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#we should be recognized and represented

nerdygaymormon · 1 year

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The LGBTQ community has seen controversy regarding acceptance of different groups (bisexual and transgender individuals have sometimes been marginalized by the larger community), but the term LGBT has been a positive symbol of inclusion and reflects the embrace of different identities and that we’re stronger together and need each other. While there are differences, we all face many of the same challenges from broader society.

In the 1960′s, in wider society the meaning of the word gay transitioned from ‘happy’ or ‘carefree’ to predominantly mean ‘homosexual’ as they adopted the word as was used by homosexual men, except that society also used it as an umbrella term that meant anyone who wasn’t cisgender or heterosexual. The wider queer community embraced the word ‘gay’ as a mark of pride.

The modern fight for queer rights is considered to have begun with The Stonewall Riots in 1969 and was called the Gay Liberation Movement and the Gay Rights Movement.

The acronym GLB surfaced around this time to also include Lesbian and Bisexual people who felt “gay” wasn’t inclusive of their identities.

Early in the gay rights movement, gay men were largely the ones running the show and there was a focus on men’s issues. Lesbians were unhappy that gay men dominated the leadership and ignored their needs and the feminist fight. As a result, lesbians tended to focus their attention on the Women’s Rights Movement which was happening at the same time. This dominance by gay men was seen as yet one more example of patriarchy and sexism.

In the 1970′s, sexism and homophobia existed in more virulent forms and those biases against lesbians also made it hard for them to find their voices within women’s liberation movements. Betty Friedan, the founder of the National Organization for Women (NOW), commented that lesbians were a “lavender menace” that threatened the political efficacy of the organization and of feminism and many women felt including lesbians was a detriment.

In the 80s and 90s, a huge portion of gay men were suffering from AIDS while the lesbian community was largely unaffected. Lesbians helped gay men with medical care and were a massive part of the activism surrounding the gay community and AIDS. This willingness to support gay men in their time of need sparked a closer, more supportive relationship between both groups, and the gay community became more receptive to feminist ideals and goals.

Approaching the 1990′s it was clear that GLB referred to sexual identity and wasn’t inclusive of gender identity and T should be added, especially since trans activist have long been at the forefront of the community’s fight for rights and acceptance, from Stonewall onward. Some argued that T should not be added, but many gay, lesbian and bisexual people pointed out that they also transgress established gender norms and therefore the GLB acronym should include gender identities and they pushed to include T in the acronym.

GLBT became LGBT as a way to honor the tremendous work the lesbian community did during the AIDS crisis.

Towards the end of the 1990s and into the 2000s, movements took place to add additional letters to the acronym to recognize Intersex, Asexual, Aromantic, Agender, and others. As the acronym grew to LGBTIQ, LGBTQIA, LGBTQIAA, many complained this was becoming unwieldy and started using a ‘+’ to show LGBT aren’t the only identities in the community and this became more common, whether as LGBT+ or LGBTQ+.

In the 2010′s, the process of reclaiming the word “queer” that began in the 1980′s was largely accomplished. In the 2020′s the LGBTQ+ acronym is used less often as Queer is becoming the more common term to represent the community.

#mattxiv #queer history #lgbt #lgbtq+#queer #long post

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inconveniently-discorporated · 9 months

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I just realized something.

Crowley is very protective over his car, something that represents him and his identity and his control over things.

Aziraphale gets in the car, and changes EVERYTHING about it, from the music to the horn to the color of the car to the travel sweets.

And then Crowley calls and sharply informs him, "You know I can feel that, right?!"

It's not just a car, it's him, it's CROWLEY. He's taken charge and changing everything about it that was Crowley, making it his idea of better. He literally tells the car, "There, now that's better isn't it?"

And this was after Aziraphale had said, "It's OUR car."

This is foreshadowing the end, and everything Aziraphale says to him.

"Well of course you said no, you're the bad guys." -- Of course the Bentley isn't going to want to speed, that's bad.

"I can make you an angel again, it will be just like it was before, only even nicer!" -- Oh, but Crowley, why the black when the yellow is so pretty?!

It really drives home (heh) how off-kilter everything is without Heaven and Hell. Before, they knew where the other stood. Perhaps they thought knew WHY the other stood where they did (e.g., "Well of course you're all dark and moody, you're a demon.") And now that that's gone, they suddenly don't have this backdrop.

Crowley seems to not realize that Aziraphale is silently screaming that he wants to be together, he's still stuck in the Heaven-era version of him saying "we can't really be an US". Even at the end, he tells Aziraphale, "We could have been us," and he only seemed to have barely recognized just moments before that they HAVE been an "us" for the last few years.

And Aziraphale seems to have trouble parsing the difference between what Crowley was because he was a demon, and what Crowley was because he was Crowley. At the end of the season, he's asking Crowley to hand over his metaphorical keys to join him in Heaven, so he can change everything about him in ways Crowley doesn't want.

It's THEIR relationship, but Aziraphale wants to change the terms, change everything about it so it can fit his bright and cheerful picture of how everything should be. And when Crowley angrily rejects this (just like he did when it was the car), Aziraphale is just as surprised he feels that way.

For there to truly be an "us", for the car to be theirs and not just one or the other's, they're going to have to learn who they really are on their own, and relearn who the other one really is deep down, then learn what they really want from each other (and what concessions they're willing to make) moving forward.

#good omens #gos2 spoilers #good omens meta

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brighteuphony · 2 months

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On the way back from Tea Country with Chakra-poisoned Kakashi tryna "casually" fish for some info before Sakura comes in with the one-hit KO on accident.

So she's got some complicated feelings for Kakashi as well, though they're a lot milder than what she feels about Sasuke.

There's a moment in my AU where Sakura goes through a deep reflection ritual, in which she has to face Inner Sakura -who is representative of all the ugly truths her day-to-day self hasn't been able to face- and come to terms with who she is.

During that time, she's got to face the music.

The music:

Sasuke is the last prodigal son of a clan that was brutally butchered. He's a genius with one of the most powerful dojutsu out there (that he has no idea how to use) and is coming in hot with more baggage than an airport terminal.

Naruto is not normal. She doesn't know what he is (as in-canon, she finds out after the time-skip and the Sakura from above is right on the cusp of Shippuden), but there's nothing normal about a kid who can pull wild orange chakra and who can fight Gaara's tailed beast and come out on top. He's got the personal attention of the Hokage, but the entire village has banded against him for some reason. He's special.

Kakashi is a war veteran turned Jounin and an infamous ANBU captain (I headcanon that some ANBU names are leaked specifically to generate a healthy level of fear/caution among other villages- which is why we know of Itachi/Kakashi/Shisui very publically) and is ALSO the last prodigal son of an old noble clan.

(No way a bookworm like Sakura didn't consume every publically available scroll on Konoha clans).

