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ham1lton · 3 days

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TEN THINGS F1 DRIVER Y/N L/N CAN’T LIVE WITHOUT — GQ.

— part of my maneater series.

Y/N (throwing her hat in the air with one hand and catching it in the other without looking): see? told you i could do it! not my only party trick.

Y/N: hi gq! i’m y/n l/n, formula one driver and i’m here to show you my ten essentials.

NUMBER ONE: IPAD

Y/N: first, has to be my ipad. this was my first big purchase and seeing my bank account being drained of that money almost caused a heart attack. but this bad boy helps me to organise my life, stops me from being bored on flights, keeps me in contact with my family and lets me write my notes. so yeah, thanks apple. also you guys should sponsor me.

NUMBER TWO: NOISE CANCELLING HEADPHONES

Y/N: i never used to travel a lot. when i was younger, my family couldn’t afford it so flying around a lot was a big shock to my system. obviously as in f1, drivers are required to fly to different races and it means i had to get over my fear of flying. these help a lot with that. these plus a spotify playlist made by my angsty teenage self will make me forget about the fact i’m flying. these are my favourite ones, i have multiple pairs just in case.

NUMBER TWO AND A HALF: MUSIC.

Y/N: i guess this sort of goes off the second one? but music. i keep trying to bribe the engineers to build a blue tooth radio in the car but to no avail. spotify has been my biggest supporter all of these years. i know i’m sponsored by them now but i have been using my account for almost seven years now? so my algorithm is perfection. it truly has helped me so much. i listen to music on the way to races, on the way back from races, in my house, outside my house, cleaning, cooking and even when i’m in the shower. yes, i’m a shower singer. once i get in there, i’m beyoncé!

OFF SCREEN VOICE: what was the last song you listened to?

Y/N: one second, let me see. it was the twilight soundtrack in particular decode by paramore. told you i was an angsty teen!

NUMBER THREE: EMERGENCY BAG

Y/N: okay this sounds bad, it’s not as much an emergency bag as in like medical supplies but more so like extra toothbrush, toothpaste, menstrual products, lotion and other stuff like that. i always carry this with me anywhere in case my suitcase goes missing. it has helped me and my friends out so many times so it’s definitely an essential for me.

NUMBER FOUR: HER CAMERAS.

Y/N: i picked up photography relatively recently and this was the starter camera that the guy in the shop recommended. so this is that camera. for this one, i vlog, which you guys might have seen and this is the camera i use for those videos. i actually don’t record my videos, one of my friends or family or colleagues or whoever will film and i will be in front of the camera. it’s my favourite part when i ask the camera person to reveal themselves and they do their own little introduction. i obviously provide the camera for it. which is this beauty right here.

OFF SCREEN VOICE: who has been your favourite person to film you?

Y/N: i have had a lot of people film me. my most recent being rihanna for my recent holiday vlog! so many people to the point that i genuinely don’t think i could choose a favourite. i mean, i’ve had my sister do it a lot so i guess i can choose her. she knows my angles best!

NUMBER FIVE: LIPGLOSS

Y/N: when i won my first championship and i kissed the camera, the amount of calls from makeup companies my manager received was actually obscene. i think i got so many comments on social media asking what makeup i use and how it stays on throughout the race! to be honest, i don’t always wear makeup but in the original video, i was wearing this fenty gloss. it’s in the shade fu$$y. so, yeah, at least no one can call me a gatekeeper! i always keep it on me. i feel a little more ready to face the world with lipgloss. now, i have my own fenty collection! so check that out.

NUMBER SIX: HER LUCKY SHOES.

Y/N: okay i know i say i’m not necessarily a superstitious person but these shoes have been with me from f3 until now. every race i’ve worn these, i’ve won. so i like having them around. i think they bring luck. i can’t wear them any longer as they’ve worn through the soles now. really annoying but we power through.

NUMBER SEVEN: WINGSTOP BLACK CARD

Y/N: i was really craving wingstop one night. so me and my sister were in london? i think and i vlogged our hunt for wingstop and they reached out to me to give me a black card. i know, isn’t it gorgeous? i was so happy. too bad i have to cut down on what i eat thanks to my nutritionist, but my siblings and friends love this thing.

NUMBER EIGHT: SKINCARE ROUTINE

Y/N: okay, so i’m trying to get more consistent with my skincare but it’s not necessarily working the way i want it to. however, i still stick to the basics. sunscreen, cleanser and moisturiser. i really like keeping my skincare on check as there is this unsaid rule that women have to wear makeup in their jobs and if i keep my skin looking good then i can skirt that rule. i love this cream in particular, it’s moisturising but very light on the skin. best of both worlds.

NUMBER NINE: NECKLACE

Y/N: this was given to me as a gift from my family when i turned eighteen. it was a necklace that i’d had my eye on for a very, very long time. they saved up for so long to buy it for me and it’s become my signature piece. i wear it around my neck constantly. it’s weird having it off my neck to show you.

(she fastens it around her neck quickly)

Y/N: now i feel normal again.

NUMBER TEN: MY PADDOCK PASS

Y/N: i am so bad with keeping my paddock pass on me. for people who don’t know what this is, this allows me access to the garage and things like that. i usually keep it around my neck because if its in my pocket or my bag i’ll forget. my assistant sometimes carries mine. i’m not going to show you my picture because it’s awful. i had woke up really early after no sleep and one of the staff had made me take the picture. now i am forced to wear this monstrosity at work. i keep it hidden as much as i can. last time, lando saw it and laughed so hard he cried so yeah.

author’s note: this was hard as i wanted to keep it as vague as possible so that you can relate it to your own maneater! i’m still taking questions/asks/requests so please send some in!

