The problem here is that these squealing man-children, so desperate to keep women out of their precious games, want it both ways. They want gaming to be taken seriously as a culture and art form, while at the same time throwing an unbelievable tantrum when subjected to serious criticism. This is ludicrous and immature on so many levels. Gaming isn’t for you, anymore. Gaming is for everyone. Everyone gets to have their say, to make their criticism, and gaming doesn’t need you to defend it.
The only thing left for these people to do is put their toys back in the pram and huddle together as the tide rises against them, until they wake up in five year’s time and realise that Assassin’s Creed 7 was actually a pretty good game, even though they had to waste three precious seconds flicking the gender over to ‘male’ on the character creation screen so they can feel comfortable again. Change is inevitable, especially when half of the freaking gamers in the country are women and actually want to play some games that don’t treat them like disposable trash.
So, here’s another change for you: if you really think feminism, or women, are destroying games, or that LGBT people and LGBT relationships have no place in games, or that games in any way belong to you or are “under attack” from political correctness or “social justice warriors”: please leave this website. I don’t want your clicks, I don’t want your hits, I don’t want your traffic. Leave now and please don’t come back.
“Listen to me, your body is not a temple. Temples can be destroyed and desecrated. Your body is a forest—thick canopies of maple trees and sweet scented wildflowers sprouting in the under wood. You will grow back, over and over, no matter how badly you are devastated.”—Beau Taplin (via naked-yogi)
“Commander Vimes didn’t like the phrase ‘The innocent have nothing to fear’, believing the innocent had everything to fear, mostly from the guilty but in the longer term even more from those who say things like ‘The innocent have nothing to fear’.”—Terry Pratchett (via beornwulf)
“This dominant narrative surrounding the inevitability of female objectification and victimhood is so powerful that it not only defines our concepts of reality but it even sets the parameters for how we think about entirely fictional worlds, even those taking place in the realms of fantasy and science fiction. It’s so normalized that when these elements are critiqued, the knee-jerk response I hear most often is that if these stories did not include the exploitation of women, then the game worlds would feel too “unrealistic” or “not historically accurate”. What does it say about our culture when games routinely bend or break the laws of physics and no one bats an eye? When dragons, ogres and magic are inserted into historically influenced settings without objection. We are perfectly willing to suspend our disbelief when it comes to multiple lives, superpowers, health regeneration and the ability to carry dozens of weapons and items in a massive invisible backpack. But somehow the idea of a world without sexual violence and exploitation is deemed too strange and too bizarre to be believable.”—
And even more telling. When people (guys) complain about ‘realism’ in games or movies, they are not really talking about literal realism. That’s not what they mean. The word they are reaching for is verisimilitude - in other words: that which breaks the illusion.
When we say of a piece of fiction that contains dragons, flying suits of armor, or aliens that it is ‘realistic’, what we really mean is that it feels real - that the characters reactions, the world built around the fantastical elements and how the non-fantastical elements interact with them seems “true” to us. We look at it and nod and say to ourselves inside “Yes, that is how someone would react to seeing a giant monster” or “Yes, that seems like how society would react to an alien invasion” - the world around the made-up stuff is carefully designed and seems thought-out enough that we buy it emotionally, even if we know that logically it is nonsense.
So when someone complains that a medieval fantasy world does not feel “realistic” without the ugly oppression, dehumanization, and violation of women as a standard background element, what they are saying is that those details feel right to them. That the world, without that misogyny, is not emotionally satisfying. They are saying they need that there for the world to make sense.
I just don’t understand where this concept of ‘fake geek girls’ came from. Like, AT ALL.
Cus when I look for fandom related stuff like 90% of the fan art and the fanfiction and the meta, zines, comics, etc. Like 90% of the shit that I’ve seen is created by women & girls.
And all that stuff take’s a lot of work and research and critical analysis and staring at reference photos for hours.
We are literally the most well versed and invested group in the fandom. So, like, What the fuck boys? You mad you can’t keep up?
I saw an argument, and I can’t find it now, but it totally made sense, that there’s a gender split in fandom. Male fandom tends to be a curator fandom; male fandom collects, organizes, and memorizes facts and figures. Male fandom tends to be KEEPERS of the canon; the fandom places great weight on those who have the biggest collection, the deepest knowledge of obscure subjects, the first appearances, creators, character interactions.
Female fandom is creative. Females create fanart, cosplay, fanwritings. Female fandom ALTERS canon, for the simple reason that canon does not serve female fandom. In order for it to fit the ‘outsider’ (female, queer, POC), the canon must be attacked and rebuilt, and that takes creation.
"Male" fandom devalues this contribution to fandom, because it is not the ‘right’ kind of fandom. "Girls only cosplay for attention, they’re not REAL fans!" "Fanfiction is full of stupid Mary Sues, girls only do it so they can make out with the main character!" "I, a male artist, have done this pin-up work and can put it in my portfolio! You, a female artist, have drawn stupid fanart, and it’s not appropriate to use as a professional reference!"
In the mind of people who decry the ‘fake geek girl,’ this fandom is not as worthy. It damages, or in their mind, destroys the canon. What is the point of memorizing every possible romantic entanglement of heterosexual white Danny Rand if someone turns around and creates a fanwork depicting him as a bisexual female of Asian descent (thus subverting Rand’s creepy ‘white savior’ origins)? When Danny Rand becomes Dani Rand, their power is lessened. What is important to them ceases to be the focus of the discussion. Creation and curatorship can work in tandom, but typically, in fandom, they are on opposite poles.