It doesn't take the big brains to figure out that he got team 7 specifically to help deal with Sasuke's trauma/teach him about the Sharingan, and put a leash on Naruto (and in the future, when she finds out that Madara was able to control the Kyuubi with the Sharingan as well as the knowledge that Kakashi was Minato's student it becomes even clearer why he got the Sasuke/Naruto combo.)

And Sakura? Sakura is a civilian. No clan, no dojutsu, nothing to her name except great chakra control. She's the literal meat in the meat-grinder of the military machine of Konoha, the acceptable sacrifice in a group of otherwise invaluable shinobi. She's just a...girl. (And it doesn't help that she was obsessed with Sasuke instead of training, furthering the gulf between her and Kakashi.)

Kakashi was absolutely not built to handle her- in fact, Kakashi has NO idea how to relate who hasn't gone through a mountain's worth of trauma or someone who hasn't been ingrained in the shinobi-as-a-tool lifestyle, and even then, he's not fully equipped to handle people who have (lmao Sasuke). Not to mention the man is a prodigy- he has no idea how to teach people who have to work hard to get somewhere in life. How do you teach someone if you've never had to 'work hard' to get there yourself?

So, Sakura understands that Kakashi was put in one of the most ridiculous situations of his career- a situation he had NO idea how to handle. She can forgive him for that. BUT, she can't forgive him for not trying his best.

Sakura spent a lot of time coming to terms with the fact that she rushed into the Chidori/Rasengan combo without a single idea of what she would do, but...Kakashi was a big reason for that.

She was HIS responsibility, and he fumbled that bag. Whatever his reasoning, whether it was to 'protect' her, or whether he thought she was worthless, whatever: he should have TRIED.

Kakashi was an adult with resources aplenty. He recognized that she had stellar chakra control but never bothered to teach her genjutsu or direct her to teachers who could pick up the slack.

And after the accident, he abandoned her again. Being forgotten in lieu of Sasuke and Naruto hurt...but she could heal. Being abandoned as some kind of martyr to Kakashi's failures as a teacher? It's gonna take a while for Kakashi to make that up to her...if he can muster the courage to face her.

Sakura finally understands why he preferred the memorial stone to the living. He already failed the dead, and it's easier to wallow in self-flagellation than it is to try and step up for the living.

Sakura stopped being a coward some time ago, and when Kakashi finally does the same, she'll forgive him.

Thank you so much for sticking with this wall of text! And thank you so much anon for the question! Once again, I really appreciate all the kind words people have been throwing my way. <3 <3 <3

#naruto #haruno sakura #kakashi #Blind!Sakura #Her teachers in order:#Chiyo: Medicine and Chakra control #Saeko: Genjutsu master who lives with Enji #Enji: Ninjutsu specialist and general cheerleader #Aren Uzumaki: Pirate captain and Fuinjutsu specialist #her necklace is a western style evil eye pendant - the last thing Enji gave to her before he passed away #coven!Sakura

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clanwarrior-tumbly · 10 months

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HCs: Ken meeting a Human!Fem!Reader who owns a ranch

Wanted to write something for this movie bc it’s all I’ve been thinking about for the past two days. So enjoy, lovelies!

I’m taking requests for this movie so don’t be shy <3

[SPOILERS AHEAD]

...........

After going back to the Real World to find a purpose for himself, Ken runs into you, a country girl who left the Mattel company to take care of your ranch.

You just stopped in the city to find new outfits..and instead found him rollerblading through the park, immediately recognizing him as a Ken.

You may not be in the company anymore but you just knew (especially with his vibrant outfit giving it away).

You two hit it off right away and eventually you go shopping together.

He gets a new cowboy outfit and is bashful when you pay for it (to which you reply that you..really didn’t have a choice in the matter, as he had no money).

He’s like “ohh that happened before when I was with Barbie..we got arrested for the second time that day :D”

You’re very concerned and decide that he should stick with you from now on (not that anyone at Mattel would ever care about a Ken running around to begin with...you just didn’t wanna have to bail him out of jail).

On the truck ride back to your home, you mentioned owning a ranch and Ken’s in a w e

You tell him more about it, and he’s so intrigued and can’t stop staring at you the entire time, especially as you go on about how a lot of women in your world are cowgirls and how they aren’t represented enough.

He bluntly states that he once believed “patriarchy” was all about the horses and you nearly laughed, but he seemed sad about it, so you assure him if he wanted to see horses, he made the right decision coming with you.

You introduce him to one of your favorite steeds and he’s SO overjoyed to actually see one in person. Like petting its mane and asking dozens of questions like an excited kid.

“Are you sure Barbieland didn’t have any horses of their own?”

“No, we just have the ones on sticks and our imaginations.” He pouts, mimicking the way he rode invisible horses with his hands. “But this? This is WAY cooler!!”

He tries mounting your horse, envisioning himself riding off into the sunset, free as a bird while shouting “yeehaw” at the top of his lungs-

Only for it to rear its head up and nearly stomp on his foot, with you having to calm it down as he snaps back to reality, looking utterly distraught and stressed over upsetting it.

“Alrighty. Ken. If you wanna ride a horse..the first step is earning its respect. Thought you would’ve learned about that in those books....but if you’ll let me, I’ll show you how to properly mount one. Luckily this one here’s accustomed to double riders.”

His face lights up and he listens to every instruction you give him, from placing the saddle on its back to climbing on, and finally how to control the direction he wants it to go.

For this one time, however, you take the reins and let him sit behind you, hugging you a bit too tightly for your liking, but you allow it as you show him around the rest of your ranch.

He just likes the closeness fr and you.

By the time the day’s over, your horse got better acquainted with Ken and let him ride around for a little while before you gotta put it in the stable for the night.

Before he could worry about where he was gonna go, you tell him he can stay with you as long as he wants.

He’s so happy he just,,,,breaks down ugly crying into your arms.

Though he quickly apologizes, admitting he’s still getting used to crying freely and being more emotional and-

“It’s okay, Ken.” You reassure him. “We need more guys like that around here who ain’t afraid to shed a tear or two.”

“Th-Thanks...Barbie told me it’s an amazing feeling. And honestly..it kinda is.”

After that small heart-to-heart talk, he gifts you his horseshoe necklace as a sign of his appreciation, that dopey grin returning to his face when you take it and wear it right away.

Yeah, you’ve only met each other for a day and he’s smitten the moment you started treated him as an equal. You let him have his own room, bed, wardrobe, etc. (and in time he'll have his own horse too).

All you ask is that he helps you manage the ranch, but at this point he’s willing to do anything for you now.

Finally, he realizes this was his dream all along.

One that Barbieland couldn't provide, but that was alright.

Patriarchy is overrated, anyways. This was all he wanted.

#barbie #barbie movie #barbie 2023 #barbie spoilers #barbie x reader #ken x reader #female reader #headcanons #fluff #just ken #barbie ken

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jade-jini · 5 months

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More thoughts on Sha-Rich and g!p loser reader ‘cause I love Sana.

tw: Some smut included, jealousy (a tiny bit toxic/controlling for a moment), but fluffy at the end.