#jayde’s works ☆#maneater ꕤ #formula one x reader #f1 smau #f1 imagine #formula 1 x reader #f1 x reader #formula 1 imagine #f1 fanfic #formula one imagine #f1 texts #formula one smau #formula 1 #formula one

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afterglowsainz · 3 days

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hi you said you were free to request someone you haven’t mentioned so i’m wondering if you’d be willing to write something for trent alexander arnold?? anything you won’t but i love angsty -> fluff

i look in people’s windows | trent alexander-arnold

summary: you struggle to move on from your break up with trent until one day you have to face him at your favorite coffee shop

warnings: none

word count: 1.2k

a/n: this wasn't very specific which was great (in a way) because the angst to fluff plot gave me an idea for my tortured athletes series! (i also didn't mean to make this so long, but i hope you enjoy it)

the tortured athletes department series

you're not proud to admit that you still stalk your ex-boyfriend's friends on social media just to see a glimpse of him. it wasn’t that hard considering that you live in liverpool, if you wanted to see his face you just had to go outside and he will be there in any billboard. but there was something more personal about casually watching him on someone’s post. sometimes you just look up liverpool’s account to see him during matches or making fun challenges.

you consider blocking him, blocking his friends and everyone else remotely associated with him, you even did it for two full weeks, but it was impossible not to see him everywhere you look. sure, he was not showing up on your phone, but he was in the streets, he was on the tv playing a game, or acting in a random commercial; he was even in the supermarket next to a product he was the face of.

trent alexander-arnold was absolutely everywhere and he was impossible to escape.

so you unblock him and everyone else and you just see him. not everyday, of course, you weren’t gonna get over him if you stalked his socials every day. maybe once every week you look up one account, and then another, and then another, and you see him, and once you do you turn your phone off and do something else and maybe, you forget about him for a moment.

sometimes you wonder what would happen if your eyes met one more time. would you realize you got over him? would you fall back in love? would he even say hello?

“what can i get you?” the barista behind the counter asks you.

“hi, an iced vanilla latte, please.” you smile. the guy nods and charges you, moving quickly to the next client.

you sit down in a booth while waiting for your name to be called, and play with your phone in the meantime. suddenly, a huge shadow blocks the natural light that was hitting your face and you shift your face from your phone to the stranger who sits in front of you, only it wasn’t a stranger at all.

“y/n.” trent whispers your name with a smile.

you were a bit shocked to see him in person, like it was the first time you lay your eyes on him all over again.

“hey.” you respond. he chuckles at your lack of words.

“i knew it was you the second i heard your voice.” he points at the register. “an iced vanilla latte as always.” he repeats your coffee order and only then you register the situation.

before you have a chance to say something, you hear your name being called throughout the whole coffee shop, announcing your order was ready.

“stay there.” he says before you have the chance to even stand up. “i’ll go get it.” you didn’t know what to say so you just nodded and he made his way to the front, claiming your coffee and getting it to you.

“thank you.” you say when he was finally in front of you again.

neither of you say anything for a few seconds. you didn’t feel uncomfortable at all, but it did feel odd to be there with him, not saying anything.

“nice jacket.” you mention, just to fill the silence.

“you like it?” he unconsciously touch it and smiles at you like he always did.

“mhm, it's pretty.” you take a sip from your coffee.

“i haven’t seen you in a while. how are you?” he asks.

you were about to answer when you got interrupted again by the barista calling his name to get his coffee. he quickly made his way to the front and back, sitting in your booth in no time.

“what is that?” you ask with a grimace, looking at his order. it was some sort of juice? you couldn’t really tell.

“it’s a pomegranate lemonade.” he shrugs. you arch a brow and he shakes his head smiling. “don’t look at me like that when you drink vanilla flavored coffee.”

a laugh escapes your lips and you just agree, still confused by his drink of choice but not making any more comments.

“how are you?” he repeats his question.

“good.” you lie to him. “you?”

“bad.” he says.

“oh?” this took you by surprise. “what happened?” you try to remember if maybe he lost any big game recently or if something happened to any friend of his, but you can’t remember anything of relevance.

“i just…” he exhales and takes a sip from his lemonade. “i’ve been missing you. a lot, actually. a bit more everyday.”

your face grows hotter by the confession and you just look at him without reacting.

“why are you saying this?” you ask the first thing that comes to your mind.

“because.” he shrugs. “why not? i’ve miss you so much since we broke up i can’t think of anything else, and now i feel like i’ve think you so much i actually manifested you and now we're both at the same coffee shop at the same time, i mean, what are the odds of that, you know?” he rambles and you feel your heart beating in your throat.

to be fair, this was the same coffee shop you both used to go to while you were still dating. and you both still live in the same city. and you’ve been stalking him on social media so you might’ve manifested him as well by accident.

“you woke up brave this morning, didn’t you?” you joke lightly and the shadow of a smile takes over his lips. “i didn’t know you still think about me.” you say instead of confessing your feelings back at him.

“you’re not an easy one to forget.” his eyes clocked in with yours and you felt like everything was the way it used to be.

why did you even break up in the first place? looking at his chocolate eyes you couldn’t even remember anymore. you finally clear your throat to speak, but he interrupts you.

“you don’t have to say anything right now,” he pleads. “i don’t… if you’re gonna say something that’s gonna break my heart for good, i don’t think i’m prepared to hear it just yet.”

his eyes look away from yours, but you’re still watching him.

“i think about you too.”

your voice was barely a whisper, but it was loud enough for him to hear it and look at your eyes, straight into your soul.

“we should talk, no?” you knew he was battling a triumphant smile but he kept a straight face for you. you nod. “wanna take a walk?” he points to the window with his head, but you shake your head.

“it’s too cold outside.” you say and he laughs, shaking his head as well.

“you and cold.” he rolls his eyes amused.

“hey.” you slap his arm playfully. “i have sensitive skin.” you defend yourself.

at that moment you felt grateful for this little plot from destiny that had brought you and trent together again. you didn’t have to wonder ‘what if, you didn’t have to avoid seeing him downtown, you didn’t have to look into people's windows anymore. his eyes meet yours one more time, and now you know.

#trent alexander arnold x reader #trent alexander arnold #trent alexander arnold one shot #liverpool x reader #trent alexander arnold fluff #trent alexander arnold x y/n #football #football one shot #trent alexander arnold x you #trent alexander arnold fanfic #trent alexander arnold imagine #taa66 #taa18 #trent alexander arnold gif #trent alexander arnold angst

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icedroppedinparasolcider · 2 days

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Momoi Airi is a Trans Woman

This is headcanon at the end of the day and there's nothing wrong with disagreeing, but the way she's written regarding her sense of identity as an idol, the choice of phrasing they use when she talks about herself in reference to others (namely Shizuku), and the connections her visual motifs provide to concepts and other characters tied to or commonly seen as trans just makes it incredibly hard for me to view her otherwise.

