Still in progress but updating very frequently! The gang meets in college, BUT, what I love about this story is (slight spoilers) that Adam and Ronan meet before his father’s death. This is the first time I’ve ever seen that in a story and it’s already proving to be so, so interesting. 

11. The Raven Under My Bed by wallakoala (Ao3)
AU. Complete! This was stunningly adorable. Adam is basically forced to take Ronan as his roommate. Hilarity and cuteness ensues as he struggles to comprehend his jealousy over Ronan’s flings and come to terms with the fact that he may be bisexual. (Based off this cute, real-life story.) 

12. Violence in the Pouring Rain by qvnseys (Ao3)
AU. Essentially, what would happen if the gang didn’t meet into college and Ronan wasn’t sure how to control his powers. But ALSO: brief fake-dating plotline, in a way, beautiful prose, the best-freaking-Never-Have-I-Ever scene I’ve ever read. 

13. Love’s Folly by waroftheposes (Ao3)
AU. Regency AU, that actually ENDS HAPPY! *Throws confetti* This was really cute, basically Ronan and Adam if they were the friends of Darcy/Lizzie in P&P (Blue/Gansey sort of fill those roles, not quite). 

There are probably SO much more but I don’t bookmark things because I’m a dummy. If there is a way to search stories that you’ve left comments on in Ao3 let me know, because I could find a lot more that way.

it’s about dang time the members are announced!

if you are one of these people, message me (nova) with your kik username so i can add you and the gc can officially be made! (also follow each other that’d be sick)

all right here we go;

@doddleaxolotl ; nova ; they/he
@syngestreet ; randall ; he/him
@wifeofdodieclark ; abigael ; they/them
@cherrysconesandtea ; jay ; he/him
@ufocafe ; celeste/cel ; any pronouns
@madnesscoursing ; alex ; they/them
@flowerdodes ; blu ; he/they
@theylikeboys ; pheobe ; she/they
@dxveyjacobs ; finn ; they/them
@redphonebooth3 ; anna ; she/they
@katsukionicce ; blake ; they/them
@wintermoonlights ; em ; they/them
@knightphilip ; alex ; she/they/he
@bocoluv99 ; cheyanne ; she/they/he

and things/topics to avoid; anything nsfw, gore/blood, homophobia, transphobia, suicide, abuse, talking about how nothing is real, trypophobia, real-life violence, and all caps

anonymous asked:

I've been too nervous to ask most people but can you explain how "man in a dress" jokes are transmisogynist rather than homophobic? I hope this doesn't sound antagonizing, I am just confused.

Sure! I think it has a lot to do with not just the coding of characters but the coding of real people and the coding of certain characteristics as indicating to you that someone is “really x” even in real life. The basic idea is that “man in a dress” jokes are typically set up either to indicate to you that the character you’re looking at is a stand-in for trans women, or is a trans woman and therefore should be laughed at/derided, etc.

The easiest comparison to draw, I think, is if you imagine (and I’m sure you’ve seen this) a heterosexual female character on some TV show who doesn’t shave, seems to dislike most men, has a low voice, is maybe fat, and is generally very gender nonconforming, and a situation in which all those things become the butt of some joke in the show. This would very obviously be a deeply homophobic joke. The character may not actually be gay. But she could be, and even if she isn’t, it is the set of characteristics itself (which we associate with lesbians) that is supposed to be funny. Gay or not, she represents gay people because you see her, read the tropes she portrays, and know those are gay-coded traits.

Now, you might say, this is just regular misogyny because the character isn’t gay. I’m not even going to say you don’t have a point there because you do. The fact is, in real life systems of violence and categorization (heterosexuality, gender, race) are not so easily separable from each other. So when you ask if the joke is homophobic “or” transmisogynist, not only can it be both but the two are not so easily separable, especially when you take into account that a lot of male violence against trans women is justified with the anxiety that they’re gay on some level for being attracted to them, or they’re gay if they leave her alone and let her live her life, etc. There are not neat lines between which systems affect someone, or what a system comprises even. Increasingly, I think of gender and sexuality as a SINGLE broad nexus according to which someone can be marginalized because without gender there isn’t really sexuality in the way we understand it, and these things do interact with and even comprise each other in very intimate ways.

Hope this helps! I think probably most trans women would have answered this if you asked nicely so idk why you asked me but I think this is a pretty decent way of writing it out. The TLDR is that jokes about sexuality and jokes about gender are very often the same thing, or at least very similar, and that coding happens culturally as well as just in TV shows.

i feel like so much about fanfiction’s predicament is that so much of it is personal (often sexual) fantasies brought to life. fanfiction is accountable to no one really for the simple fact that a. it’s freely created, and then it’s trouble comes because b. it has been made freely accessible.

in the ‘real world’, there are certain social rules which mean that sex as a broad topic is typically off the table in every day interaction. and much of it ties in with the general fear of male sexuality alongside the oppression of female sexuality which twists together and ties into pseudo-religious policing of what types of porn is appropriate and what people should be allowed to get off to. so much baggage is carried from ‘the real world’ as such that displays of male sexuality is often automatically read as aggressive and oppressive even when it is under female control. likewise, the complexities of (particularly female) sexuality in general has been so oppressed and removed from mainstream discussion that people seem unable to grasp the function of fantasy. And all of it is done without consideration for context and nuance.