Sana who takes you with her to important rich people events, whether it’s about business or not.

It started with these big fancy parties in which she had to make presence because of who her father was, and she convinced him you should go too since you were an important part of the company, right? Of course, you were going as another representative. But once Sana learned how funny was to have you with her there to keep her from dying of boredom with your easy way of making her laugh (and have fun with you in the bathrooms of those places), she knew she had to bring you with her everywhere. Things escalated until you were basically her date to these events full of rich boring people, and also to parties that made her excited, even making other people at the company jealous because why was the loser sunbaenim the only one good enough to be brought to these events with THE Minatozaki Sana??

We know how the business world works. One word: contacts. It’s not to discredit you, you were well respected and appreciated, besides admired not only by your coworkers but also by other important business figures who have heard of you from other companies who had a partnership with Mr. Minatozaki’s. However, let’s just say that since you and Sana started to get closer, you were attending more important social and business events that you could’ve ever imagined you will. From Japan to Italy, on first row, designer clothes on, exchanging contacts with big names (that were first driven to you two at these events once they recognized not only the face, but also the last name, but developed genuine interest in you once you opened your mouth about business), and several promises of getting drinks together. Sana was genuinely impressed, smiling and looking at you, you seemed to transform into a more confident person once you found yourself comfortable, knowing that you were an expert on your field. Confidence looked good on you, she thought.

What she wasn’t a fan of, however, was how some people were too comfortable flirting with you.

It was during this big business party. Sana actually thought more than once about going, wanting to spend the weekend with you alone rather than having to share you yet again with people. But now it was her father who would make sure she was bringing you to these events, ‘cause even he noticed how easily you attracted new potential investors and partnerships. “But daddy! We’ve been going to events almost all month!” She complained with a pout earlier that week, you in the boss’ office as well but being quiet, letting father and daughter decide. But this time it was not gonna work, you guys were going. Sana sighed, and decided to just listen. At least she got to share hotel room with you, and you made sure you destress her before the event;) plus, it was a party with her.. well, whatever you were. She’s been thinking about this actually, or at least thinking about avoiding thinking…

“Ready, Ms. Minatozaki?” You asked her while offering your arm before you guys entered the big hall. When she looked at you, she smiled and held your arm, knowing that it was just too easy to have fun with you for her to be feeling grumpy. Once you entered the place, multiple eyes went on you, as well as camera flashes. Sana’s grip on your arm got tighter, as she guided you around the room, knowing that you’d save her from having to make conversation with business partners present. After what felt like forever, she was finally able to take you to a table where some friends of hers were.

Sana’s close friends (like Momo, Mina, and Nayeon) were aware that you guys were closer than just regular friends. However, as far as they were concerned, Sana was just having fun with a pretty girl. That’s why after an actual smooth and comfortable conversation between everybody, Mina was now basically undressing you with her eyes, looking you up and down while playing with the glass of some expensive liquor she had in hand. You could feel her intense stare on you, and of course you noticed the intense stare Sana had on her. Momo and Nayeon found the situation funny af. They were glad they had found a soulmate on each other so they didn’t have to be involved in any of this type of drama.

“So, y/n.” Mina spoke, catching your attention. “You know, there’s this event soon about new technologies used for marketing strategies, I’ve heard you’re interested in that kind of stuff so I was wondering if you’d go as my plus one? It’s a very private event and important names will be there, not everybody gets invited so…”

This made Sana go on alert mode, noticing the cards Mina was trying to play. She looked at you, and noticed the excitement on your face.

“Oh! Well I’d lo-”

“She’ll be busy.” Sana answered for you, grabbing you by the waist. “There’s an important event we’re going that day.”

“But I didn’t even say what day.” Mina answered, smiling sarcastically as she spoke in between teeth. You looked at the two other girls, Momo hiding behind Nayeon, while the latter bit her hand trying not to laugh.

“We’ll be busy the whole month, sorry darling.” Sana said and sent a kiss to her way while she attended to pull you with her somewhere else, but her father appeared, smiling at you before speaking.

“Ah y/l/n! There you are. There’s somebody who I’ve been wanting you to talk to.” He said clearly excited. Sana looked at him with a raised eyebrow, not having a good feeling about it. You gulped, already feeling a little anxious about the expectations of your boss, but also glad to just be there and be noticed.

“Sure sir, where is this person?” You asked, to which he signaled to the entrance.

And there she was. The Park Jihyo. A young CEO from another important company. And Sana’s ex, of course.

You were aware of this. You’ve heard about her, she was popular in the business world. She has achieved so many things at such a young age, and all to her name even though she comes from a good family. There she was, wearing an elegant black suit. With her powerful aura, her beauty, and reputation, saying that she easily steals the spotlight whenever she’s present would be an understatement. You gulped again, nervous about the idea of speaking to such woman. You looked at Sana, hoping she’d at least be there with you.

“Daddy, I’ll go with her.” It was enough you were being sent to talk to her. But by the way her dad already had his hand on her shoulder, she knew it was a sign he was already planning on sending you alone.

“Nonsense, it’s gonna be all about a different department than yours, sweetie. Plus there’s other people who I want you to talk to. Don’t interrupt. Go, y/n. I’ll take my daughter now while you guys speak ok?” The man said winking at you, clearly unable to read the room. Knowing there was no arguing with the boss, you went on your way. Repeating words of encouragement in your head, you made your way to Jihyo, ready to introduce yourself and praying you didn’t ruin it.

“Good evening, Ms. Park. My name is…”you started, but the moment the woman looked at you in the eye, you panicked (loser 😭) “m-my name is… well I’m company and work at y/n’s.. wait- no, I’m y/n and-” oh god. Fuck. You ruined it already?! It took you 2 seconds bro c’mon, I thought you were getting better with those social skills. You grabbed your forehead with one hand, ready to receive a “get lost” but instead of that, what you’ve heard was a friendly giggle. When you looked back at the woman, she was smiling at you with compressive eyes.

“Don’t worry, I’ve heard about you. You work at Minatozaki’s company don’t you?” She asked and you nodded, words stuck in your throat. “Yeah, I’ve seen pictures of you with Sana. I was wondering when was I gonna be able to meet in person such a pretty girl.” She said winking at you, catching you off guard.

Oh.

“Daddy, can I go already?” Sana whispered to her father discreetly, already dying of boredom and just wanting to steal you from that woman. Sana’s ex not only had a good reputation with business, but a good (or bad, however you want to define it) reputation with women. Something like a fancy player you might even say. She noticed the way Jihyo clearly flirted with you, making you laugh and even blush?! unlike the little annoyance she felt when Mina tried to ask you out, this made her blood boil.

“Behave, sweetie. These are important people.” He whispered back, his smile never abandoning his face. She simply sighed and continued drinking from her glass of wine, trying her best to look interested at whatever the people in front of her were saying. They might be important people, but to her, only one person in that room was truly important; you.

“There’s no way” you said in between laughs.