A lot of what I have to say is very personal to me; I'm a trans woman myself, and Airi's writing and experiences connect with me and my own transition journey in a way I haven't really seen anywhere else in media (I'm not a very prolific media consumer). So it's entirely possible a lot of this is just me projecting onto a character I care a lot about. But while I've adored Airi before this revelation, I didn't reach the level of attachment I have for her until the realisation of just how well she's written through the lens of a trans girl. Specifically one who's, for the most part, entirely socially transitioned but keeping the fact she is trans secret.

When Airi was little, she was, as she herself describes, very boyish. She'd get into physical fights with boys around the neighbourhood or at school, she'd come home most days covered in dirt and mud from playing with her majority boy friend group of the time. She was intensely defensive of her little sister, most of her fights being with possibly bigger-than-her boys because they were mean to her sister. It formed a reputation for Airi, a reputation that followed her as she began to deviate from these patterns and pivot her interests and activities hard and fast thanks to starting to watch idols on TV. She was enamoured with them, would rewatch recordings of their performances and interviews over and over so she could emulate it and be more like them. She'd stop getting into fights, stop playing with her rougher friends; everything started changing dramatically thanks to her being introduced to a new "type" of woman: an idol. Something Airi wanted to become, and was willing to change everything about her to be.

These changes weren't socially easy for her, though, with backlash coming from these old friends and classmates because of how girly she was trying to become. The idea of being a tomboy was something Airi started to consider a bad thing, a gross thing. During her Colourful Festival side-story, To You Who Yearns To Be an Idol, amidst a conversation with her younger self Airi calls the little girl a tomboy, something that makes the younger Airi immediately deflate and shy away from the conversation. It upset her to be called that, especially by an idol, something she wants to become. Which leads to the younger Airi talking about how she's been treated by her peers for changing the way she dresses and not playing the same way she used to, for changing the way she talks, with her being talked to like she's doing something horrible and wrong for simply chasing a dream of who she wants to be. And in this conversation, Airi says a particular line that changed everything for me:

This is said in response to Little Airi's repeating of what the boys in her class call her as she wears cuter, girly clothes. That she's some big, mean monster who shouldn't wear things like that, who could never become an idol. Effectively telling her that she could never be a girl because of the way she used to behave. She started as someone rough, someone harsh and dirty, that's not something she should—not something she could—change. Something we see in present day that she's largely internalised through her struggles with what it means to be an idol, her struggles with calling herself an idol.

For Airi, being an Idol and being a Girl have become synonymous with each other. Her ability to be an idol, to draw that attention, have a smile that sparkles on stage and in front of the camera, spread hope and joy to other people; this part of her identity has grown beyond her job, it's who she is as an individual. Being Momoi Airi, the second year Miyajo student, is inseparable from Momoi Airi, the ex-QT member and now member of MORE MORE JUMP! And if she can't be the image of an idol that exists in her head, that she's always viewed idols to be, that Haruka and Shizuku manage to embody, that Minori is becoming, then can Airi even really call herself as much of a person, of a woman, as them?

Airi's been in this constant uphill battle where she believes she doesn't sparkle as much as the other idols around her, so she puts more effort into learning how to make herself sparkle, but manages to convince herself that because she struggles with this, she's less of an idol than those very peers. It's in large part what Ice Drop is about, Airi's difficulty finding satisfaction with her work as an idol because it doesn't shape up to her own expectations and beliefs of what an idol "should be", because it doesn't match what she sees other idols she looks up to, like Shizuku, doing. Something also portrayed during Airi's conversation with Shizuku in Chasing the Radiance Beyond the Blue Sky, where she outright tells Shizuku that because she doesn't have the same physical appeal she has to fight harder and use different strategies to get any attention as an idol. And if Shizuku is the "perfect idol", and Airi will never be able to achieve that, can she even call herself an idol?

If she can't call herself an idol, does she even deserve to call herself a girl? Or are the harsh words of her grade school classmates right about whether she should be wearing the cutesy clothes?

A large part of Airi's struggle with this, why it's even a spiral in the first place, ties into her nature as a Solid Heart student as well as why I see so much of myself and my transfemme journey in Airi's story. It doesn't matter how many people tell you that you're enough and that you've done what you set out to do, not if every thought in your head is telling you they're wrong. According to everyone I know, I pass really well as a girl. My voice is naturally feminine, even without masking it very hard, I've basically never been misgendered since growing my hair out by strangers looking at me, I've even been told by close friends that they'll forget I'm trans because I'm just "one of the girls" to so many of them. And I appreciate all of it, so much; I'm very lucky to have had such a smooth social transition. But none of that changes who I see in the mirror, who I hear when I talk, what I feel when I wake up in the morning forced to acknowledge my body. I'll never be a "real girl", not until I fix these things, and it's entirely possible that it's impossible to truly get rid of this feeling.

That's what Airi feels regarding her identity as an idol. Everyone in the world could tell her how good an idol she is, how much hope she spread as Happy Everyday, how beautiful and bright her smile is. But that will never replace or fully mask the doubt in the back of her head about whether she's really an idol, because nothing that she used to do aligns with what she's always seen idols to be, so much of what she does today is so different from the reality of her dreams. She's not that idol, so is she even an idol at all? I'm not that girl, so am I even a girl at all? Obviously I am, and obviously she is, but it's a feeling of doubt that never goes away.

Airi needs to constantly be an idol, or she's not an idol at all. And, at least to me, this has come to mean to Airi that if she's not an idol, she's not a girl. Because all of the work she put into being cute and girly was to be an idol. If she can't accomplish that, does she even deserve to be a girl at all? Or is she just a fraud wearing a mask trying to make people laugh on TV?

