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peachesofteal · 8 months

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Happy Hunting

Simon Riley masterlist

Simon Riley/female reader 4.1k words - AO3 Warnings-tags: 18+ MDNI. Consensual non consent. Explicit sex, creampie. Predator/prey, hunter/hunted. Use of restraints, a gag. Blood, violence. Dirty talk, size kink, praise kink. Feelings of fear, anxiety. Horror-ish. Horror media references/influenced. Tags are for your health, not mine. “Passion has little to do with euphoria and everything to do with patience. It is not about feeling good. It is about endurance." - Mark Z. Danielewski, House of Leaves

It was the porch light, that cost you everything.

The porch light that flickered through the brush with strokes of silver moonlight, the porch light that cast a wan, yellowed haze out from its warped wooden and stone host. The porch light, that shone like a lighthouse, calling you home, calling you to safety, security. To sanctuary.

You spotted it from a distance the first day, once you had already changed course that morning, tromping across a stream and shimmying through a nasty spool of barbed wire. You hunkered down next to an outcropping of rock, peering through the morning fog, searching for your hunter, watching for the tell tale signs of his presence, a wide path cut through the forest by his broad body, punctuated by trampled underbrush, damaged petals and leaves. The house stood on the hill in the distance, rising just above the tree line, the shimmer of the little yellow light drawing you in, making you curious, filling you with an urge to look closer, as the hair on the back of your neck rose in warning.

The rocks were a perfect natural shelter, a good place to take a nap, if you wanted, if you could. It would be easy to bed down in the soft dead-fall of the leaves, sink into the earth, into the heavy mist that had lingered past dawn, but you couldn’t risk closing your eyes. Not even for a second. Not when you knew he was so close, when you could hear his breath, feel the pads of his fingers on your skin, reaching, stretching, desperate to snatch you away forever. If you held your body still, you swore you could feel the vibration of his feet in the forest, rustling against the brush, covertly honing in on your location, stalking closer and closer to his target. His victory.

Even if you never saw him, you knew he was out there, watching patiently. Waiting for you to make a mistake, for you to miscalculate.

You told yourself the house was not an option. Even when you got a good look at it on that first day, something about it stuck low in your belly, an off feeling, a warning. You opted to circumvent the entire thing, giving the long overgrown driveway, endlessly black windows and snarled thicket that grew thick at its foundation a wide berth.

Old stone mansions left abandoned, remnants of old families, old money left to rot, were not unheard of in this area. You had spent your youth crawling around in them and knew them well, knew their warning signs, understood what it felt like when they might give way on you. You knew how to unlock their secrets, knew how to read the gothic stories that had settled into the crumbling, peeling wallpaper. They spoke their own languages, histories spiraling out from their nooks and crannies, trauma and laughter etched into the joists and support beams, sagging with the weight of their own age. They could be easy to read, easy to listen to, if you knew which doors to pry open, and which to leave locked shut.

Still, it was too convenient. Too much of a risk. Too much confinement. There was a zero chance of you besting him in a physical fight, and you had to depend on your speed for survival, your aptitude, your skill to ensure your success. Pigeonholing yourself in a mansion with god knows what inside did not allow you to excel at the things you were good at.

You felt confident in your decision to avoid the house. You felt good about it.

The storm rolled in with tenacity. The rain was frigid, wind howling through to your bones, chilling the blood that pumped in your heart. It's strength pulled at your resolved, ready to tear you to pieces, to force you to your knees. It pushed you off course, away from the rushing water of the creek, and up the hill of water soaked leaves.

You lost your bearings for a moment, and that’s all it took for you to slip up, all that was needed for you to catch the sight of his grim shadow from the corner of your eye, the crack of a branch breaking beneath his boot shattering across your brain like a gunshot.

You tore through the woods, gait bogged down by the water logged earth, by the thick of the mud, chased by the sound of his voice, calling for you through the forest over the raging fury of the storm.

"Happy hunting, little dove."

You narrowly escaped, but the skull mask watched. He waited. He tracked.

He hunted.

It’s too dark.

Too dark to see anything, too dark to see your hands that are spread out in front of your body, hands that desperately try to act as your eyes, feeling, touching, scraping across surfaces to keep you from bumping into things. Doors. Walls. Whatever could be lying in wait here.

The weight of your wet clothing irks you. It hangs heavily on your body, and you wish you had chosen better layers, shivers working up and down your spine, goosebumps rising against the soaked chill of your shirt. It could be pneumonia that gets you in the end, if he doesn't catch you first, you muse bitterly, wringing yourself out as well as you can, water droplets pattering against what you believe sounds like a wooden floor.