“I swear it’s true! I thought I was gonna lose it because of how much it hurt.” Jihyo said, laughing as well. You were talking about a little incident in which her friend got stuck in her zipper.

“Did it leave a mark?” You asked curious.

In the time you guys have been talking you learned she also had a member, that she’s gone through embarrassing moments ( like any normal person of course), she’s a really funny and charismatic person and…

“Wanna check yourself?” She asked back, her flirtatious tone resting well in her lips.

She wanted you. It was clear to you. You felt your cheeks turn red at yet another straightforward insinuation of hers. You were trying your best to keep it cool whenever she said something like this, but maybe it was time to let her know you were not interested.

“Ms. Park I-” you started.

“Please, call me Jihyo.” She asked, with that million dollar smile of hers. In another post of this author world, that would’ve been enough to melt you. Not here though, only one smile caused that in you.

“Jihyo.” You said, making the girl satisfied “I’m flattered, I really am. But I am… well, let’s just say there’s somebody already in my heart…” you said, looking at the Japanese woman across the room, wondering what was she thinking as she had that smile on her face. Smile you knew was her “I really don’t wanna be here, business are boring Ew” smile, the memory of her saying this making you smile unconsciously. With her smile now gone but a rather calm face, Jihyo followed your eyes. Surprised but at the same time not.

“Sana?” the older woman huffed “good luck with that, dear.” She said, looking at the Japanese woman. You looked back at Jihyo for a second With a raised eyebrow, not exactly liking her tone, but deciding not to make a big deal of it.

“I don’t need luck, thank you.” You assured her.

“Hey, don’t take it the wrong way.” She said, raising her hands “I’m just saying, that’s a hard card to play, Minatozaki. You know how it is with the kids of rich folks, specially daddy’s baby girls.”

“So you?” You asked here smiling sarcastically, and she let out a genuine laugh. Too contagious, impossible not to laugh with her.

“Fine, you got me there. Here.” The older woman said, raising her glass to toast with you, which you accepted and continued chatting for a bit, now in a more friendly manner rather than flirtatious. However, Sana didn’t notice the difference, she just knew it bothered her. Specially when she noticed Jihyo’s hand on your shoulder. With an excuse of not feeling too well, she excused herself and escaped her father and his friends, not bothering saying goodbye to the young men who tried flirting with her during the whole conversation.

Finally free, she made her way to you, finding your arm and hugging it, slightly pulling you closer to her. The moment you recognize who was it, your arm automatically went to hug her waist, a scene that felt a little familiar to Jihyo, but didn’t cause any negative feeling on her.

“Good evening, Ms. Minatozaki.” She politely said, which received a clearly fake smile from her ex.

“y/n, I’m not feeling well. I think something made me sick.” Sana explained, looking at Jihyo, who found the situation humorous. She was a chill person after all. “Would you be so kind to take me to my hotel?” She asked, now looking at you with those eyes who melted your heart and had you eating from the palm of her hand.

With how silly you were, you couldn’t see she was clearly lying. Worried about her and nothing else, you agreed right away.

“Of course Ms. Minatozaki.” You nodded and looked at Jihyo, smiling at her apologetically “Ms. Park, it was a pleasure meeting you tonight, I hope we can meet again once we’re all back home.” You said politely.

“Wait, before you go let me give you my number.” She said pulling her phone out, which you almost mirrored. However, Sana did not like the sound of that at all, and took your phone from your pocket.

“Her phone died, sorry.” Sana said to Jihyo, not even caring about coming up with a better excuse. You didn’t even bother checking if that were true, letting the Japanese woman be. Jihyo was finding this situation too funny, and wanting to tease just a bit more before you go, she continued.

“Then I’ll give you my new number and you can give it to her later, can’t hurt.” She said shrugging.

“Might hurt. Goodnight, Park.” She said, and pulled you to the exit. You could only waved your hand goodbye to Jihyo like a little kid, causing Sana to roll her eyes.

She’s had it for the night, it was supposed to be a night to enjoy with you, and she’s had anything but time with you. You were hers, why were others trying to steal you?! Wasn’t it obvious who you belonged to?

Come to think of it, you guys have never made anything official. People have seen you together, the public eye was on you and the chemistry was obvious, but as far as one’s concerned, you guys were nothing romantic. I mean c’mon, she has never once introduced you (to the public or to her friends) as anything but either a person who works at the company or as a good friend. So what was she expecting? For people to respect something that wasn’t a thing?

The thought of this brought her mood down. Of course you noticed this, but in fear of making her angry, you didn’t ask until you were almost at the hotel. You guys were sharing a room anyways. Finally having some time alone in the limo, normally Sana would already be on your lap, ruining both your and her lipstick, but now she was sitting on the other end, quietly looking through the window.

“Sana, is everything ok?” You asked, trying to hold her hand, but she moved it away once yours made contact with her.

“It’s Ms. Minatozaki.” She answered with a cold tone.

Her actions and tone making you sad, not knowing what even happened. “Did I do something that upset you? I’m sorry…” you whispered with that little voice, and your sad tone made Sana’s heart hurt. She had no right to be angry at you, and she really had no right treating you like this.

“It’s not you, I’m sorry y/n.” She sighed, finally looking you. “It’s just… I don’t know, I didn’t like the way some people were treating you tonight.”

“But nobody treated me bad.”

“Yeah, I know.” She huffed. “They were treating you a little too good.” She mumbled, confusing you even more. Sana shook her head, and held your hand. “What I’m trying to say is… I think I got a little jealous.”

“Jealous?” You asked, not sure you heard that right. There’s no way she was jealous because of you, right?

“Yeah, y/n. Jealous.” She said, surprising herself as she felt her cheeks warming up ‘cause of the confession. “I don’t like sharing your attention. I know I have no right on complaining about that but-”

“Please do.”

“What?” Now it was Sana’s turn to be confused.

“Please complain about it. Please want my attention on you only.” You told her sweetly, your heart racing as you smiled at her. “Although you don’t even have to. It’s always on you.”

“Really?” The woman asked, trying her best to keep it cool, but loving what you were saying.

“Yes, Ms. Minatozaki.” You confirmed.

“Sana.” She said softly “please call me Sana.”

“Please decide.” You said, making her laugh. The sound causing you to look at her with heart eyes. “Sana, don’t you know I’m already yours?” You whispered, feeling brave. Her laugh slowly dying as she looked at you, her eyes screaming how much she wanted to kiss you. However, she decided to wait until you guys were in the room.

And now here you were, about to end up the night in the jacuzzi of a very luxurious hotel, with the only woman in your mind and dreams straddling you as you kissed her deeply, feeling the soft skin of her lower back under the bubbles that caressed her.

“You did so good today, baby.” She praised you, her arms crossed behind you neck as she play with some loose hairs.

“Did I?” You asked, wanting to hear her more, as you slowly help her sit on your hard member.

“Hmm fuck yes..~” you heard her moan, and you weren’t sure if it was an answer to your question or pleasure already taking over her “I-I’m normally the one who has to make conversation until you start talking about business and deals. But you did good at casual conversation as well today. I’m proud of you.” She teased, making you giggle.