#pjsk #project sekai #airi momoi #character analysis #transgender #i have so much more to say #but it's getting late and this feels like a good stopping point #i'll probably add more when she invades my brain again #momoi airi......

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slugtranslation-hypmic · 3 days

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I Think Hypmic's Portrayal of Gender Roles is Kinda Refreshing: An Essay A.K.A. I'm Procrastinating on a Weekend Deadline :)

Hypmic's talking points on gender are hamfisted, corny, and melodramatic. "Maybe...we shouldn't have a wage gap," is not the hottest of takes. However, like most things in Hypmic, the writers have a lot more to say about gender and gender roles in the framing of the story itself that's much more nuanced. And honestly? It's kinda refreshing.

It's also something that went way over my head when I first became a Hypmic fan. Sure, I read manga and played Japanese video games--usually translated into English first--but I didn't have enough exposure to hundreds or thousands of pieces of untranslated Japanese media. I'm going to guess that most Hypmic fans don't either, which is totally fine and normal. We all exist within our respective cultural communities wherein we're bombarded with messages constantly telling us how to act, think, and speak. We tend to absorb these messages on subconscious levels and reflect them in the art we create and stories we tell, either by reinforcing them or challenging them. Thus, our stories don't exist in a vacuum, and divorcing stories from their cultural backgrounds can suggest the artist is the original thinker of a larger concept or hide their specific point of criticism. That is, if I wrote a story about a man who chooses to not catch fish, drink beer, and drive a Dodge Ram pick-up truck, we should be aware that I'm not the person who conceptualized the stereotype of dudes who catch fish, drink beer, and drive pick-ups. I wouldn't deserve the credit for dreaming up that exact image, and at the same time, it would be incorrect to read that as me targeting those three things randomly. The choice to not drive a Dodge Ram pick-up is not a commentary on Fiat Chrysler Automobiles. It's a stand-in for the notion of masculinity.

Thing is, we're hit with messages about masculinity, femininity, and other gender-related concepts on a daily basis. No matter where you live or what language you speak, every person on Earth is inundated with messages saying, "This is what you are, and consequently, this is how you should act." Our relation to these messages is complicated, and this complexity is compounded by different cultural communities preaching different messages in their stories, marketing, and human interactions. For instance, the US's massive global cultural influence means that those outside the US can still easily recognize what I mean by catching fish, drinking beer, and driving enormous American pick-up trucks. But the location and cultural differences may add or subtract nuances. A person living in, say, Munich is unlikely to have Dodge pick-ups advertised to them the way a person in rural Texas would. Our fictional Munich person does not feel the same social pressures to buy a Dodge and represent their masculinity with a Dodge the way our imaginary Texan would. In turn, the Munich person likely sees a Dodge with an element of absurdity--who the hell needs such a big truck in a European city?--and foreign Americanness. The Texan wouldn't have that concern--why worry about navigating your enormous truck down narrow streets when you live in the countryside?--and sees Americanness as their local default, thus removing any element of foreignness.

That is to say, gendered messages aimed at people (especially women) who live in Japan don't affect me the same way as they impact those who do live in Japan. Like, it's not my dog in the fight, and there are plenty of people who are directly affected who write their own stories and commentaries on gender roles in Japan. Japanese women don't need a random guy in the US to stand up and say, "Damn, your gender roles are fucked!" 1) They already know. 2) They're already saying it. So I come at this from an angle of someone who already has deep, primary frustration with the gendered messaging in my culture and secondary frustrations when similar messages appear in other cultures. I don't have a bone to pick with Japanese media in particular. Plain and simple, reading and working on hundreds of pieces of Japanese media is what I do for a living. It's in my face constantly, and as a result, I am also perpetually bombarded by messages about gender roles in Japanese media.

It's not a hot take to say that Japanese media, like the media of every single other culture around the globe, has a lot to say about gender. There's a lot of slotting people into boxes and telling people what to do. It's chafing, as we see all across history in art produced in reaction to gender roles. In the past couple of decades, global shifts in gender roles have caused media to shift the messages they're pushing, but it's not controversial to say that Japan has lagged behind other countries like the US.

Many, many stories push arbitrary notions of how to be a girl or how to be a boy that don't necessarily come from the author themselves. The authors probably aren't even fully conscious that they're making these choices. If an author writes a story about a library and makes every female character a romance fan and every male character an action fan, it's likely a reflection of endless messaging that says action is for boys, romance is for girls. In turn, this story becomes yet another reinforcing message. If no fictional girls like action, and no fictional boys like romance, it becomes alienating for real girls and boys who don't follow these same rules. These rules are everywhere and have so much to say about gender that it's hard to know where to begin. Girls must like cute things. Boys can't like sweet food. Women must not express sexual desire. Men can't be shy. On and on and on.

Which is why, when there's a relative lack of this in Hypmic, it's kind of a breath of fresh air.

Wrong Ways to Be a Man

Actually, Hypmic does have a few moments where characters claim there are certain things men or women should do, but the writing always frames these messages as incorrect.

Take Samatoki, for instance. After Kuukou and Sasara leave MCD, Samatoki tells Ichirou, "Men shouldn't cry when they lose their friends. Men should only cry when they lose a family member."

(TDD chapter 10)

This line usually appears via Ichirou's perspective. In the stage play, it's told during a song Ichirou narrates, and as shown above in panel 3, the manga frames the line from the angle at which Ichirou sees it. In such moments, the audience is meant to read this as a cool line from a strong mentor figure to Ichirou. That's how Ichirou sees it, and he's a seventeen-year-old with too much on his shoulders who idolizes Samatoki. He is incapable of seeing how much pain Samatoki struggles with.

However, when the manga focuses on more intimate moments of Samatoki's life, we see that Samatoki does struggle quite a lot.

(BB/MTC+ chapter 6)

This isn't a cool, attractive figure meant to be idolized. While Samatoki's cigarette usage and aggressiveness are often framed as sexy or enticing, the juxtaposition with dirty laundry, overflowing ashtrays, and empty bottles make him a sympathetic and struggling figure. Therefore, we should understand that his notion that men don't cry is flawed. It's a means to distract himself from emotions he doesn't want to feel.

