Hi I'm Dana, I mostly just tool around with friends, play RPGs, and listen to podcasts, but I've also been known to make podcasts at SuperIdols! RPG and I've written a couple of short rpgs at my itch page and on twitter.

💕@wordbending

This user is transgenderrific!



yrgirlkv
@yrgirlkv

today i thought to myself "i should listen to one or two tracks from the across the spider verse soundtrack for inspiration" and then just listened to the entire soundtrack straight through


yrgirlkv
@yrgirlkv

something idk if i've ever articulated publicly about this movie is that while gwen stacy's transness in it is obvious, her metaphorical coming-out scene does something really unique that i don't think i've seen in any other big-budget project: it puts most of the responsibility not on her but on her dad. i feel like i've seen so many stories where it's like "why would you keep this a secret from us, we're your parents, you should've trusted us" and the kid feels guilty, but when gwen finally has it out with her dad she says "you can see why i didn't want to tell you" and "i'm trying so hard to be good but it hurts to not be able to share who i am with you" and it's his fault. he's the one who failed by refusing to accept her, and he's the one who has to step up and decide his daughter is more valuable than his commitment to a job that could hurt her. that can show up sometimes in work we write ourselves but feels way rarer for anything that makes it onto a big screen!


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in reply to @yrgirlkv's post:

so this is very much also gwen's story in the comics... but it's wild to me that in these movies we get this here and lose it from miles.

because his whole relationship with his dad in the comics is... he loves him but is terrified of coming out because his dad is a bigot who hates mutants/mutates/people with powers.

This is to the point where, when his mom dies, her last words are:

Miles has always had one of the best storylines about being "closeted" and it's really weird seeing it kinda.. shifted onto another character?

he struggles with the question of whether to come out himself for a significant chunk of the movie; i don't think we "lose" anything. jeff's character has some of that superpower distrust in the first movie and eases up on it in a believable way, which works well for both his arc and his role in miles'; it's not that weird

I mean I think what is lost is the very real situation a lot of people deal with it not being "I don't know how they will take this" that Miles has in the films. And instead having situation of knowing a parent will hate them if they come out. That maybe they wont even be safe if they do.

Instead of the movies having Jeff be a bigot- he's instead a cop who doesn't like vigilantes. It really is a very different story to the one in the comics. I don't really think you can compare "he distrusts vigilantes, but after an initial misunderstanding they are willing to work together" with "when miles comes out to his dad, his dad leaves him"

it's not the same, agreed; i'm saying it's not a loss because i think that choice improved the plot and character arcs of the movies compared to the comics (which didn't execute on most of miles' early story very well, imo)

that's fair. and i'm sorry if i came across as argumentative, it's just always a story beat that was important to me specifically.

but a thing that does bear thinking about with comic adaptations specifically is that they are continuing so when a movie hits, it is affected by the movie's changes. so uncle aaron gets brought back and the relationship is immediately softened, etc. and i think that's something specific to this medium and its adaptations that bears thinking about lest i suffer through comic star-lord being turned into funnyman chris pratt for a decade until ewing got the character back on track.