“Thanks, ma’am.” You said, grabbing her hips as you started thrusting into her slowly. Sana matched your moves as soft moans were released, putting her wrists together behind your head as she looked into your eyes.

“Sorry for making you jealous tonight.” You struggled to say “let me show you how m-much I want only you, yes?” You grabbed Sana’s thighs, thrusting harder into her, but still at a rather slow pace, making sure she felt every inch inside her. Whimpers started escaping her lips. Her face expressions just turning you on more and more.

“Oh my god…” she moaned louder, feeling so complete, she knew she could never get tired of the way you made her feel. It was her and you, connecting with each other through more than just physical desire, than just carnal pleasure.

“I love you..” you whispered in her lips. Out of all the things you could’ve said, that one was the one that caught her off guard like nothing else could’ve done it. Shivers going down her spine as she heard in your voice how honest you were being about your feelings. She felt so vulnerable, so exposed, fragile and weak. But also so protected, seen and cared for that even if it somehow shocked she..

She liked it. More than that, she loved it. She loved you.

“I love you too…” she whispered back, and that’s when she felt like she was actually waiting to hear and say those words. Everything fell into place. Not because you were in some luxurious hotel with some hot girl. But because you were with Sana. With her in your arms, being as yours as anybody could ever be. And you being as hers as it was possible. Hearts belonging to each other, you spent the night showing each other this, again and again.

——————————-

It became a whole thing huh?😭 I had to give them a nice ending🥺 my cute lovers.

#kpop gg #kpop scenarios #kpop imagines #twice x fem reader #twice imagines #twice x reader #twice scenarios #twice smut #twice #twice fluff #twice sana #twice sana smut #twice Sana x reader #minatozaki sana #minatozaki sana x reader #g!p reader

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nellywrisource · 2 months

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A writer’s guide to the historical method: how historians work with sources

In this post, I provide a brief overview of how historians engage with different types of sources, with a focus on the mindset of a historian. This insight could be valuable for anyone crafting a character whose profession revolves around history research. It may also prove useful for authors conducting research for their book.

Concept of historical source

The concept of historical source evolves over time.

Initially, the focus was mainly on written sources due to their obvious availability. However, as time has progressed, historians now consider a wide range of sources beyond just written records. These include material artifacts, intangible cultural elements, and even virtual data.

While "armchair historians" may rely on existing studies and secondary sources, true professional historians distinguish themselves by delving directly into primary sources. They engage in a nuanced examination of various sources, weaving together diverse perspectives. It's crucial to recognize the distinction between personal recollection or memory and the rigorous discipline of historical inquiry. A historical source provides information, but the truth must be carefully discerned through critical analysis and corroboration.

Here's a concise list of the types of sources historians utilize:

Notarial source

Epistolary source

Accountancy source

Epigraphic source

Chronicle source

Oratory and oral source

Iconographic source

Diary source

Electronic source

Example: a notarial source

These are documents drafted by a notary, a public official entrusted with providing legal certainty to facts and legal transactions. These documents can take various forms, such as deeds, lawsuits, wills, contracts, powers of attorney, inventories, and many others.

Here we are specifically discussing a lawsuit document from 1211 in Italy.

A medieval lawsuit document is highly valuable for understanding various aspects of daily life because in a dispute, one must argue a position. From lawsuits, we also understand how institutions truly operated.

Furthermore, in the Middle Ages, lawsuits mostly relied on witnesses as evidence, so we can access a direct and popular source of certain specific social situations.

Some insight into the methodology of analysis:

Formal examination: historians scrutinize the document's form, verifying its authenticity and integrity. Elements such as structure, writing style, language, signatures, and seals are analyzed. Indeed, a professional historian will rarely conduct research on a source published in a volume but will instead go directly to the archive to study its origin, to avoid transcription errors.

Content analysis: historians proceed to analyze the document's content, extracting useful information for their research. This may include data on individuals, places, events, economic activities, social relations, and much more. It's crucial to compile a list of witnesses in a case and identify them to understand why they speak or why they speak in a certain manner.

Cross-referencing with other sources: information derived from the notarial source is compared with that of other historical sources to obtain a more comprehensive and accurate view of the period under examination.

Documents of the episcopal archive of Ivrea

Let's take the example of a specific legal case, stemming from the documents of the episcopal archive of Ivrea. It's a case from 1211 in Italy involving the bishop of Ivrea in dispute with Bongiovanni d'Albiano over feudal obligations.

This case is significant because it allows us to understand how feudal society operated and how social status was determined.

The bishop's representative argues that Bongiovanni should provide a horse as a feudal service. Bongiovanni denies it, claiming to be a noble, not a serf. Both parties present witnesses and documents supporting their arguments.

Witnesses are asked whether the serf obligations had been endured for a long time. This helps us understand that in a society where "law" was based on customs, it was important to ascertain if an obligation had been endured for a long time because at that point it would no longer be contestable (it would have become customary).

The responses are confused and inconsistent, so witnesses are directly asked whether they consider Bongiovanni a serf or a noble. This is because (and it allows us to understand that) the division into "social classes" wasn't definable within concrete boundaries; it was more about the appearance of one's way of life. If a serf refused to fulfill his serf duties, he would easily be considered a noble by bystanders because he lived like one.

Ultimately, the analysis of the case leads us to determine that medieval justice wasn't conceived with the logic of our modern system, but was measured in oaths and witnesses as evidentiary means. And emerging from it with honor was much more important than fairly distributing blame and reason.

Other sources

Accounting source: it is very useful for measuring consumption and its variety in a particular historical period. To reconstruct past consumption, inventories post mortem are often used, which are lists of goods found in households, described and valued by notaries to facilitate distribution among heirs. Alternatively, the recording of daily expenses, which in modern times were often very detailed, can lead to insights into complex family histories and their internal inequalities - for example, more money might be spent on one child than another corresponding to their planned future role in society.

Oral source: in relation to the political sphere, it is useful for representing that part of politics composed of direct sources, that is, where politics speaks of itself and how it presents itself to the public, such as a politician's public speech. However, working with this type of source, a historian cannot avoid hermeneutic work, as through the speech, the politician aims to present himself to a certain audience, justify, persuade, construct his own image, and achieve results. This is the hidden agenda that also exists in the most obvious part of politics.

Iconographic source: it concerns art or other forms of "artistic" expression, such as in the case of an advertising poster. They become historical sources when it is the historian who, through analysis, confers upon them the status of a historical source. Essentially, the historian uses the source to understand aspects of the past otherwise inaccessible. The first step in this direction is to recontextualize the source, returning it to its original context. Examining the history of the source represents the fundamental first step for historical analysis.