Later, as Samatoki begins to process his emotions and open up to his teammates, the unhealthy coping mechanisms recede. Samatoki is more confident, mature, and happier as a result of being more emotionally vulnerable.

We see a similar transformation with Kuukou. As a teen, Kuukou is reluctant to accept help or truly let anyone in. In a conversation with Hitoya, he says (and I am still completely unable to take this seriously), "A man's got to wipe his own ass."

(DH/BAT chapter 4)

However, over the course of his character arc, Kuukou learns that he cannot exist as a good leader or individual without the teamwork of his newfound "family." Only rejecting this classical and toxic notion of masculinity brings Kuukou joy.

In fact, most of the first-line characters have very similar arcs. At the start of the story, Ichirou is insistent on doing everything himself. He has to learn to be able to rely on other people (Kuukou, Samatoki, Ichirou and Jirou) to be happier and unlock his true strength. See below, his final attack and Ability use in the 2nd DRB, which is only possible when his brothers figuratively and literally support him through it.

(BB/MTC+ chapter 25)

Sasara struggles with emotional honesty and trust in favor of using humor to gloss over discomfort. It takes multiple heart-to-hearts with Roshou before he can let humor take a backseat and say how he really feels. Ramuda has difficulty trusting other people and being honest with his emotions when faced with stressful scenarios. Only through Fling Posse is he able to open up and ask for help instead of driving people away when the problems are too big for him to face alone. Jakurai struggles to connect with other people, work through and acknowledge his complicated feelings, and not place himself on a pedestal. Through Matenrou, Jakurai is able to ask for help, be more open, and ultimately be less hard on himself.

The second- and third-line characters follow similar arcs, and this repetition creates a core message for Hypmic: Trust and rely other people. Be open with your feelings. There's a wrong way to be a man, and that's to hurt yourself and other people.

Right Ways to Be a Man...Are Infinite!

But with that being said, there is a surprising lack of commentary on how else to be a man. Hypmic as a whole doesn't do much to constrain the male characters in terms of gender roles.

Sure, some characters do fit into more traditionally masculine roles--Ichirou, Samatoki, Riou, etc. The messaging makes it clear that it isn't wrong to play into masculinity provided it doesn't become toxic. (See above.)

Even then, however, these especially masculine characters are associated with less masculine traits that are either portrayed positively or not portrayed as a joke. Riou is an avid cook, but the joke is never that he wears an apron and knows his way around an outdoor kitchen (tee-hee, men don't cook!). It's that he cooks with horrifying ingredients. Samatoki is a fashionista, but the joke is framed as a counterpart to Ichirou's nerdiness.

(DoD chapter 1)

Here, it's funny that neither of them can shut up (the ペラペラ/blah blah SFX, the long bubbles filled with lots of text that's cut to indicate they kept going for longer), but the object of their attention--a model toy and a pair of jeans--are treated in the same neutral light. It's very common for stories to touch on, even defensively, the social taboo of men being into clothes. Hypmic doesn't even acknowledge that such a taboo could exist.

This is subtle but extraordinarily effective in giving characters the same consideration and weight. The more feminine characters are always treated just as sincerely (or, if there's a joke to be made, irreverently) as the more masculine characters. Take Ramuda, for instance. In Japanese media, a love of sweets is often characterized as feminine and will often be remarked upon, even in LGBT+ media, as atypical for men. Again, there's zero acknowledgement of such a thing in Hypmic. Whenever other characters talk about Ramuda's food intake, it's always framed as a concern about the lack of nutrition.

(FP/M chapter 11... I don't have the source lying around on my computer, so here's the old-ass scanlation lol)

It's also given the exact same weight as anyone else's junk food habits. Here, MCD goes out for burgers (a neutral to masculine-coded food due to the meat and high calorie count) while Ramuda opts to try a sugary Starbucks-esque drink. The parallelism in the comic's framing suggests that the two objects are functionally the same, and there is no comment that a sugary drink is feminine and therefore "inappropriate" for Ramuda. There's also no indication that MCD's preferences are in any way better. They simply happen to be the characters' personal preferences. The punchline is two groups splitting up, only to awkwardly run into each other again moments later.

(DoD volume 4 bonus comic)

Similarly, Ramuda's interest in clothes or fashion is never treated negatively--in fact, the discussions of clothes as a means to find identity and happiness make it a positive!

In ARB cards and promotional materials, Ramuda sometimes wears dresses. It's, again, portrayed in parallel to other characters wearing more masculine clothes and is never commented on as something "unusual." It's just who Ramuda is.

Hifumi is another interesting case. Like Ramuda, his playful personality often doesn't as stereotypically masculine. (To be clear, I read much of this as "gender neutral with a strong emphasis on youth" versus "feminine" in a way that I'm not sure has a good US equivalent...metrosexual/yuppie men's fashion, maybe? In the sense that it's a youth subculture that defies some masculine gender roles but is still focused mainly on men. I wish I was more well-versed in Japanese men's fashion and could give an exact term, but I'm what I'm thinking of is definitely an established thing--young, trendy dudes whose styles focus on poppiness vs. the rugged manly man or "idk, I'm just some guy" subcultures. It's a thing that pisses off old Japanese conservative men in the same fashion as people getting up in arms about "the gayz!!!1!" and their androgynous clothing lol.) Their personalities are often the butt of jokes, but only in the same way that Dice or Doppo are--that is, that they're exaggerated and over the top. There's no commentary on masculinity or lack thereof.

There are also moments when Hifumi, Gentarou, or other characters play feminine characters in roleplay moments, which is usually (but not always) not the sole joke. The audience is supposed to find it funny, but the humor is almost always centered on the absurdity of the scene as a whole. For instance, in a moment where Hifumi and Doppo are pretending to be two drunk karaoke-goers, the humor comes from the composite set-up of Hifumi's hair twirl, Doppo's untucked shirt and tie, Doppo and Hifumi's exaggeratedly flirtatious poses, the spotlights and sparkles, and the same font as used on classic karaoke machines.