The lack of light is unnerving. You'd expected it, knew the chances of there being anything working in here slim, but you still hoped that maybe the lone flickering porch light meant there was something still left inside these old bones, a spark, a connection feeding a light switch or a lamp somewhere. The dark of the house is endless, and your mind works quickly to imagine the worst case scenarios, the potential that this tenebrous pitch may drag you below forever settling heavily in the back of your mind. It's deep, the darkness of the house, like you could fall into it and drown, never resurfacing, never to see the sun again. You move slowly, hands in front of your face, body and feet making contact with as much of the wall as you can, trying to paint a picture with touch. The dark, combined with the new and unfamiliar territory, is enough to unsettle your usual steady demeanor.

The combination is a lethal one. It’s one that leaves you hesitant. Unsure. It’s one that keeps you off balance, spine ram rod straight, nerves alight with fear.

It wasn’t so bad, in the woods. The silver glow of the moon illuminated the lay of the forest, sprawling swaths of brush and low growing thistle, tall trunks that stretched to the sky, stout shrubs with thorns that scratched at your clothes. That was easier, than this.

Easier than this maze called a house. Easier than these hallways that morphed into a labyrinth that stretched for miles and miles, twisting together into a Fibonacci sequence of pitch-dark terror.

No. You swallow. You’re not afraid. You’re fine. You’re going to be fine. You're going to win.

But even as you repeat it to yourself, even as you coach your reserve, you can hear his voice. Can hear the grit and gravel of the Manchester accent, can smell his skin against yours, lips rough on your mouth before your cheeks were pinched between a thumb and forefinger.

“Want to play a game?”

You work forward in a half crouch, staying pressed to the wall, form as tight as you can manage, unobtrusive. Your hand stays projected in front of your body, the other along the wall, waiting to feel an angle, an edge, a door, a window… anything.

You shouldn’t have come in here. You walked right into a trap, you're sure of it now, fairly positive after feeling the way the corridor twists and turns away from the front. Walked right into a confined space and now you’re lost, stuck, like a fly in a web. Waiting to be devoured. Waiting for your end to be delivered by a spider who lurks just out of sight.

But you did it for a reason, didn’t you?

You’re so, so close to the finish line. So close you can taste it, the trepidation beading into sweat that drips down your back, cold and unwelcome against the damp of your shirt. It’s already been two days. The morning of the third day is just on the horizon, sun due to come up, you think, within a few hours. Your mouth salivates at the thought of it, the idea of sinking your teeth into sweet, sweet victory. Of winning. Of beating him.

You take a moment to stop and reassess, swiping your palms along the wall and floor, working on controlling your breathing. It’s becoming jagged, anxiety spilling out through your lungs with each step you take, fear moving through you like ice freezing in your veins, creeks and streams being lost to the winter’s chill, a disease slowly spreading towards your heart.

You use it to focus. You cannot see, but that doesn’t mean you've lost, and it doesn't make you weak. It makes all your senses stronger, your hearing, your ability to smell, your translation of touch into sight. The wall turns here, the floor dips there, does that feel like a ledge? You crawl in your crouch, lips sealed tight against soft whimpers that threaten to expose you over the little pieces of wood that get lodged in your palms.

Splinters. Unfinished lumber.

It confirms your theory. The mansion itself is old, stuck up on this plot land, nestled in the thick of the forest, abandoned, nearly completely forgotten about by all… save for one. One, who’s been building inside of it, one who’s been creating in its guts. Hollowing it out and remaking it into something new, a hellscape of hallways, a complicated vision executed by someone who’s running from the same demons, the same nightmares that you are.

Your heart sinks past your stomach, down into your knees. Continuing to run this rat race is foolish. He built it. He knows it. He pushed you here, urged you over the hill, across the stream, beneath the barbed wire. He dictated your path, forcing you into the light of the porch, herding you closer and closer because he knew. He knew you wouldn't be able to resist it, in the end. He knew you.

Find a different part of the house. Escape. Hide, until sunrise.

You keep going, carefully, creeping along the walls, navigating lefts and rights and forks in the labyrinth until your fingers tap silently across an empty door frame, nothing on the other side except the continuous black void of darkness.

Your feet slide forward, boots sliding until the floor disappears. A drop off? There’s more, a flush piece, a curved groove.

Stairs.

You blink, even though it will do you no good, it won’t clear your vision or make the lights in this decrepit place suddenly flicker on. Your hands are your sight, and you run your fingers along the curve of the top step, until you feel the next, and the next.

You take them half on your belly, half on your knees. It’s slow, achingly so, and puts you in a vulnerable position, but the fall, if there were to be one, would be much, much worse if you risked attempting them fully standing. It takes forever to get to the bottom, and you feel a small tug of relief when your palms rub across a cold concrete floor.

There’s a noise. It’s a banging, of sorts. Like a door swinging, and you jolt, reaction fueled by adrenaline, barreling forward into the dark, slamming into the wall with your hip. It stings, the slap of concrete zinging across your skin and you hiss instinctively, before clapping a hand over your face to muffle the sound.

You curse yourself. That was too loud.

A floorboard creaks above your head. The acid in your stomach rises.