Diary source: diaries are a "subjective" source, a representation of one's self, often influenced by the thoughts of "others," who can be close or distant readers, interested or distracted, visible or invisible, whom every diary author can imagine and hope to see, sooner or later, reflected on the pages of their writing. Furthermore, they are often subject to subsequent manipulations, and therefore should be treated by historians only in their critical edition; all other versions, whether old or new, foreign or not, are useful only as evidence of the changes and manipulations undergone over time by the original manuscripts.

Electronic source: historians use Wikipedia even if they often don't admit it out loud.

This blog is supported through tips here on Tumblr. If you’d like to support me, please consider giving a tip.

#writing advice #writing help #writing reference #writing tips #creative writing #fantasy worldbuilding #fantasy writing #worldbuilding #worldbuilding tips

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lesbianchemicalplant · 6 months

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If you're surrounded by people who call trans people by their deadnames, you're most likely in a hate group. But a possible alternate explanation is that you're in academia. And it's not because that many academics are openly transphobic -- they just don't know that the site they fully trust, Google Scholar, is telling them to do it. Google Scholar was developed in 2004 and has changed very little since then. It supplanted a lot of hard-to-use library search indices by providing a Google-style interface with a single search box. Now it's the most name-recognized site for searching for almost any paper by almost anyone. One aspect of the design was, authors are just a kind of search term. An author is a cluster of different ways to abbreviate a name, like Firstname Lastname, Firstname M. Lastname, and F Lastname, and you might see different forms in different places, but the underlying name will never change. This is because Google Scholar was built by, and for, cis men with unchanging Western-style names. The "almost anyone" who you can search for excludes trans people, among a lot of other people it represents poorly. And because Scholar will not change, it should perish.

I fought the goog, and the goog won I changed my name in research, retroactively. I broke the assumptions of Google Scholar, and Google Scholar hid my papers from search results when it couldn't model what was going on with them. It would particularly suppress search results for my new name, which were just confusing distractors for the results it really wanted to show, for my deadname. If you ask it how to cite me, it will auto-generate you a citation of my deadname. I fought hard to remove citations of my deadname, replace PDF files, take down papers I couldn't replace, take away all the evidence of my deadname that I possibly could. Not to keep it from the eyes of people, but to keep it out of the Google Scholar model. I partially succeeded in making my new name more searchable, and even got it to show up in the auto-generated citations in some circumstances. For a fleeting moment, I claimed victory. But Google Scholar countered by finding my absolute most obscure things that count as publications, ones that I can't kill because they were not really alive in the first place, and bringing them to the top of my search results, so it can use them to keep helpfully directing you to my deadname. Signing in and claiming papers on an "author page" doesn't help, because author pages are one tiny link in search results that nobody clicks through, because the papers are already right there. Most trans people quit research rather than deal with this, and even though I found myself with more energy and opportunity to fight for my name than most, I quit research too.

There! We fixed it for cis people Google knows about this. I raised the issue with them in February 2019. It became an internal bug report in July 2019, which I have never seen, but from what I've heard about it, it quickly went far astray from what I was trying to tell them. "Allies" inside Google came up with extremely dumbass theories of how to represent trans people in a way that fit Google's preconceptions. I've posted about the problem at various times on social media (mostly Twitter when that was a thing). I tweeted about how Google's name model doesn't even work for cis women, given that many women change their names at some point in their lives. This got some traction and led to an amazingly quick response, along the lines of "oh shit! We fixed it for cis women." The new feature they added allowed a person (who had claimed papers using a Google account) to link together their multiple names, as long as they were okay with all the names being shown at the top of their search results. The first trans person to try using the feature was extremely surprised and dismayed by the prominence it gave to their deadname, and asked "do you think they talked to even a single trans person about this feature?" Nobody has ever heard Anurag Acharya, the creator of Google Scholar, say anything about the problem of name changes on his platform, or really anything attributable to him at all. But I know he knows about it.

The one time we got their attention Google got banned as a sponsor of Queer in AI, partially because of Google Scholar, though if you ask most people now they'll say it's because they profit from AI weapons systems. Which is also a thing. But Google Scholar was enough of a part of the issue that an exec actually got on the phone with non-Googlers about it for the first time. The exec was Jeff Dean, head of AI, whose organization does not actually include Google Scholar. When pressed on the issue by Queer in AI, he defended Scholar's lack of name changes, saying -- I believe this to be a direct quote -- "we have to ensure accurate information". Calling trans people by their names does not fall under the category of "accurate information" to the latently transphobic Jeff Dean. In another rare instance of public communication, a couple of painfully assimilationist trans Google FTEs promoted a horrible idea where publishers would have an API for informing Google that someone's name had changed in their archives. That's right, you wouldn't control your own name, dozens of publishers would, all with their own processes ranging from gatekeepy to nonexistent, and you'd have to out yourself and beg to every one of them to press the Here's A Trans Person button. The only good thing about this proposal is that it was so obviously unworkable that they didn't do it. Aside: If you are a Google full time employee, and you are trans, you are assimilationist. I'm sorry. I know your life circumstances mean you have to be. There used to be non-assimilationists there, and they joined the union and got illegally fired in 2019, or they quit in solidarity with the people who were fired in 2019 or 2021, and that leaves you, keeping your head down and keeping your job. You're still reading this paragraph, and that's amazing, so here's what I need you to know: from your position, you cannot advocate for the needs of trans non-Googlers, unless you allow trans non-Googlers into the conversation. Contract workers, though, you're cool. You fought for a trans man, working at a Google data center, to stop having to wear his deadname on his badge, and you won.

There is a solution I know that Google would not invest a lot of development effort into fixing a pet project like Google Scholar (though, again, "we fixed it for cis women" came remarkably quickly). I know that Google is institutionally incapable of letting people control their own identity without being a gatekeeper, that it's just not in the realm of things they dream of. There is still a solution. It's so easy. It plays to Google's strengths. There's even a business argument for it. They just need to shut it down. Google Scholar can have a plot in the Google graveyard next to Hangouts, Picasa, AngularJS, Cardboard, Inbox, Orkut, Knol, and the dearly departed Reader. It will be missed, for a bit, and then real librarians and archivists can get back to doing the job that Google monopolized. They'll know how to do it better this time. The Internet Archive is already doing it, and they let trans people change their names. I made a site about all this, scholar.hasfailed.us. I haven't been raising the issue enough since the fall of Twitter, and I think it's time that I get back to it.

#google #tech #tech giants #transphobia #trans #lgbt #google scholar #academia #my uploads #my uploads (unjank)

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thechanelmuse · 11 months

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Juneteenth is a Black American holiday.

We call Juneteenth many things: Black Independence Day, Freedom Day, Emancipation Day, Jubilee Day. We celebrate and honor our ancestors.

December 31 is recognized as Watch Night or Freedom’s Eve in Black American churches because it marks the day our enslaved ancestors were awaiting news of their freedom going into 1863. On January 1, 1863, President Lincoln issued the Emancipation Proclamation. But all of the ancestors wouldn’t be freed until June 19, 1865 for those in Galveston, Texas and even January 23, 1866 for those in New Jersey (the last slave state). (It’s also worth noting that our people under the Choctaw and Chickasaw Nations wouldn’t be freed until April 28, 1866 and June 14, 1866 for those under the Cherokee Nation by way of the Treaties.)

