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.
it is important for feminist-minded men to actively analyze their own presence, words, and actions to ensure that they are not making the women around them feel uncomfortable or unsafe
i never understand why non-white characters can’t just be described as fucking brown
they gotta be caramel, mocha, dark chocolatey, cocoa, whatever nonsense
can we start describing white characters with food terms too? “her milk-white arms.” “his light mayonaisse face.” “her hair was the color of dijon mustard.” yeah. sounds about right.
Singaporean documentary banned
At a time of ISIS and Ebola, the government of Singapore has found an unlikely threat to national security – a documentary by independent filmmaker Tan Pin Pin that includes interviews with former communists. Its decision today to ban her film, To Singapore With Love, is not just disproportionate. It is also an insult to Singaporeans, who are in effect being told that they are not smart enough to engage critically with Tan’s film, no matter how biased it may be, and to weigh what her interviewees claim against what the official history states.
The government says that the film is unfair to the good work done by security agencies in combating communism. But, surely that battle was important precisely because our emerging system of democratic government was at stake. We would honour those who defended Singapore against communist overthrow by living up to their faith in the young nation’s capacity to deal with ideological differences through open competition – not by grasping at commie-style censorship. Unfortunately, that irony in its latest move appears to be lost on the government.