If There Is Less Rape, Than There Is Less Prosecution Of Rapists.

If there is less rape, than there is less prosecution of rapists.

Or, you could just be honest and say you don't want less rape, but less accountability for making poor life choices.

“If owning a gun and knowing how to use it worked, the military would be the safest place for a woman. It’s not. If women covering up their bodies worked, Afghanistan would have a lower rate of sexual assault than Polynesia. It doesn’t. If not drinking alcohol worked, children would not be raped. They are. If your advice to a woman to avoid rape is to be the most modestly dressed, soberest and first to go home, you may as well add “so the rapist will choose someone else”. If your response to hearing a woman has been raped is “she didn’t have to go to that bar/nightclub/party” you are saying that you want bars, nightclubs and parties to have no women in them. Unless you want the women to show up, but wear kaftans and drink orange juice. Good luck selling either of those options to your friends. Or you could just be honest and say that you don’t want less rape, you want (even) less prosecution of rapists.”

— A Short Post on Rape Prevention (via brute-reason)

RWBY's characters are friggin hard to write properly

"People who make RWBY rewrites will never know the effort CRWBY goes through to make RWBY, they just say their work is better"

Rewriters, with 0 funding, 0 studio backing and niche fan support:

How do I write Ruby as a nuanced long-term protagonist who struggles with trying to carry on someone else's legacy (Summer) while becoming her own person as one of the youngest people in the cast? Between Ozpin cementing her Hunter career and Summer's death, how does she know how much of her dreams and goals are truly her own, and how much will her morals be tested as she finds out the actual sacrifices and difficult choices she will have to make as a Hunter, which goes far beyond her initial idealistic idea of Hunters as infallible heroes who are always on the right side?

How do I write Weiss' struggle and deal with the fact that Jacques is underwhelming as her personal antagonist, with his motivations as a businessman seemingly entirely divorced from Weiss' own goals of becoming a Hunter, and thus her own goals of becoming a Hunter runs contrary to the kind of journey she needs to become the SDC's heiress? How do I best convey her loneliness and her presentation between the trailer and the show, where her inner life is sullen and contemplative, but her outer personality manifests in being overly abrasive and competitive? How do I portray her struggling with her racist views while not making her an outright unlikeable lead, giving her moral journey the nuance it deserves and not just sweeping it under the rug and have her simply undergo a change of heart on a dime?

How do I write Blake, which means by extension I need to properly write the entirety of the White Fang? How should I contextualise her relationship with Adam, her undercover identity with Beacon and her conflict between wanting peace and coexistence vs. standing up for the right thing, as someone who is part of a disenfranchised people yet is now working for a majority human organisation and Kingdom? How do I write her as a Faunus and show her unique struggle as one in this fantasy world that seems familiar and relatable, but also believable for a people whose animal features grant them wildly more disparate biological differences from humans beyond just skin colour, even many of them being outright advantages over humans, thus not making them a straightforward 1-to-1 allegory for race in our world?

How do I write Yang, someone whose entire character rides a very delicate balance between a family-oriented, sentimental and protective sister and surrogate mother figure; and a thrill-seeking, reckless person willingly throwing herself into danger out of a distinct lack of purpose and concern for her own life, due to never having a proper childhood and growing up too early, so every day is spent like she's a brilliant star that's looking for every opportunity to burn herself out for the sake of others or giving her life some sense of purpose?

How do I write Jaune, who is infamously known for how much screentime he steals from the main cast, so I have to trim everything surrounding him to facilitate the main girls' development, while still giving him the same amount of substance fans come to expect from him due to his disproportionately large amount of prominence and screentime for the past 10 years? How do I rework his role as an audience surrogate and have him be inexperienced but also not inconsistently ignorant (like not knowing what Aura is despite being from a family of Hunters), knowing that after he's done learning, he still needs an actual characterisation to fall back on?

How do I write Ren and Nora, knowing that they've been treated as a 2-in-1 package from the start? How do I make them more distinct characters, knowing I may need to expand on them further down the line, but also making sure they fulfill their roles as supporting characters without taking too much time away from the main cast? What sort of traits do I give them that makes them more distinct from each other, while selling to the audience that they've known each other forever, making them believable as childhood partners while also being their own people with tangible personal lives beyond each other's company?