Since 1866, Black Americans in Texas have been commemorating the emancipation of our people by way of reading the Emancipation Proclamation and coming together to have parades, free festivities, and later on pageants. Thereafter, it spread to select states as an annual day of commemoration of our people in our homeland.

Here’s a short silent video filmed during the 1925 Juneteenth celebration in Beaumont, Texas:

youtube

(It’s also worth noting that the Mascogos tribe in Coahuila, Mexico celebrate Juneteenth over there as well. Quick history lesson: A total of 305,326 Africans were shipped to the US to be enslaved alongside of American Indians who were already or would become enslaved as prisoners of war, as well as those who stayed behind refusing to leave and walk the Trail of Tears to Oklahoma. In the United States, you were either enslaved under the English territories, the Dutch, the French, the Spanish, or under the Nations of what would called the Five “Civilized” Native American Tribes: Cherokee, Creek (Muscogee), Chickasaw, Choctaw, and Seminoles. Mascogos descend from the Seminoles who escaped slavery during the Seminole Wars, or the Gullah Wars that lasted for more than 100 years if you will, and then settled at El Nacimiento in 1852.)

We largely wave our red, white and blue flags on Juneteenth. These are the only colors that represent Juneteenth. But sometimes you may see others wave our Black American Heritage flag (red, black, and gold).

Juneteenth is a day of respect. It has nothing to do with Africa, diversity, inclusion, immigration, your Pan-African flag, your cashapps, nor your commerce businesses. It is not a day of “what about” isms. It is not a day to tap into your inner colonizer and attempt to wipe out our existence. That is ethnocide and anti-Black American. If you can’t attend a Black American (centered) event that’s filled with education on the day, our music, our food and other centered activities because it’s not centered around yours…that is a you problem. Respect our day for what and whom it stands for in our homeland.

Juneteenth flag creator: “Boston Ben” Haith

It was created in 1997. The red, white and blue colors represent the American flag. The five-point star represents the Lone State (Texas). The white burst around the star represents a nova, the beginning of a new star. The new beginning for Black Americans.

Black American Heritage Flag creators: Melvin Charles & Gleason T. Jackson

It was created in 1967, our Civil Rights era. The color black represents the ethnic pride for who we are. Red represents the blood shed for freedom, equality, justice and human dignity. Gold fig wreath represents intellect, prosperity, and peace. The sword represents the strength and authority exhibited by a Black culture that made many contributions to the world in mathematics, art, medicine, and physical science, heralding the contributions that Black Americans would make in these and other fields.

SN: While we’re talking about flags, I should note that Grace Wisher, a 13-year-old free Black girl from Baltimore helped stitched the Star Spangled flag, which would inspire the national anthem during her six years of service to Mary Pickersgill. I ain’t even gon hold you. I never looked too far into it, but she prob sewed that whole American flag her damn self. They love lying about history here until you start unearthing them old documents.

In conclusion, Juneteenth is a Black American holiday. Respect us and our ancestors.

#juneteenth #juneteenth flag #black american history #black american culture #ben haith #black american heritage flag #melvin charles #gleason t jackson #grace wisher #american flag #mascogos #juneteenth 2023

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noneorother · 7 months

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All the music you didn’t hear: The Good Omens soundtrack is lying to you. *Part2*

The Bonkers Meta Series 2: Electric Boogaloo. This week on the chopping block: The official Good Omens 2 soundtrack album!

Part 1 l Part 2

If you, like me, have absolutely no respect for your time (or your 2023 Spotify Wrapped) and are willing to sit with the show and the David Arnold score album running side by side to match up all the songs, then you too can find out what I did: exactly 6 songs in the album go off the rails in the show in a very specific way. And you know what they say about a song…

So let’s break these misbehaving songs down, shall we?

A Bell Tolls for Thee

There are SO MANY DAMN BELLS in season 2. I think the sound department might have had a competition going. But I want to show you the bells that happen in the music of the show, but not in the album.

Specifically, there are tubular bells all over the score in David Arnold’s orchestration in season 2 (and some in season 1). It’s an instrument used throughout classical music to represent grandfather clocks or church bells, signalling time passing, like striking the hour. But, this season has done something devious: it sets up your expectation by putting tubular bells in all the regular places in the score, so that you notice less when they whack a big tubular bell ring in a place where it should not be, at a key moment in the story.

Feel free to go back and listen to these time codes in the show, it’s going to become obvious real fast.

S2E1 - 14:55 l Song : Into Soho Aziraphale answers the door to a naked Gabriel, and recognizes him for the first time. A bell rings once.

If you listen closely to the album version, David Arnold recorded a beautiful and uplifting ending to this track. Too bad we never get to hear it in the show, it splits off into a bell toll and then a reorchestration. We never hear the end!

S2E1 - 42:30 l Song : Tiny Miracle Aziraphale & Crowley perform a class-A miracle, and Crowley pokes the barrier with his finger. A bell rings twice.

Same thing for Tiny Miracle! The ending of the song in the album we never get to hear in the show, it gets interrupted by 2 tubular bell tolls and another reorchestration of other music.

S2E3 - 33:59 l Song : Reprise - Something Terrible Aziraphale considers the statue of Gabriel in his present day trip to Edinburgh. A bell rings three times.

This one starts from silence with 3 bell tolls as a reprise of “Something terrible” starts just after it. The second and third bells are woven into the music on beats they never appear in those bars on the recording.

S2E4 - 38:00 l Song : Zombie Dressing Room Shax asks Beelzebub for permission to attack the bookshop. A bell rings four times.

This one is extra weird (see my first music post). Even though we stretch out Zombie Dressing Room way after the dressing room scene is over and into the Shax in hell scene, it still manages to work in 4 new tubular bell rings that aren’t there in the score, and we never hear the same ending as on the album.

S2E5 - 00:05 - 10:14 l Song : Reprise - Something Terrible Shax requisitions troops and gathers her legion. A bell rings five times.

This one is tricky because Shax’s scene in hell is cut up 5 times, but you probably see where this is going: every time we cut back to Shax there’s a new bell rings once that wasn’t in the recording.

S2E5 - 29:56 l Song : Shax Shax arrives from Hell in the elevbator to attack the bookshop. A bell rings six times.

This is the last time in the season when we hear extra tubular bells. In a pretty bizarre turn of events, the demons Shax has mustered have walked in from down the street, but Shax takes the elevator to arrive at the bookshop. What a way to treat your troops. In any case, we get a final song that doesn’t get the ending it deserves, and gets cut off in favour of a reprise.

Taco Bell: Live Confused So why put so much effort into signalling these 6 specific actions with bell tolls? The first three are clearly Aziraphale & Crowley related, while the second three are Shax related. (All the Shax actions accompanied by bells have flashing lights above Shax.) Could this be a way of signalling we are halfway to the second coming, 6 hours until midnight on the armageddon clock? Or something else entirely?