You hold yourself as still as you can, palm still pressed over your mouth, body bent low. You keep contact with the wall as much as possible, shoulder, thigh, part of your back. Stay low. Stay small. It’s an advantage you have, your size versus his. Even if you aren’t particularly petite, you’re nimble, graceful and quick. Something you’ve been using for the past two days to stay one step ahead, something you used earlier to orchestrate your narrow escape in the woods. You use it now, to find a corner, a little nook of rough cement, and squeeze your body inside.

Heavy feet take the stairs slowly, step by step until you see the bright white beam of a flashlight sweeping across the floor methodically, back and forth, back and forth. It moves across the room, around the stairs, opposite of the corner you think you’ve tucked yourself into.

Just hold your breath. Stay quiet. You can still win. You can still make it.

The flashlight flicks off with a dramatic click. Your teeth sink into your bottom lip so hard it draws blood.

Maybe he didn’t see you. Maybe he doesn’t know you’re even here.

Seconds drag into minutes, and you think you hear heavy footfalls upstairs. Or possibly on the stairs. You can’t be too sure. It’s too dark, and the pitch is disorientating. It’s hard to tell right side up, up from down.

This could be heaven. It could be hell.

You stay burrowed in that corner against the cinderblock for what you believe must be at least fifteen minutes, if not longer. Your body aches from being pushed in on itself, and you blink in the dark, breathing slower than a corpse, listening. Waiting.

Your boot slides across the concrete. Seeking. Touching… bumping into solid mass. You realize it a second too late. Time freezes, and you with it, heart encased in ice. Your eyes slam shut, and a whimper builds in the back of your throat.

A hand wraps around your ankle, and you screech, curling forward with your fingers bent like talons, flying towards what you hope is his face, desperate to sink your nails into his skin and tear, rip him open so you can get away. He grabs your arm, stabilizing your contact, the strength in his grip that of more than two men, at least, and drags you across the floor, iron bar of his ulna holding you still and steady.

A piece of metal scratches against wood. A flick, a flicker, and then-

A wash of orange-yellow light. You’ve been in the dark for hours at this point, and your sight struggles to refract, pulling back behind half shut lids even though the light itself is not that bright.

You tilt your head back and look up.

String lights. He’s hung string lights up down here, little bulbs on black wire stapled to the rafters like you’re in some romantic comedy. Like there should be a two top table here with a pile of spaghetti and meatballs, carafe of wine and checkered tablecloth.

“Hung these just for you, dove. Knew you’d like ‘em.” His breath is burning hot against your face, and you twist, swinging your entire skull into his chest and trying to dig your heels into the ground for leverage. You catch a glimpse of his face, maskless, the twice-healed broken nose, cheek scar and sharp edged jaw unmistakable, even with your fogged vision.

“Get OFF me you FUCKING FREAK, I-“ His thigh presses against your knee and then you’re swooping, thrown off balance in a second thought with a scream, free hand ripping across into his hair and yanking with everything you have.

It doesn’t matter. He doesn’t flinch, wrestling you to the ground with ease. You don’t have much fight left in you, after two days of hiding, running, trying to be smarter, be faster, and you’re spent on all ends, this last little spat the end of everything you had. He knows it.

Still, when he fish hooks his thumb into between your lips, you bite down with all your might, sinking your incisors into his skin in hopes of drawing blood.

He laughs, and your mouth fills with the mineral-metallic liquid, his thumb swirling inside your teeth and across your gums.

You know you’re well and truly fucked.

The knife makes quick work of your shirt. Your tac pants, the good pair, go next, along with your boots. He lurks above for you a long moment before he cuts your bra away, your nipples tightening in reaction to the temperature, to everything that’s happening in this moment, in this basement.

“Gave me the slip in the woods earlier, little dove. Very clever.” He praises you, bending your arms behind your back and then working a rope around your wrists, knotting it securely, but not too tight. “Almost made it. Think you might’ve, if you hadn’t come in ‘ere.” Your underwear rips away without pretense, without hesitation and you swallow, mouth gaping wide, teeth trying to cut over the gag. “But I know why you did. I know you wanted to get caught.” You shake your heard furiously, and he clucks his tongue in mock sympathy, soothing a warm hand up and down the outside of your thigh. “Come on dove, let me see.” He pries your legs apart, baring you wide, where you drip for him, slick with arousal, with heat. He hums something to himself; two blunt fingers stroking down your seam and then back up around your swollen clit. You buzz with his touch, muscles reacting on their own, spine curving just a little, hips twitching. He stays there, on his knees between your thighs, an immovable force, keeping you from closing up around him or blocking his touch, and his thumb rubs your clit in a circle. “What a good girl. Gettin’ all wet for me.” You shake your head, and he tips his head back and laughs. “Don’t lie. Pretty little cunt here loved bein’ hunted, eh? Look at how soaked she is. Practically dripping.” He presses a finger inside, the depth of his reach enough to punch your lungs out, body seizing up around him as he strokes upwards, thumb slicking across your clit until you're writing underneath him. You’re going to cum, you’re going to cum on this dirty fucking floor like a- “Ah, ah. You know the rules.” He rasps next to your ear. “What do you need to do?”