i want to talk about power and control here because it seems to be the perceptions around it that is causing so much conflict. and i think that certain elements of anti-logic actually does carry weight in that fandom as it currently stands isn’t really structured in a way that allows people to ‘not see’ things that they find distasteful. tumblr is dependent entirely on a self-policed tagging system and personal curatorship which is spotty and unreliable. and even personally, i have lost count of the amount of times i’ve scrolled to find something (usually kinky) I personally find confronting reblogged without comment or acknowledgement by mutuals I trusted. And then there is ao3, which offers no easily accessible options to exclude tags and similarly makes no effort to filter its explicit works from default search the same way that has done for a long time.

The result is that short of each person individually compiling a long list of tags containing every single thing that they do not want to see or experience and applying it to each search attempt, each of us is going to be forced to read through several summaries referencing rape, abuse, or incest just to find whatever it is we each enjoy. And really, at the end of the day, the things these antis don’t want to see are hardly insensible when you simply step back from the fandom environment you’ve been so immersed in and look at things with the eyes of, dare I say it, I regular person. Is it really wrong to walk into a library wanting to find a nice fluffy au of some sort and having to find it on the same shelf next to half a dozen hardcore pwps?

It is really quite easy for people who are used to this system to put the blame people for complaining too much and not taking enough responsibility for themselves. But again, there is a fact to be acknowledged in that so many people are genuinely children. In turn, society places a certain onus on older people to protect them from being exposed to certain things before they are emotionally capable of handling it. Would you show a 14 year old your kinky bdsm porn when they ask if you have written something original about their otp? And yet it is default and acceptable for ao3 and tumblr to do just that. And is it really surprising when these same 14 year olds express their anger and confusion the same way that most teenagers often resort to - through bullying and harassment?

I am in no way saying that the bullying and extremist rhetoric that is prolific in fandom is in any way acceptable. But I think there is something to be said about the irresponsibility of a large part of fandom in that we are so wrapped up in protecting our right to produce and consume kinky porn that we are neglecting the fact that people are in fact continuously being hurt by the structures we have set up. Would it be terrible if ao3 excluded its explicit works in default searches so minors (and adults alike) wouldn’t have to read tags such as ‘bestiality’ and ‘parent/child incest’ when they are just venturing into a new ship (or fandom in general) and just getting their bearings? Is it really wrong to add more warning options to the current three (rape, mcd, violence) to include things like abuse and incest when the point of warnings is to protect the people who don’t want to see it? What makes incest or bestiality more pure than rape fantasies?

And I think all of this comes back to fanfiction’s growing identity issue. Because as we mature more and more as a literary genre, the nuances within the genre itself needs clearly distinguishing. You wouldn’t walk into a video store or a library and see hardcore pornography placed side by side with Tolkien, and that is where the frustration of so many people come from.

An alternate line of argument may be that – yes, why not put porn and tolkien together? Fandom has such deep roots in fantasy, especially that of the sexual kind, and prides itself on progressivism. Female controlled porn should be given front and centre attention and be respected and acknowledged. You cannot conflate fanfiction with commercial media. the latter is created to Make Money TM and actively promoted and distributed on a wide commercial scale. The former are passion projects utilising existing characters that exists for no reason other than the creator’s personal enjoyment (as well as the enjoyment of other like-minded people). Don’t like? Don’t read!

But the thing is, changing the structure to be less confrontational doesn’t mean that people’s rights to produce and consume kinky porn are sacrificed. It just gives the people who don’t want to see it better tools to protect themselves. If you are in the mood for abusive porn and you know exactly what you want, and can use the tags to find it. But for people who are hurt or made deeply uncomfortable by topics like incest or rape… is their comfort less important than your convenience? Libraries acknowledge differences in genre in that you won’t find The Ring put in the same section as Love Actually. And they respect that not everyone wants to see naked bodies and put their pornography together on an out of the way shelf or even behind a curtain. Fandom, and again, ao3, does not allow that. And people are justifiably frustrated.

It is so easy to dismiss all ‘antis’ as some seething swarm of irrational hypocritical youngsters who don’t do anything but hate. (Admittedly, people like that do exist). But at the heart of it all, is it really crazy for a blogger to rant on their private blog about how they don’t want to see incest or an ‘abusive ship’ when looking for fic about a different otp? Everyone’s headcanons are different, and something which may not necessarily be abuse to you can be that way for another. Why is it that respect is only deserved when it conveniences someone’s preferred side of the argument?

And I’ve talked about the oppression of female sexuality and fear of male sexuality earlier. But so much of that are issues around society, and baggage that we all carry no matter what. There are platforms for remedying the misconceptions around rape fantasies, bdsm, torture porn, underage porn, and so on. (They are fantasies constructed and consumed in a safe environment one can exit at any time, and does not hurt any real people. The same way you can murder a garrison of enemy soldiers in a video game and feel empowered but also not condone real life war and violence.) I don’t think respecting people’s boundaries around what they wish to be exposed to is going to directly impede those whose purpose is education.