This is not to say that there aren’t brilliant male cosplayers or smashing female trivia experts, this is to say that the need of the individual fan is met with opposing concepts: In order for me to find myself in comics, I need to make that space for myself, and that is a creative force. Het white cis males are more likely to do anything possible to defend and preserve the canon because the canon is built to cater to them.
This is genuinely the best post I have ever read.
Comment bolded by me because effing important that’s why.
Japanese Girl is one of the most accomplished, fascinatingly hard to classify debuts I’ve heard. Avant-garde, folk, jazz, pop, reggae - just a few of the terms thrown at this album. A child piano prodigy, Akiko’s burgeoning career drove her out of high school to write this and her followup at age 19.
Nearly every track is a classic (the not even 3-minute “Denwasen” is considered a masterpiece) - with rhythmic complexity that baffled her more experienced backing band, Little Feat, and continues to surprise listeners even today. Strings enshroud songs like “Hekoriputaa” in mystique, sometimes disorienting in their surprise timing and intimacy (“Futa”, a woefully short song named after her child). The LP “was influenced by Japanese traditional music,” she says. “There’s a tendency to contain everything you’ve learned [on a debut]. That record had everything.”
The bizarre yet seamlessly interwoven mix of elements signifies how her career would continue to evolve. This uproarious song was the end of the album, but the start of many anthems she would create relentlessly, bending genres and collaborating with some of the biggest names in each of them (most significantly YMO), while remaining relatively unknown internationally herself.
I just went back through over 150 pages in my likes because I had an urge to listen to this. It really sticks with you.
Where do I acquire all of this.
This blows my mind. There’s an aspect of this that reminds me somewhat of Geinoh Yamashirogumi, especially incorporating the Shinto chants, but this is definitely powerful stuff.
But even aside from questions of intersectionality, asexuality and feminism have a lot of things to contribute to one another. For instance, asexuals inherently challenge gender roles by not living up to heteronormative ideals of femininity and masculinity. Asexual men in particular challenge the patriarchal ideal of men being obsessed with sex however they can get it, and romantic asexual men take this a step farther by rejecting the patriarchal idea that men put up with romance only to get sex out of it.
Then there’s rape culture. Asexual women in particular benefit from feminism and concepts like “no means no” because the concept of frigidity combined with the perception that sex isn’t a thing for women to begin with is particularly likely to pressure asexual women into having sex that they don’t necessarily want to begin with. The narratives surrounding men who might not want to have sex are even worse, however—asexual men may feel particularly confused by cultural conditioning that men are up for sex at any time and be just as likely to be pressured into unwanted sex.
Feminism also benefits from the asexuality movement simply by acknowledging asexual perspectives in feminist thought. For instance, it is entirely possible when considering asexuals to have a person who is sex-positive in theory, when considering the needs of other people, and yet completely personally disgusted by the idea of sex as it relates to them. The problem with some current mainstream feminism views on sex is that often they forget that not all people do have sexual desires, that the problems surrounding sex in this culture can’t all be solved by getting everyone in tune with their sexual selves, and that a person can be repulsed without being repressed. Asexuals serve to remind social thinkers that people are more and less comfortable with sex, and that this is okay.
“For the last three decades many Americans have puzzled over a system that gives an R to a movie in which a women is carved up by a chainsaw and an NC-17 to one that shows a woman sexually pleasured. From such ratings one might conclude that sexual violence against women is OK for American teenagers to see, but that they must be 18 to see consensual sex. What message does this send to the kids the MPAA presumably means to protect?”—
“You have to question a cinematic culture which preaches artistic expression, and yet would support a decision that is clearly a product of a patriarchy-dominant society, which tries to control how women are depicted on screen. The MPAA is okay supporting scenes that portray women in scenarios of sexual torture and violence for entertainment purposes, but they are trying to force us to look away from a scene that shows a woman in a sexual scenario which is both complicit and complex. It’s misogynistic in nature to try and control a woman’s sexual presentation of self. I consider this an issue that is bigger than this film.”
-Ryan Gosling on the controversy around the rating of his film ‘Blue Valentine’
okay so everyone’s making “steve rogers freaks out the media with his rampant progressivism” posts but
bruce banner, who has lived in poverty, who has been an undocumented worker, who has seen what happens in sweatshops in india and greenhouses in colombia, fighting to dismantle capitalism and take down the exploitive conditions that come with it
bruce banner, who isn’t doing anything with the massive salary tony pays him for “R&D work” (actually just him and tony in the lab but, hey, tony likes giving people stuff even if they don’t particularly want or need it) so he spends it all on a fund for abused children and personally hires lawyers and therapists for them because maybe he can’t have kids of his own but he can make damn sure that no one goes through what he went through
bruce banner, who fights against climate change and fracking and tapping national parks for resources, and tony ends up making a whole campaign around it called “go green with hulk” which bruce gets very annoyed by but “it tested well with focus groups, jolly green” so it goes through anyway and becomes massively popular
bruce going a little green around the pupils if someone so much as breathes the word “autism” and “vaccine” in the same sentence (and more than a little green if they insinuate that having an autistic child is a bad thing)
bruce fighting for universal health care
bruce working to destigmatize mental illness
bruce hulking out on the set of fox & friends (which predictably becomes a meme)
bruce. fucking. banner.
bless you BB
BB standing for both bemusedlybespectacled AND Bruce Banner