“Nnrgh!” you spit through the cloth, and he sighs long and loud, like he’s emptying himself of all his breath with exasperation, fingers smearing your own fluids over your face as he pulls it free. “Please.” You gasp. It’s barely a plea, something more venomous, more spiteful, but it’s enough for him, and he nods, placing the fabric back into your mouth with a pop of his wrist. You don’t want to, you don’t want to give in, let him win, let him have this, make it so easy but he's playing your body so well, expertly, making you sing for him from behind the gag, and you cannot stop the tidal wave that swims over you, your orgasm breaking you apart, smug grin scrawled across his face with pleasure.

When he takes his cock out, dragging his briefs and pants beneath his hips, all while keeping a single hand pressed to your belly, your eyes widen. He’s huge, thick with a fat red tip, dribbles of pre cum leaking above where he’s got you splayed open. He’s going to tear your apart.

“You put up such a good fight, dove. Made me wait so long, hid so well.” The heat of his cock sears against your thigh, and you grunt, brows furrowed, mouth dry behind the gag. Your tongue pushes against it helplessly, fingers fisted tight in the binding beneath your lower back. It’s not particularly comfortable, but the position bares your breasts to him, and keeps you off balance enough that he can manipulate you as he sees fit. “But you still lost.” The gleam in his eye is wild, wicked enough to make your toes curl, hair on the back of your neck standing straight up. Is this a man? Or a monster? Or both?

He presses inside and you see stars, you see the whites of your own eyes, see the currents of electricity in the air. It hurts, a gnawing bite that spreads to your cervix, magma spilling forward and scorching along your walls. He doesn’t slow either, doesn’t stop, just thrusts all the way through, deeper and deeper, splitting you open on his cock just how he likes.

“Ffuumph-“ You moan, and a plate sized palm pats your face soothingly, your knees pinned back towards your ears, his chest against yours. He knows it hurts. Knows it stings, his hips stuttering with his strokes, tongue hot against your neck, mopping up the tears that leak from the corner of your eyes.

“I know, I know. Be good." He licks your cheek before taking it between his teeth, and you keen, clenching around him the heat of his cock without a thought. It’s wild, and violent, like you’re being ripped open raw, torn apart by the weight of the end of it all, the consequences of your loss, of getting caught. “Is this is what you needed? What you begged me for-“ You sputter a refusal, a wail of nonsense but there’s no denial of your body’s reaction, the way you tighten around him, the way your body goes gooey for him, cunt glossy with it.

He thumbs your clit, and you moan, half agonized, half delirious, stuffed full, neurons firing across your brain, cunt spasming in time with his thrusts. "So proud of you. Did so good, dove." Your back arches involuntarily, legs trying to snap closed, burn in your belly growing and growing to a precipice, a reckless edge that you know you’re going to be thrown over in a matter of seconds. He reads it, reads you, and plucks the gag free, swooping low to replace it with his mouth, holding your jaw steady, the kiss long and lingering. He gives you more and more, spearing you with his cock, dragging in and out of your pulsing cunt, cooing in your ear over the sound of your moans. "That's it, that's my girl. There you go, come- come on." Your muscles tense and you explode with an orgasm, body melting with a shudder. You turn to liquid, practically putty, all soft and malleable in his arms and he fucks you deep, frantically, chasing after his own release, dragging his nose into your hair with a groan of something unintelligible. You're still clenching around him, wired tight, little explosions of fireworks reverberating through your cunt as he takes his victory, notching himself to the very depth of your body and flooding you with come.

“Knew you wouldn’t be able to resist it. The house.” His arms cradle your limp body, nose skimming up your jaw.

“It was a nice touch.” The words come out as a yawn, stretched out and spent, like your body. Like your mind. Just how you like it.

“You lost, dove.” He murmurs and you nod pathetically. “Want to try again?” He works his touch in the wet mess between your legs, flicking through his own come, your slick and you mewl in his palm.

“Yes."

“I think I should get more of a head start this time.” Simon raises an eyebrow, a shadow of greed, of hunger arcing across his irises before his arm is curling around your back and pulling you into his chest.

“Don’t I usually give you enough of a head start, love?”

“You do, but… Si. Come on. It’s hardly fair.”

“You’re faster than me.” Lips press tenderly against your temple. “Beat me every time in a foot race. Besides, I have something… for you. A gift.” Your head spins when you think about that word, gift. It frightens you. It electrifies you.

“I know but… I want to build it up a little more.” Still, you have to protest a little. You want a longer chase. Need it. Crave it.