(FP/M+ September 2022 oneshot)

Hifumi and Doppo do not perform traditional gender roles in their homelife, and while it's easy to see and often commented on in the English-speaking fanbase when it comes to Hifumi, I find it just as prevalent on Doppo. It's true that Hifumi is taking a feminine role by doing the majority of the household's cooking and cleaning, but if we were to assume Doppo has the masculine role in the household, he would have the breadwinner duty. However, he isn't the main source of income for their household, and he's just as unassertive in finding a (female) romantic partner as Hifumi is. Japanese men are bombarded with media messages stressing the importance of taking an active role in career and romance. That Doppo does not would, in many stories, make him the butt of a joke for not living up to masculine gender roles. But he isn't; instead, Hypmic portrays him as a sympathetic character. It's tough, Hypmic says, for people to get good jobs and maintain friendships/relationships as an adult.

Similarly, it's noteworthy that Hifumi's self-appointed term "Gigolo" is consistently portrayed as a good thing in Hypmic. The meaning of the English term aside, the Japanese word ジゴロ (jigoro) is almost always used as an insult for a man who is financially dependent on one or multiple women. In the strictest sense of the term, Hifumi is a jigoro in that his income derives from his female clients. However, there is never any shame associated with that, and as a whole, Hifumi's career as a host is shown to be a positive thing. I can't express enough how rare that is in any sort of semi-serious media. Certainly, Hypmic acknowledges that his job requires too much drinking (Doppo's verse in Hoodstar), but the overall portrayal is overwhelmingly positive. Hifumi and his coworkers are never treated as uneducated, boorish, or pathetic for "failing" to find other work that does not require flirting with and entertaining women. (This is partially due to the overlapping judgment with sex work.)

All the various harmless preferences and personality traits of the male characters are treated equally with no judgement over what's masculine or non-masculine. Within the broader context of Japanese media, this absence of judgment stands out and reinforces one of Hypmic's core themes: Differences make us better, not worse. In the end, Hypmic suggests, there's no one right way to be a man.

Right Ways to Be a Woman...Are Just as Infinite!

But what about women? This series is, after all, marketed mainly towards women, and while female audience members can no doubt extrapolate the lessons learned from the male characters, it's worth taking a look at the female characters too.

The female characters do receive much less screen time than the men and are not the focus in the series; I'd argue that's less an issue of overt sexism and more that they fall out of focus in the story the writers want to tell. (There's a broader discussion to be had about inherent sexism in the writers' focus which goes hand-in-hand with rap industries across the globe favoring men and rap being an example of exaggerated masculinity, but that's a topic for another day.)

Even so, the framing of the female characters is interesting in a couple key respects. The individual character arcs and motivations of the main female characters are, in my opinion, some of the weakest parts of Hypmic--many times, Otome and Ichijiku do things because the plot demands them to, making them look incompetent or needlessly cruel for characters we're supposed to sympathize with. Nemu's story seems to be handled with more care and takes an interesting twist, wherein she openly acknowledges that she's disenfranchised as a woman in modern Japan but rejects the notion that she needs to find strength on either Ichirou or Samatoki's (male) terms. By choosing to be strong in "her own way" (whatever that means...it's not well-defined), the authors are using Nemu to reject the notion that strength and power are inherently masculine.

What I find to be far more interesting is the character design for the Chuuouku women, both in what is said and what is not said.

To begin with, the characters and their portrayals run the gambit from highly sexualized to completely non-sexual. Some characters (especially Ichijku and Honobono) have conventionally attractive, curvy body types and are often drawn in ways that highlight their bodies.

(FP/M+ chapter 4)

(FP/M+ chapter 14)

In some cases, especially Honobono's, the enticing nature of the illustrations is framed as the character's choice; in the above, her words indicate that she wants to seduce the off-screen listeners. The images included above are largely representative of these characters' raps, regardless of illustrator.

But on the flip side, other characters with large breasts or hips are never drawn in a sexual fashion. By way of comparison, here are two shots of Nemu rapping.

(BB/MTC+ chapter 12)

Even in shots with dynamic poses, no attention is drawn to Nemu's figure in any sort of provocative sense. Nemu touches her chest, drawing the reader's eye there, but the artist does not emphasize the size of her chest--they're allowing a chest touch to be no more than an emphasis of the self. At the same time, Nemu's body isn't downplayed. We can see in panel 2 on page 2 that Nemu has a small waist and wider hips, but once again, she isn't being sexualized. The action lines draw the reader's eye to Samatoki and thus put the action first and foremost. This creates the idea that not only can characters portray themselves sexually, but they can just as easily choose not to.

We see similar with Otome, who does not wear any sort of revealing clothing and is never shown in a sexual fashion. However, Hypmic doesn't equate revealing clothing to sexual portrayals either! While I wouldn't call Tsumabira's outfit revealing, she does have more visible cleavage than most Chuuouku figures. However, her bare chest is never sexualized like Ichijiku's.

(BB/MTC+ chapter 4)

Compare the non-emphasis on the chest and the power stance to any of the many shots of Ichijuku where her breasts are front and center in the camera. Speaking of power stance, Tsumabira remains confident in her power stance without being sexy--that is, no stepping on the camera and showing her whole leg.

Which isn't to say that Tsumabira is a sexless character. She's drawn visibly turned on by the male characters in such a way that is cartoonish but not, in turn, overly sexual. Were this supposed to be titillating to the reader, I would have expected to see a larger close-up on her face and tongue. However, the artist (who is no stranger to focusing on tongues!) devotes the majority of the panel to Tsumabira's body language (which, again, doesn't absurdly exaggerate any of her proportions or focus on her chest) and covers part of the mouth with text bubbles. Tsumabira is drawn as engaging in sexual behavior without being sexualized for reader entertainment.

(FP/M+ chapter 4)

The juxtaposition of such different views with little to no judgement attached to any of them suggests that it's perfectly okay to want to be sexy or not, to wear revealing clothing or not, to be involved in sexual situations without being the object of sexual interest, or to simply exist with an attractive body type without sex ever coming into the equation. Just as some characters choose to tie bodies to sexiness, some don't whatsoever--and either is perfectly fine!