How do I write Pyrrha, someone who only got proper characterisation in the second half of the same Volume she dies, and properly pace it throughout the story, while also making sure she properly stands as her own person and not just a vehicle devoted for Jaune's development to the detriment of her relationships with everyone else, including her other teammates? How do I portray her complex inner turmoil, where she's torn between her destiny of becoming someone great after showing great promise and talent since a young age, but also seeks a normal, fulfilling life forming connections with people she can view as equals and not from atop a pedestal? How do I deal with her immensely polarising death, knowing that if I do so, I would be trading a great amount of potential for growth and unexplored avenues for her character in exchange for a story-defining loss that singlehandedly changed the story moving forward?

How do I write Penny, someone whose newfound humanity poses far-reaching questions for the nature of Aura and the soul in Remnant, whose friendship with Ruby needs to be given proper devotion and time to really sell their friendship, given she occupies a pretty notable role as Ruby's best friend who isn't from her team or JNPR, or even really associated with Beacon? How do I handle her death and possible return, knowing that her soul's malleable nature could lead to any number of possible ways she can come back to life, but not as herself - showing that while she may be, in a sense, immortal, there is still always a price to pay for reviving her; because simply bringing her back with no repercussions feels dramatically unsatisfying and cheapens the power and impact of her first death?

How do I write Ozpin, one of the most divisive and enigmatic figures in the show, whose fan perception of him ranges from "well-intentioned tragic hero" to "morally grey immortal pragmatist" to "manipulative head of shadow government"? How do I satisfyingly convey the extent of his powers and wisdom, as well as the moral mire of his actions, knowing I have to push and pull the view of the audience towards him - and by extension the views of Ruby and the other heroes - starting as a fairly trustworthy if shady mentor, slowly unraveling his past and calling him into question, and how that would divide the allegiances of the cast?

How do I write Raven, another mysterious figure who left her daughter and family behind for equally mysterious reasons? What could reasonably cause someone like her, a battle-hardened warrior and formerly a hero, to abandon her daughter? Why does her Semblance seem to contradict this, allowing her to instantly reach people she cares for, showing she may actually have cared all along, but was forced to distance herself for some reason?

How do I write Cinder, a widely-disliked villain who many consider to overstay her welcome and has a uninteresting personality, and considered one of the least compelling antagonists in the show, despite being one of the most prominent ones? What could I do to improve her place in the series to make her a more compelling villain, while still maintaining her more substantial traits, like how she seeks power and control, and uses a mix of intimidation and cunning to strip power away from Ozpin, while coordinating large-scale plans involving multiple accomplices and complex Semblances?

How do I write Adam, a character who elicits some of the most impassioned reactions from any side of the fandom, knowing that he is an oppressed Faunus in a group fighting to keep their own place in a world that violently wants to keep them down? How do I fairly represent him and the White Fang as a faction that causes large-scale conflict in Remnant and the plot, knowing I have to grapple with the uncomfortable situation that our heroes are fighting possibly the only group on Remnant willing to fight for the rights of the Faunus? Is it worth maintaining their canon portrayal as a once noble group with corrupted ideals (knowing the canon show's horrible history of villainising disenfranchised people in favour of an unjust but comfortable status quo) or should the portrayal of this group evolve to meet a better standard that better represents people opposing such blatant inequality and discrimination?

How do I weigh the options between keeping or removing Oscar, a character who is popular but also criticised for being an extraneous protagonist-type character, and do this knowing he is polarising enough that I would make one half of the fandom unhappy no matter what I choose - those who love Oscar and his inclusion in the show and the moral conflict he presents, as well as being a sort of moral contrast to Ozpin, vs. those who feel he is narratively unnecessary and under normal circumstances, he has very little reason to exist in the story?

What do I do with Salem, a character whose presence determines the entire direction and stakes of the show, whose early introduction led to large periods of inaction and passivity that diminishes her impact and legitimacy as a villain?

How do I write Ironwood, a greatly divisive character who some view as a misunderstood hero and potential ally who was turned into an unapologetic villain only through a mishandled narrative, while others view as an inevitable antagonist who was always destined to come to blows with the heroes? How do I balance his role as a strong but unstable ally of Ozpin, who is an open book who is quick to action while Ozpin is secretive and slow to act, and portray this uneasy tension well up until the Fall of Beacon, past Ozpin's death and all the way till Ironwood's tipping point in the fight against Salem and the Grimm?