“Alright.” He concedes, head tilting to the side, eyes half lidded. “And the prep-“

“Not too much.” You tip back your glass of wine, drop of red leaking from the corner of your lips, tannins blooming across your tongue as he laps it up. “I want it to hurt.” You murmur it into his mouth, rolling the rich liquid from behind your teeth until he’s working you open and it spills forward, drowning the two of you in red cherry and oak until you’re falling to the floor, and he’s kissing your breastbone with a whisper.

“Okay, dove. Not too much.”

#tw dark and twisty #tw dark themes #peaches writes #dove x simon #I really like these two #simon riley #simon riley x reader #simon ghost riley #simon ghost riley x reader #ghost x reader #cod ghost #cod x reader #mw2 #ghost cod

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hailmaryfullofgrace55675 · 7 months

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This is a tempting parallel to draw, but it doesn’t tell a whole or accurate story.

The idea of autogynephilia isn’t just the idea that lesbian trans women transition because they think lesbianism is sexy so they want to be lesbians for sex reasons.

Autogynephilia is part of a larger sexological theory, dreamed up by a specific individual named Ray Blanchard, that there are two types of trans woman: the “homosexual transsexual”, who is male-attracted, and the “non-homosexual transsexual”, who exhibits autogynephilia - a sexual fetish for being a woman that’s also a romantic orientation toward oneself-as-a-woman that’s also a type of fantasy about female embodiment or crossdressing or doing traditionally feminine activities like having sex with men.

The theory of autogynephilia comes loaded with a bunch of other particular and nonsensical ideas, including but not limited to the idea of the “erotic target location error” and “erotic target identity inversion”, the idea that all erotic crossdressing fantasies are fantasies of being the gender one dresses as, and the idea that bisexuality in trans women is attributable to “meta-attraction” in which the women are not actually attracted to men but only to the sense of femininity that sex with men can grant them.

Blanchard and his associates J. Michael Bailey and Anne Lawrence have been responsible for propagating this concept of autogynephilia across numerous academic journals articles and multiple books over the past 34 years, including Lambda Award nominee The Man Who Would Be Queen.

The idea of gay trans men transitioning because they like BL

mostly manifests as the idea that young people who were assigned female at birth are experiencing a form of social contagion or susceptibility to media influence rather than a deep-set paraphilia (the way autogynephilia has traditionally been theorized),

has mostly emerged in a vernacular way inside of trans communities and as an explanation for offspring’s transgenderism by transphobic parents, rather than as a formal sexological concept (Blanchard didn’t pick up the torch on “autohomoeroticism” until something like 2018, well after trans people had been commenting on the idea for years), and

has not had the reach or impact the theory of autogynephilia has had.

It’s not the worst comparison in the world, but assuming 1:1 mirroring between the situation with autogynephilia and the situation with gay-tboys-are-just-doing-it-because-they-read-too-much-yaoi would produce a lot of incorrect assumptions about whichever the thinker is less familiar with.

#autogynephilia #autohomoeroticism #blanchardianism #transphobia #transgender

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chaos0pikachu · 5 months

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Is BL Being Overly Influenced by Modern Western Romance Tropes?

Short answer: No. anyways, in the following essay I will explain that James Cameron is a weeb...

(okay fine~~ lets actually do this)

TLDR: discussing what media globalization is, how fandom can distill it down to only American/European cinema, showcasing how a lot of current BL is influenced by countries within it's own proximity and NOT "the west" but each other, also James Cameron is still a weeb

I had seen a post that basically proposited that BL was being influenced by modern western romance tropes and had used things like omegaverse and mafia settings as an example. I found this, in a word, fucking annoying (oh, two words I guess) because it's micro-xenophobic to me.

It positions western - and really what we mean by this is American/European countries, we're not talking about South American countries are we? - cinema as the central breadbasket of all cinema in and of itself. Inherently, all following cinema must be in some way, shape, or form, influenced by American/European standards, and as such America/European countries are directly responsible for cinema everywhere else, and these places - namely non-white countries - do not influence each other, nor have their own histories in regards to storytelling or cinema and do not, in turn, also influence American/European film making either.

Now like, do I think all of that~~ is intentionally malicious thinking on behalf of folks in fandom? No, so chill out.

I do, however, think a lot of it is birthed from simple ignorance and growing up in an environment where ~The West~ is propagated to be central, individual, and exceptional as opposed to the monolith of "Asia" - by which we mean China, Korea, Japan don't we? How often in discussions of Asian countries is Iran, India, or Saudi Arabia brought up even tho they are all Asian countries? - or the monolith that is South America - in which some folks might believe regions like the Caribbean and/or Central America belong to, but nope there both North America.

Anyway, what we're talking about here is the concept of "media globalization":

"The production, distribution, and consumption of media products on a global scale, facilitating the exchange and diffusion of ideas cross-culturally." (source)

"The media industry is, in many ways, perfect for globalization, or the spread of global trade without regard for traditional political borders. [...] the low marginal costs of media mean that reaching a wider market creates much larger profit margins for media companies. [...] Media is largely a cultural product, and the transfer of such a product is likely to have an influence on the recipient’s culture." (source)

Typically when I see fandom discussing what falls under MG the topic is usually focused on how "the west" is influencing Thai/Korean/Chinese/Japanese media.