Every time we hear the added bells, the soundtrack in the show deviates from the planned endings written for the album. Are these mistakes in the timeline, that were never supposed to happen in the ineffable plan? I guess we'll all be listening together for tubular bells in season 3... -------------------------------- Thanks to @embracing-the-ineffable for the encouragement, and the Ineffable detective agency for all their hard work. Part 1 is here!

#good omens meta #art director talks good omens #go season 2 #good omens 2 #good omens prime #go2 #go3 #good omens season two #go meta #good omens season 2 #good omens soundtrack

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slugtranslation-hypmic · 14 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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decolonize-the-left · 4 months

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WW3 will be white supremacists vs everyone else.

Not a singular Western country in support of Israel is innocent of colonization, war crimes, treaty violations, or having white supremacists in politics.

Each one of them has been ignoring protests and strikes in their own countries for human rights and protections. Human rights and protections that have thus far been denied btw. Meanwhile they give themselves raises and protections against protesters and so called "terrorists." They inflate military budgets while their people grow more agitated and they don't care.

Not a single one of them have a thriving, happy people.

Historically they've been awful for Black, indigenous, and immigrant populations despite many of their countries being founded on immigration. And even in modern times all of them currently have trials going on to combat state violence such as genocide, rights violations, or police brutality.

None of them have ever been paragons of human rights. None of them represent the world's moral compass least of all Germany.

So why and how is it that you can look at the USA and German support of Israel and your thought is "finally!" instead of seeing a red flag.

White supremacists are teaming up in a Big way.

And this time they're letting white Jewish people count as white which seems to have short-circuited ur brains so let me remind y'all that Nazis hate Jewish people but not every white suprmacist is a Nazi. And white supremacists have a long history of providing white Jewish people with conditional white privileges

For example here in the USA while white men who owned some land could vote, the same could not be said of white Jewish people who were barred from it in some colonies by language that stated you needed to accept Jesus as your savior. But white Jewish ppl could vote & could own land elsewhere when Black and native communities couldn't do that anywhere at all.

White supremacists exploiting white Jewish people for their vote or political support is nothing new and continues to be no surprise.

We can look at Trump's attempt to do exactly that as recently as 2019. We know he isn't an ally of any Jewish person anywhere and yet here he is trying to get right-wingers hyped up with virtue signaling.

The same article addressed how this right wing rhetoric and trying to incite it among Republicans is itself antisemitic and careless.

The past 24 hours have cemented President Donald Trump's reputation as America's "racist in chief." After tweeting a hateful diatribe about how four Democratic congresswomen of color should "go back" to where they came from, the President attempted to justify his racism with accusations that these members of Congress are anti-Israel. On Monday morning, he tweeted that these lawmakers "have made Israel feel abandoned by the U.S." and cited South Carolina Senator Lindsey Graham, who called them all "anti-America" and "anti-Semitic."

[...]And despite his feigning concern about anti-Semitism, nearly three-quarters of Jews feel less secure than they did two years ago and the majority of Jews attribute their rising insecurity to Trump's policies. More specifically, many are concerned about Trump encouraging right-wing extremism and Republicans tolerating white nationalism within their ranks. In fact, according to a March Gallup poll, more than 70% of Jews continue to disapprove of Trump and only 16% now identify as Republicans.

....then Biden supported a fucking genocide in the name of trying to establish a safe place for Jewish people. When we all know his interest is actually oil in the middle east.

There is no fucking way either of them or the USA cares about any Jewish people or had their best interest in mind.

So that entire argument aside....

We can't keep letting white supremacists play these identity politic games and turning us on each other so we're keeping each other oppressed instead of helping each other be free.

Right now there are white queer people in my asks calling me (an Ojibwe) a Russian psyop for not wanting to vote blue.

That's the shit I'm talking about.

At the end of the day I don't want anyone except white supremacy and white supremacists to be decimated. I want a liberated and free people all over the globe.

Is that what you want too?

Then we have got to start focusing on the big picture. You are not my enemy and I am not yours. Our enemies are the same and they are unified.

We should be too.

International solidarity against white supremacy for the first time, for forever.

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em-dash-press · 10 months

Text

Everything Creative Writers Should Know About Symbolism

Literary devices make stories more enjoyable. They take a simple concept and make it compelling. Symbolism is one of those devices, but sometimes new writers don’t know how to use it purposefully. It’s easy to take credit when readers assume something had more meaning when we didn’t really write it that way for any specific reason.

This is everything you should know about symbolism so you can plan your literary devices with confidence.

What Is Symbolism?

Symbolism is the act of using one thing to represent another thing. It often sets or reaffirms the tone of a scene. Symbols can also act as foreshadowing.

Most often, writers use symbolism to thread their theme through a plot. It makes it easier to tell how a theme is influencing or being shown in a scene.

Types of Symbolism

Colors

Writers use colors to apply meaning to scenes or characters because they’re easy to associate with emotions. It’s also a historical real-world use of symbolism. If you see a white flag, that symbolizes surrender. A movie featuring a woman in a red dress often symbolizes her sexuality.

Examples: yellow means caution, brown means grounded earthiness, and black means mourning.

Objects

Sometimes object symbolism is blunt or obvious. Other times, it’s subtle because the writer reveals the meaning of it later in the story.

In the Divergent series, Tris can’t look in a mirror because it’s of cultural significance in her faction. As a storytelling tool, it symbolizes her inability to recognize her own identity because she hasn’t had her coming-of-age experiences yet.

Examples: water means rebirth or creating life, an apple represents sin or someone up to no good, and a clock can mean change is coming (which is also foreshadowing).

Tips for Writing Symbolism

1. Understand Your Plot

You need to know where your story is going and what theme you’re writing about to effectively create symbols. If your protagonist sees a dove in the first chapter, it’s just a bird unless obtaining peace is a key component of your protagonist’s character arc later on.

2. Pick One Symbol

Stories filled with symbolism can come across as pretentious or too dense. It’s better to start with one symbol that connects at least two parts of your story or relates to your theme. Readers will get that intriguing chill down their spine if they recognize a hidden symbol rather than get reminded about it over and over again.

3. Remember to Use Foreshadowing

Symbols often foreshadow future plot events. These are also called omens. Your protagonist might break a mirror in the first chapter, which people often relate to the start of bad luck. Maybe a crow sits by them on a park bench because you want to symbolize a future death in your plot.

Foreshadowing can give your symbols meaning if you’re unsure how to connect them with your theme. It’s an easy way to practice creating symbols so you’re more comfortable with them in long-form stories and other uses.

-----

You don’t need some mystical storytelling skill to effectively write symbolism. Practice these tips and you’ll layer just enough symbolism into your stories to impress your readers.

#writeblr #writing advice #writing tips #writers of tumblr #creative writing #writing inspiration #writing community #writing #writing help #writing resources #symbolism #writing symbols #writing symbolism #general symbolism #symbols

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