And so on and so forth for every other character - not even including the setting and overarching plot.

We may have 20/20 hindsight by working with an existing work, but we also have to use every ounce of that hindsight to work with whatever shit that RWBY makes up - which is a far more herculean task than many give it credit for.

Our benefit of hindsight is countered by canon RWBY's benefit of foresight and the responsibility to create a cohesive narrative with the characters and setting they have. Our job is hardly easier; creation of any sort is a hard endeavour - it's just hard in a different way than making something from scratch. One is the freedom of a writer to create something new and then seeing it through; the other is the editor who must correct for mistakes and properly respect and best enhance the work that is on their table.

People who dismiss RWBY rewrites and fanfiction like to think RWBY is this perfectly tended garden, and we're just harmful pests coming to strip and infest it for no discernible reason, when the reality is closer to RWBY being a buggy, rushed game with exploitative monetization and near game-breaking glitches, and we are players and modders simultaneously trying clean up the mess it left behind and hash it together into something less prone to failure.

No one is denying that a lot of effort and work went into the game. Doesn't mean that the game isn't a buggy product on release and its creators could have done so, so much better. The recent Pokemon S&V game is a perfect example of how a piece of media can have a lot of fun things to enjoy and is widely-liked with a lot of great content - and also be intensely broken and criminally underdelivered, given the resources and underlying value of the property the company has access to.

Brothers and Sisters in 'Catchers in the Rye'.

I miss when library books used to have little paper pockets inside with a list of all the people who borrowed it and when... I hate that this is now exclusive knowledge of librarians. I do care that a miss Mariana borrowed this book in 1985 and then Dario in 1997. They're my brothers and sisters

What's the reason the film is superior to the actual comic in your opinion?

The Comic feels like Alan Moore slamming the reader for liking Victorian Era literature or having any semblance of affection for the era the stories reflect and represent. Alan Moore then goes on to crap about modern literature, and all that loathing and self-hate is topped with a generous helping of deliberately ugly art, and torrid sex scenes, that are just a tasteless comic-panel rant about his views on British literature across the ages.

The comic's characters also feel like Alan Moore deliberately twisted them to reflect his own, snake god cult views and base desires, instead of an adaptation that reflects the source material these characters came from. The Invisible Man is, perhaps, the most accurate to his source material. But Alan Moore probably did not need to think very hard.

The movie is Penny Dreadful Avengers, but at its core, it is heroic. All the heroes are in some way bound by horror, but they are still good people who try to deal with the blight they are afflicted by. The good guys embrace their horror traits with a dignity that makes you respect their decisions. The bad guys are so twisted by the horror traits that they have lost all humanity and their actions are driven by that lack of humanity.

There is also a very poignant story arc about the passing of the torch from one empire to the next, which, while probably not historically accurate, is still touching and allows the film to end on a hopeful note. Which I think reflects the Victorian Era to some degree: hope that there can be something better at the end of all the bullshit everyone had to shovel through back then.

Alan Moore's comic is just a mess of hatred and loathing that he is inflicting on the reader. The movie sends a message of encouragement to the audience that there is good even in darkness, and one should not act like a monster though life may force the traits of a monster upon you.

The movie genuinely makes one feel good about yourself and life in general. That is why IMO the movie is superior to the comic.

Cute

So this woman offers 4D pregnancy ultrasounds and made this post. No mention of abortion.

But of course pro choicers are absolutely losing their minds.

In the comments harassing anyone who makes a positive statement, harassing anyone who says they are interested in a 4D ultrasound, making brutal dehumanizing comments, and of course calling it fake. One person calling it fake had a “combat misinformation” profile picture. You can’t make this stuff up.

This embryo doesn’t even have features, doesn’t even look like a baby, and they are STILL mad that it even exists. They are just mad that it’s not a microscopic zygote.

Keep in mind that the woman who is pregnant with this embryo obviously wants to carry to term, a choice you’d assume pro choicers would support.

Anyway, reblog to make a pro abort seethe that fetuses exist!!