The former idea ("I can choose to be sexy") may not sound especially revolutionary to US audiences, where sexuality is thrust upon women willingly or otherwise, but I find it fascinating because it lets the main characters embrace this idea without associated slut shaming. So much of Japanese media insists that women should be sexy but are also wrong for wanting to indulge in their own sexuality. Therefore, having characters who run virtually every iteration of take on the topic (I want to engage in sexuality and be sexualized, I want to engage in sexuality without being sexualized, I don't want to engage in either) with multiple body types (ie, Tsumabira isn't automatically not sexualized because she has a smaller chest; Nemu isn't automatically sexualized because she has a bigger chest) and no judgement involved feels like another breath of fresh air to me.

As a whole, I find the diversity of the Chuuouku uniforms and character appearances quite interesting. They're undeniably all feminine and relatively militaristic, but different characters wear entirely different wardrobes. Skirts vs pants, blouses vs dresses, high heels vs boots... Since every character has her own take on the common theme, it once again feeds into the idea that each character is her own individual and perfectly valid for defining femininity in her own way.

Haircuts, too, range from longer and more feminine hairstyles to pixie cut-esque looks.

(BB/MTC+ chapter 16)

Again, nothing of the framing suggests this short-haired woman is in any way different from her longer-haired counterparts on the edges of this screenshot.

Finally, while most Chuuouku women are conventionally attractive, I find it extremely compelling that Haebaru is a stereotype of an unattractive Japanese woman. To be extremely clear, I do not think these stereotypes should have weight, but the combination of chubby and/or muscular build, freckles, rounded nose, and non-glossy hair is often used as a visual shorthand for unattractive or otherwise undesirable women.

Sure, it's not fantastic that Haebaru is a scheming, two-bit villain. However, so is virtually every other female character in the series, and in particular, Haebaru is (the conventionally attractive) Tsumabira's counterpart. Both are treated with the same respect or lack thereof, suggesting that one's appearance has nothing to do with your ability to be a no-good baddie. Ha ha ha.

It would be lovely if the female characters were fleshed out further and given intelligent choices and diversity outside of the realms of physical appearance. However, I do think the writers' choices are limited by virtue of all women automatically being antagonistic side characters (which, again, is another discussion altogether). What the writers can and have accomplished is further reinforcing a celebration of differences. Just as there's no one right way to be a man, there's an infinite number of ways to be a scheming snake of a woman HAHA.

Intersection with LGBT+ Topics

Unfortunately, this is a very binary look at gender and gender roles, which, while largely representative of the current state of Japanese media, can be disappointing.

Hypmic appears to want to steer shy of LGBT+ topics as a whole, which is a bit of a shame. In a story so focused on gender and acceptance of diversity, it seems the natural next step to explore the notion of those who experiences don't align with a strict gender binary. Such stories are growing in popularity in Japanese media but have yet to be anywhere near the mainstream acceptance in US media (which is still in a fledgling stage at best). I would imagine Hypmic's writers are unable or unwilling to take a definite stance on these topics in the work due to fears of financial or career backlash. If nothing else, the sexuality of the main characters needs to remain in a limbo in order to have plausible deniability for both self-shipping and shipping with other characters. (Some deniability may be more plausible than others.)

The few instances in which Hypmic does wander into this territory are usually clumsy. I am no fan of the handful of scenes where male/male attraction is supposed to be funny purely by virtue of being male/male.

The inclusion of Urumi, the one minor character explicitly LGBT+, is not stellar either. I am hesitant to apply any definite label to her, as the real-life people her stereotype portrays self-identify as everything from trans women to cis men--or refuse to use these English labels at all! Still, we know from her profession (proprietor of a bar heavily implied to be a gay bar by the neighborhood it's in), appearance (poofy permed hair, exaggerated make-up), and demeanor (feminine speech style, a bit flirtatious) that she's AMAB and choosing to present herself in a feminine fashion. By writing Jirou to ask, "Aren't you a man?" in an exasperated fashion, the writers have put her gender presentation in a boke role--suggesting she's over-the-top, exaggerated, comedic. It's not great. I completely understand why readers find it offensive (and it is) even while I don't think the writers intended it that way. Ultimately, it would have been great to see other explicitly LGBT+ characters portrayed without the joking angle.

With that said, I'm not entirely unhappy with her character. She is a stereotype, but the authors have chosen to take only the visual elements of the stereotype and leave the rest on the cutting room floor. In other works of fiction, characters like Urumi are often hypersexual to the point of being in-universe creepy, especially towards underage boys. Other times, characters like her may be eccentric or off-putting in other ways. However, that's not at all the case here. Urumi seems to play a helpful big sister/aunt role in Jirou's life, and he's clearly comfortable enough with her to spend the night at her bar.

(BB/MTC+ chapter 17. "Sorry, but can I shack up here again tonight?" "Of course you can.")

While she seems to engage in some sort of a bohemian lifestyle, as evidenced by the alcohol and smoking, it isn't anything outside of what many of the other characters do. Additionally, while she isn't drawn in a flattering fashion in scenes where she's playing up her persona (which is par for the course with any character in this series, regardless of gender), there are plenty of neutral shots of her being serious. Finally, the art is never outright rude--that is, she isn't drawn exaggeratedly masculine or flamboyantly...snakey? I don't know how to describe this to anyone who's lucky enough to have never seen this--clearly LGBT+ AMAB characters drawn with noodly limbs and huge, overblown lips winding around male characters.

Maybe because I see so much worse continuing to be produced in this day and age, I feel like Hypmic could have done a much, much worse job with this character. She overall plays a positive role and is treated with much the same care as other side characters. It's unfortunate, then, that the writers have chosen to make her gender presentation the subject of a joke.

In other frustrations, I heavily dislike the unnecessary gender divide in background characters. All punks and other background baddies are male, whereas all adoring fans are female. (But Rhyme Anima has done an interesting job of subverting this!) The vast majority of other background figures fall into strict gender roles, which is likewise disappointing. It appears that diversity may be an accepted trait for none but a lucky few that form the main Hypmic cast.