Enter, Pit Babe.

Surely Pit Babe was influenced by Supernatural right? Omegaverse is huge in the west - love it, hate it, meh it - it originated in the west - specifically via Supernatural after all.

Nah.

Omegaverse has been popular in Japan and China for almost a decade, if not longer. The earliest omegaverse manga I can think of is Pendulum: Juujin Omegaverse by Hana Hasumi which was released in 2015, almost a decade ago.

(what if you added furries into omegaverse? WHAT IF?? - Japan)

There's countless popular omegaverse manga too, and the dynamics only moderately resemble the ones we're familiar with in the west. Juujin is part omegaverse and part furry/beastmen - the alphas are all beastmen the omegas are humans - while something like Ookami-kun Is Not Scary only slightly resembles omegaverse dynamics as a hybrid series - beastmen are really popular in Japan in part b/c of historical mythology (you see the combination of romantic Beastmen and Japanese culture & folklore in Mamoru Hosoda's work The Boy and the Beast and Wolf Children).

Megumi & Tsugumi (2018) is so popular they're an official English edition published by VIZ's imprint SuBlime and that's a straight up omegaverse story.

(look at the omega symbol on the cover loud and proud baby)

So if Pit Babe was influenced by anything, it certainly wasn't "the west" it was Japan, Korea and China. Because those countries have a thriving omegaverse sub-genre going and have had such for 10 plus years now. Supernatural is popular in Japan, yes, and that may be where Japan and Japanese fans originally found omegaverse as a fictional sub-genre.

HOWEVER

Japanese fans took the sub-genre, bent it, played with it, and evolved it into their own thing. As such, other countries in their proximity, like Thailand, China, and Korea who read BL and GL manga, found it and were like "hey, we wanna play too!"

(is that an omegaverse yuri novel I spy?? yes, yes it is)

When I watched the Red Peafowl trailer, it had more in common with Kinnporsche, History: Trapped, along with films and shows like: Jet Li's The Enforcer, and Fist of Legend, Donnie Yen's Flash Point, Raging Fire, and Kung Fu Jungle, Han Dong-wook's The Worst of Evil, Kim Jin-Min's My Name, Lee Chung-hyeon's The Ballerina, Baik's Believer & Believer 2, Yoshie Kaoruhara's KeixYaku, popular Don Lee films The Gangster, the Cop and the Devil and Unstoppable alongside BL manga like Honto Yajuu and Bi No Isu (probably one of the most well known yazuka manga to date).

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Like, we're seeing a rise in mafia based BLs and people think that's because of "western influence" and not the absolute insane success of kinnporsche??? Especially in countries like China, Korea, Taiwan, Philippines and other Asian countries???

Mafia films and gang shows aren't even that popular here in America/Europe; don't get me wrong, they still get made and exist, but the last full length film was The Irishman which did not make it's budget back, and while Power is still on-going it's not a smash hit either. The heyday of Breaking Bad, The Sopranos, The Wire, Goodfellas, and Scarface are long gone. And if you've watched any those shows or films they have very little in common with Kei x Yaku, Kinnporsche, or Red Peafowl in tone, or style.

(who knew martin just wanted to make his al pacino/robert de niro fanfic come to life all these years?)

Another example, The Sign, which is clearly taking inspiration from Chinese costume dramas: Ashes of Love, Fairy and Devil, White Snake (and it's many adaptions), Guardian, & Ying Yang Master Dream of Eternity. Alongside Hong Kong and Korean cop and romance shows like Tale of the Nine-Tailed, Hotel Del Luna, Director Who Buys Me Dinner, First Love, Again, and previously mentioned cop dramas.

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Like, I know y'all don't think Twins is influenced by, what, American sports classic Angels in the Outfield?? Gridiron Gang?? Rocky?? Nah that shit is inspired by the popularity of sports manga like Haikyuu!!, Slam Dunk, Prince of Tennis (which even has a Chinese drama adaption), and the like. And also probably History 2, & Not Me but I'm like 87% sure Twins is just Haikyuu fanfic.

So like, does this mean that there's NO history in which American and European cinema influenced these countries? What, no, obviously that's not true, American/European totally have had media influence on countries like Korea, Japan, etc.

Astro Boy by Osamu Tezuka considered "the father of manga" was inspired by Walt Disney's work on Bambi. Another more recent and prominent example is director Yeon Sang-ho and his film Train to Busan.