Because at the end of the day, we still live by the rules and expectations of the society we exist in. And becoming more mature and popular as a genre brings with it the politics of scrutiny. If we want to become more accessible and less misunderstood, maybe a step toward respecting our peers is the right thing to do.

anonymous asked:

I don't think the rejection was the only reason 514A pushed her I think it has more to do with the fact that she said some pretty harsh things to him, harsh but true he's just a copy and he'll never be the original. But what did you think of how even though Selina basically told Bruce she never wants to see him again she's still got his back. It's probably my favorite thing about the show Bruce will one day be Gotham's protector but Selina is Bruce's protector.

I’m going to assume no harm here, but whether you intended to or not you just just derailed a conversation about dating violence. Like are you seriously trying to explain to why someone murdering another person they were romantically interested in wasn’t dating/domestic violence? Because that’s all I’m hearing right now. Whether or not Selina’s rejection was Five’s only reason for pushing her out of a window is irrelevant. This is someone he previously had an intimate relationship with and someone he clearly still had a romantic interest in and that’s all that matters.

Bringing up the fact that Selina “said some pretty harsh things to him” is making an excuse for what he did when there is no excuse. It’s deflection. It implies that in some way we should attempt to empathize with Selina’s murderer and try to see things from his perspective. It also borderlines on victim blaming because it implies that if Selina had done something differently, if she had just been a little nicer to him, then she wouldn’t have pushed him to do what he did. No. We give real life violent men the benefit of the doubt far too often in our culture, we don’t need to be making excuses for fictional men as well. We will certainly not be doing that on this blog. 

Men lashing out and acting violently towards women who reject their romantic or sexual advances is all too common. What was particularly striking about the scene was the way it played out: Five tried to “rescue” Selina no doubt thinking she’d be grateful and impressed by the heroics (”Because I care about you and if there’s one person I want to save I want it to be you”). We already know from previous episodes that Five thinks of Bruce as a romantic rival. So for him to kill Selina right after she “friend zones” him for the guy he’s competing with exemplifies real life acts of violence and the objectification of women. If Five really cared about Selina he would have wanted to save her regardless how she felt about him romantically, but because he sees her as a trophy to be won in his rivalry with the real Bruce he can’t handle her rejection. He interprets this as confirmation of his deep insecurity that he’s inferior to the real Bruce Wayne, and suddenly she becomes disposable to him. Ironically, though he went to her under the guise of trying to save her, he ended up murdering her. 

What happened between Five and Selina perfectly mirrors dating violence in real life, which is the reason I brought it up in the first place. Five acted like he was Selina’s friend and that he was just looking out for her but the second that she not only stone cold rejected his advances but hurt his delicate little ego he transformed into an entitled, misogynistic fedora wearing Nice Guy™. 

I’m not mad that they included this on Gotham. Actually I think it made some pretty poignant social commentary, but in order to get that point across we’ve got to be willing to point it out when we see it. I will get to the second part of your question in a different post. 

anonymous asked:

Is it me or are things getting worse in the Anders fandom? They were always bad but now I'm seeing instances of people actually getting violent. Someone in my area cosplayed a templar and the Anders stan in our group kept trying to antagonize him. We got kicked out after she threw a full energy drink can at him.

God, that’s scary. Holy shit. Every time I think that the Anders stans couldn’t possibly sink any lower, they prove me wrong. I hope he reported her for assault because she could have seriously hurt him and any bystanders! And to ruin everyone’s time because a fictional fucking character is prioritized over actual real life people is so wrong and so upsetting.

And this isn’t the first incident I’ve heard of involving actual real life violence from an Anders stan within the past few months. This is what? the fifth or the sixth? There’s a definite pattern now. The stans have become more than just online bullies, which is already really bad, but to physically hurt people over this… Honestly it’s kind of terrifying. Non-existent mages are more important to them than the feelings, safety, and well being of real people.

The thing is that they act like they’re completely justified in this because they somehow genuinely believe that only evil people could ever dislike Anders or side with the Templars, and so therefore that absolves them of any wrongdoing in harassing and attacking us. Being triggered by Anders or being uncomfortable with Anders or being upset with the abhorrent things he says and does (sexual harassment, abuse, misogyny, murder, terrorism) aren’t considered “real” reasons not to like him because to them only good people like Anders and only bad people dislike him.

Nothing justifies this kind of violence. Nothing. Just like nothing justifies Anders’s violence. But people who go through the kind of mental gymnastics to excuse Anders’s words and actions are completely capable of doing the same to excuse the horrible shit they do to others in real life, and that really is terrifying to me.

And all the more evidence that we need our own safe space in the fandom away from the stans.

The drawing above is one of many by a North Korean concentration camp prisoner who managed to escape from living hell. Each of his drawings are based on various things he witnessed in the elusive camp. The one above shows the horrific moment a pregnant woman was savagely executed by cruel officers. The unnamed escapee said that pregnancy was prohibited within the camp and if a woman managed to get pregnant, the guards would slice open her belly, throw the fetus away and execute her.