All in all, I don't think Hypmic's portrayal of gender roles is groundbreaking, nor do I think it's fair to suggest that all Japanese pop culture plays into strict gender roles. There are certainly many Japanese works, popular or otherwise, with much more interesting things to say about gender. However, when compared to the vast majority of the titles that cross my desk on a regular basis, I notice and appreciate the level of care put in to Hypmic's commentary on gender roles. The work consistently reinforces the notion that it's okay to be your own individual, no matter how that plays into your gender, and I find that freeing. That's a message we could all do to hear more often, regardless of culture and language.

TL;DR: Oh no, my rapidly approaching deadline. :)

#not a translation #analysis asks

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vsaintsin · 2 days

Text

Writeblr Re-Intro

Yo! I'm V Saintsin. Or V or Vin or Saintsin or whatever you want to call me that sounds right on your tongue. I'm a self-proclaimed Social Media fumbler who got a late start to the party and has never quite figured it out. I hate how hipster and edgy it sounds to say "I'm bad at social media" but like I used to work with some people who actually managed the social media accounts for the business we worked for and there were rules and whatnot and damn, I think online media is just not my medium. That being said, here I am! Hah

I'm an author and general mess who's hoping to be the miracle man (somebody who makes a living writing silly little stories). I do use a pseudonym but please hear me out when I say I didn't realize how edgy it sounds, it just has some sentimental value to my personal life. I'm so sorry that I sound like I'm in my emo phase HAHA

About me -

He/Him Transguy from the American Midwest (arguably the south, depending on who you talk to, but the older people still say "Sodi-pop" and "ope").

I'm dysautonomic, bendy, permanently sleepy, and a survivor of Crappy Doctors Who Suck At Doctoring.

I like DnD, Pathfinder, Baldur's Gate 3, Cyberpunk, Dragon Age, and other things in that vein.

I do make art of my stories and characters (Tablet is currently not working so I'm in a dry spell).

My writing background is predominantly ancient, dusty RPs from as far back as the foopets days and fanfic writing on Quizilla - I am an old and wizened elder of the net.

My formal education was music performance and behavioral neuroscience, I don't really know how I got where I am.

This is not my first rodeo with tumblr but it is the first time I have anything to SAY instead of just lurking.

In the event of malfunction, you can put me outside for 5 minutes and I'll probably factory reset.

My existence as I know it hinges on a massive number of sticky notes plastered throughout my room.

What I'm lookin' for -

Idk, whatever? I'm down for most things. Did you write it? Cool, let me see. I'm not too bent on genre or anything, just fascinated by the art of storytelling.

A bit tentative with fanfiction but that's just because if it's not a fandom I'm familiar with I am rather clueless about what the hell is going on and if it's a fandom I am familiar with I HUNT DOWN THE DEEP LORE.

I like art a whole lot, including fanart. Also art advice, love seeing things from different perspectives and learning something new.

Mutuals, really, for any reason. Building better connections on here, getting to know people. I am hideously bad at this but I try.

What I write -

Science Fiction with heavy subjects that matter to me - trigger warnings on a story-by-story basis.

High Fantasy (eventually books I think?) characters and their backgrounds for DnD and Pathfinder - I have been tempted to share these to help people get ideas or just for free use?

Things that I delete because I have crippling imposter syndrome and publishing makes me nauseous (doin' it tho).

Stories that I hope will make people feel less alone or that people could relate to, stories that I wish I had when life was worse and I was reaching out for anything I could find to keep me afloat, stories that try to be critical of things that SUCK in a way that's any helpful.

Lots of curse words and cussing (that's just how people talk 'round here), dubious science, things that I hope might make you cry but in a good way though.

Character-Driven stories that revolve more around the development of the person and less around the plot itself if that makes sense.

I've put blurb things below for my primary project/series which features a grumpy, queer, 37-year old chain smoking Frenchman and his misadventures with life and love and unbridled rage. If any of that sounds cool stick around and hang out? (This part is a plug bc I did a thing and I'm proud of it) And if my books sounds interesting the first one is 99 cents on Kindle and you just need a phone and a free app to read it!

THE SECRET OF LIFE (Published) - Sci-Fi/Psychological Thriller, Bi M Lead, Lovers to Enemies, AI but the oldschool cool kind not the real world thing that's stealing our future

Carlisle-Trystan Antoinette is a mercenary on a hard road, navigating life and death itself in an infinite cycle started by powers above his understanding. He has one mission - warn The Dianican Space Station of the coming threat and put a stop to a war that would encapsulate the whole of the Sol System before it can ever begin. Unfortunately for Carlisle, reality is a tenuous thing, made up only by our understanding of it. At least, according to his Psychiatrist, who tells him that there is no war, that he was never a mercenary, and that what Carlisle is experiencing is a severe but manageable psychotic break. Stripped of his combat enhancements, his bio monitor, and everything he's every known, Carlisle has a decision to make. Does he give in to the thoughts and memories, so real that he can almost taste them, or does he live a life of comfort and ease, returning to a husband and daughter that he left behind?

TWs: Domestic and War Violence, suicide, rape, medical trauma, grief, drug use

THE SILENCE OF ANGELS (Due July '24, TSoL 2) - Betrayal and Rage, Learning how to love again slow-burn romantic subplot, Learning how to Dad, A general inability for any one thing to just go right

(Quick Rough Blurb that offers no spoilers for TSoL) Making connections isn't easy for somebody who's accustomed to burning bridges. Isolation has always been Carlisle's mantra for surviving his life. Playing a role comes second nature, pretending to be the man that everyone else wants to see in him. When an old friend is murdered Carlisle finds himself as the primary suspect with all evidence pointing to him so clearly that even he calls to question what he is capable of. Unwilling to believe that he could commit such a heinous crime, Carlisle sets off to find the truth of his friend's death - was Carlisle framed or does he truly have the capacity to bring such harm upon those he loves? Old and new bonds will be tested, faith broken, and the future of everyone called into question as lines are drawn and sides are picked.

TWs: Violence, mentions of SA, graphic character death, more grief, more death

I don't know what else to say... Later!

#booklr #lgbt fiction #writeblr #writeblr intro #authors

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