"And it was Snyder’s movie [Dawn of the Dead, 2004], not the 1978 original, that filmmaker Yeon Sang-ho recalled as his first encounter with the undead. “That was when I started my interest in zombies,” Yeon said, in an email interview through a translator from South Korea. Even today, he added, “it’s the most memorable and intense zombie movie I’ve ever seen.”" (source)

HOWEVER, the global influence doesn't stop there. It's not a one-way street. Yeon Sang-Ho was inspired by Zack Synder's Dawn of the Dead, a remake of George Romero's own work, but Yeon Sang-Ho's work has inspired countless Korean film makers to make their own zombie media; following Train to Busan there's been: Kingdom (2019 - current), All of Us Are Dead (2022), Zombie Detective (2020), Zombieverse (2023), Alive (2020), Rampant (2018).

And hey, wouldn't you know it now we're starting to see more zombie media coming out of places like Japan (Zom 100 the manga, movie, and anime) and High School of the Dead.

Do you know what Domundi's series Zombivor (2023, pilot trailer only) reminds me of? It's NOT The Walking Dead (which is the only relevant zombie media America has created in the last decade) it's Korea's All of Us Are Dead (2022). Comparing the trailers, the settings, the tone, it's clear where Zombivor is pulling inspiration from: Korean zombie cinema. NOT American zombie cinema.

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In fact a lot of Domundi's shows - Cutie Pie, Middleman's Love, Naughty Babe, Bed Friend - are all very clearly inspired by Korean filmmaking, specifically that of romantic kdramas from the 2016 - 2020 era. Not always in story, but rather in technique.

This is media globalization. It's not simply ~The West~ influencing non-American/European countries but countries who are often more close in terms of: proximity, culture, and trade are going to have more influence on each other.

It is far more likely that Aoftion (Naughty Babe, Cutie Pie, Zombivor) was influenced by watching Train to Busan, All of Us Are Dead, and other Korean zombie shows and films than a single episode of Walking Dead.

My point isn't that this goes one way only, but rather it is very literally a global thing. This includes American and European film makers being influenced by non-American and European cinema.

Martin Scorsese, Steven Spielberg, Darren Aronofsky, Christopher Nolan, the Wachowski sisters, George Lucas and James Cameron have all been influenced by Japanese film making, especially the works of Akira Kurosawa, Satoshi Kon, and Mamoru Oshii.

John Wick's entire gun-fu sub-genre is heavily influenced by classic Hong Kong action films, specifically John Woo films. Legend of Korra, The Boondocks, Voltron, Young Justice, My Adventures with Superman are all obviously inspired by Japanese anime but animated by a Korean animation studio (Studio Mir). Beyond that, the rise in adult animated dramas like Castlevania, Critical Role Vox Machina, and Invincible to name a few are very clearly taking inspiration from anime in terms of style. The weebs that were watching Adult Swim's Inuyasha, Bleach, and Dragon Ball Z have grown up and are now working in Hollywood.

Okay so like, what's the point of all this? What's the issue? Since American/European cinema does influence et all cinema does any of this really matter?

YES.

I take contention with this line of thinking because it centers "the west" and our supposed individual importance way to much. Declaring definitively that "BL is being influenced by western tropes" and then including tropes, narratives, and film making styles that aren't inherently western and actually have major roots in the cinema of various Asian countries, removes the existence of individual history these countries have which are rich, varied, and nuanced. It removes the "global" part of globalization by declaring "the globe" is really just America and Europe.

It distills these countries down to static places that only exist when American/European audiences discover them.

BL doesn't exist in a vacuum you can trace the development of Korean BL to the development of Korean het dramas almost to a T. You can also trace their development to the queer history of each country and how Thailand interacts culturally with China, Japan, Korea, etc and vice versa. It also ignores the history of these countries influencing American cinema as well. Don't mistake "the globe" for only your sphere of experience.

Anyway James Cameron is a damn weeb y'all have a good night.

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

#kinnporsche #pit babe the series #the sign the series #twins the series #red peafowl the series #domundi #gmmtv #chaos pikachu speaks #fucking a this was an entire essay #i should drop a ko-fi link cause good god damn #chaos pikachu metas #Youtube #pikachu's bl film series

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lurkingshan · 4 months

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Hi Shan!

Help! I am looking for another Japanese drama to watch. However, my queue is only filled with BLs right now and I wanted to venture outside of the genre a bit. So my question is - do you have any favourite non-BL doramas to recommend? (Preferably not romance-oriented, but any genre will do)

Ooh, fun one. I do have a few I've seen that might be interesting to you, though honestly I do find that Japanese queer media is more to my taste than their more mainstream het stuff. Here are a few to try:

Koisenu Futari

Honestly on my hands and knees begging everyone to watch this fantastic drama about two people on the aroace spectrum who form a platonic bond and create their own kind of family.

Silent

This one has romance, but the narrative is not about romance. It's really about the process of coping with becoming disabled, the harm caused by abandoning your loved ones in a fit of noble idiocy, and the slow repairing of relationships. So good.

One Room Angel

An utterly beautiful show. Though it aired as part of Drama Shower, it's not actually a bl. This story is about healing from trauma and finding a reason to live. It’s also one of the most visually stunning shows of the last year.

She Loves to Cook and She Loves to Eat

Only just barely a romance, this is the female WDYEY and it's so precious. Two women develop a close bond and learn about themselves as they form a relationship around one cooking meals for the other.

Monster

This is a movie but I simply had to include it. I am not telling you anything about the plot, but it's excellent and a must watch for Japanese cinema fans, IMO.

Chugakusei Nikki

It wouldn't be a proper jdrama list without some taboo content! This is a serious, deep, thoughtful exploration of what happens when feelings develop between a teacher and student, and the fallout that comes with it. Probably the best treatment of this trope I have ever seen.

Rinko-san Wants to Try

This one is a romance with some classic tropes, but one I think does some really interesting things with gender dynamics and sex positivity. It's a fun watch!

If you end up liking any of these, let me know! A few of them might be tricky to track down, as well, so hmu if you’re having trouble finding anything and I’ll point you. I have a few more on my upcoming watchlist that may end up being future recs, as well.

#koisenu futari #silent 2022 #one room angel #she loves to cook and she loves to eat #monster 2023 #chugakusei nikki #rinko-san wants to try #shan recommends #shan answers #jdrama

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angstics · 1 year

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on my chemical romance's history of racism:

(edit: i wont rewrite anything since that will create discrepancies in reblogs. however, i will include these important additions: post 1 and post 2)

cultural appropriation is a neutral term that turns negative when people co-opt a culture without consideration to its people and history, or their prejudices and privileges. the rising sun japanese flag is an imperialist symbol used during japan's occupation of other countries from 1870 to 1945 (the guardian 2019). unlike other symbols of terror, the rising sun is normalized because of the japanese government's refusal to acknowledge its history. the symbol's meaning was popularized a few years ago when people from south korea protested its legality in the 2020 tokyo olympics (bbc 2020). aware or unaware of its history, americans have long appropriated the rising sun. in part because of their fascination with japanese art, in part because of orientalism -- a fixation on asian cultures that centers "exoticism".

my chemical romance has been associated with the rising sun symbol a couple of times. frank iero used to have a tattoo of it. gerard way designed frank's killjoys outfit to include it (seen in concept art and music videos). it is often used in mcr fanart.

tokenism is when something contains limited diversity to divert criticisms for the lack of it. my chemical romance has had a very white cast of characters in their music videos and stories. in the "i dont love you" music video, a main character is in black body paint. in the casting call, they specifically asked for a white man (there is 100% an online source -- please let me know if you have it). even casting a black person for this role would place him in a video that appropriated his skin color to mark his "difference" from the light-skin female character.

the female character points to the band's main problem with tokenism. if they arent casting a white woman, theyre casting a light-skin asian woman. the woman in the "i dont love you" mv is fetishized for physical traits stereotypically attributed to east asian women: big eyes, daintiness. east asian women feature most prominently aside from the band and main characters in the "welcome to the black parade" music video and photo shoot. the photoshoot is the only place where an ashy-faced black man and ambiguously tribal? brown man are seen (brought in by photographer chris anthony per the "making of the black parade" book). the director antagonist of the danger days music videos (shown in "sing") is a japanese woman. she is the only main character of color in the music videos and the killjoys: california comics. the focus of this post is on my chemical romance, but the comics are important to showcase that the reality is never "color-blind casting" or "limited roles". it's mostly white creatives (band members and directors and artists) who ignore non-white people when they cant use them, reflected as much by gerard way years later (nyt 2019).

"japan takes over the world" is a media trope that is built on the late 20th century fear of the return of imperial japan. this trope frames japanese people as unique aggressors, feeding into "yellow peril" fears of asian people "taking over" the white race. this trope is suggested all over the danger days universe, where the corporation BL/ind overthrows the US government. the appropriation of the japanese modern flag and lettering on the killjoys outfits, the primary BL/ind villain being a japanese person who only speaks japanese in videos, the official BL/ind website having a ".jp" domain and english-japanese translations. japanese people and culture only exist in this universe to decorate and threaten.

the point of this post is not to punish my chemical romance. in the decade+ since, they have made meaningful changes -- the sing it for japan project to aid japan during the 2011 earthquake-tsunami, developing diversity in gerard's comics / tv show, a mexican-american main character in the 2020 summoning video. people of color treated as real goddamn people.

however. all these faults exist in frozen time. there is no discussion attached to the work. so anyone, fan or casual, may come across it and not notice or care for these important issues. i know all this shit and i still fail to see instances of what i highlighted. it's difficult locating not only your own prejudices but those of others. those you look up to.

"my chemical romance" is the product of many people from 2001 to 2013. many of these people were male, white, american, and/or, most radically, liberal. clearly laying out what they did wrong is important. being careful with history and culture and personhood is important. prioritizing growth is important. constantly. forever.

#mcr #this has been weighing on me for a long time. i just didnt know how to say it. why i should say it if someone else already has #and well. thru writing this i figured everyone should say it to really understand it #qessay

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