JohnTrent Wrote:Lutras Wrote:Has anyone else noticed how FTMs seem to have their own version of the MTF's lain aesthetic but for calart-style media? Like Steven Universe?
There are interesting tendencies to be found among FTMs, all of whom possess a psychological profile compared to MTFs (who could have guessed that???) and with that their own aesthetic tastes. From my limited observations, what you mention about the CalArt style is true, alongside a range of passive-to-active interest in certain male characters. I italicize this because one can produce another version of this thread just by analyzing which male characters garner the attention of FtMs. It also has some relation to what's already been discovered here about art by women. As Anthony mentioned:
Quote:Stuff like Andy and Leyley is them approaching their less disrupted ideal where they're still weird and retarded, but it comes out interesting and extreme. Like when japanese women do pop-art. Every other woman who draws in Japan seems to be into drawing boys cutting each other up with knives or something. And that's fine. It's real to them. It's what's actually going on in their heads. So it's really interesting. And from what i hear 2000s white girl internet was basically that too. If there were no cultural subversion insanity going on they might have created their own shoujo manga (or guro shotacon doujin) scenes and industries by now.
One can find that the FTM has a preference towards this version of boys: the image of the boy is accompanied with a reserved display of violence (cutting themselves up, which is fairly different from a depiction of one-sided violence like homicide), something affected for the pleasure of the observer. That the FTM can have a combined taste for this and for CalArts animation has a lot to do with what sites they browse, the obvious one being Tumblr. FTMs, by and large, have virtually the same manner of emotional expression as they did before their transition, so their aesthetic orientation is mostly unchanged on that note. The only real difference is that they have personal reasons to focus on the male figure, either for erotic purposes or as a means to confirm their own FTM fantasy.
Speaking on the latter sense: just as many MTFs want to be a "girl" and not necessarily a "woman", the MTF has a preferential stance on being a "boy". Stephen Universe is bait for FTMs since the character is prepubescent, fulfilling the criteria of being male but not "masculine". There isn't anything offensive about the character, nothing that would make them feel uncomfortable about manhood. If they felt driven to reach such conclusions about men, they would be radfems instead or a rare frankenstein's monster combination of the two. For all intents and purposes, their positive vision of regular men is built around present-day Norwooded iterations: they might not identify with this but they can appreciate the spiritually defeated muscular man (recent God of War games).
I think Lutras is right to home in on the "calarts" stuff. Cartoons of the 2010s we might say. Big, rounded, soft, retarded things. Reality rendered into this retarded simulacra of a wholesome lovable child's symbol-drawings. But FtM's and Fujos don't overlap perfectly. Particularly the FtMs
*do not like violence*. They're fujobrains who want to live the simulacra rather than play with it. Let me get you a couple of visual references.
This is Omocat, the creator of Omori. She is a westernised asian girl. And Omori was her baby. A pre-gamergate western fujo work about cute boys who cut each other up with knives in an idealised child-mindscape world as imagined by an adult. I link this video of her drawing pokemon because I want you to note this style that she can effortlessly pull off. She can draw in a way which registers as
childish. But it's not how children draw.
I imagine that if we were to ask her she would not pretend that this is how she sees the world, or that it's a reflection of who she is. She would probably say that she thinks it's
"cute".
There may be something kind of innately
perverted about this. Creating and enjoying these revised fantasies of a child's mind twisted to suit the preferences of adults who hold
some kind of fascination with children. But what I'll say for Omocat (and generally all oriental attempts at doing this), it's cute when she does it. Her idea of child art is big eyed wobbly crayon drawings of cute animals.
I have to point out now that the very successful shota hentai game 'Summer Memories' basically does this to the
anime style for its look. Anime women with rough crayon edges, slight,
childish exaggerations to form. And then within the game there are crayon drawings which are like this phenomena squared (to the point of looking like Omocat's pokemon).
I am suggesting that there is something innately perverted about an adult wanting to simulate a child's mindscape, bent towards their own preferences. There are Japanese works which feel no need to play around this and just go all in on big eyed shotas cutting each other and getting molested by insane older women. And there are cases that are more
sly about this. Omocat is
sly, but also I think she is a genuinely sublimated character. She's
into this stuff, but works through it in a way that's nice and pretty and gives people something nice to enjoy and doesn't cross any lines that really upset anybody (again, pre-gamergate. She was probably lucky she started so early).
She likes pain and distress. There's a kind of charming purity to children in her work. But this is played into extremity. The
childishness gives the pain weight. The child's world is purer
and stronger. It's not a mental retreat. She is not an escapist. The fascination with children is going in the opposite direction. This childish world is more painful than her own one. You know, I just realised who else is relevant.
Unstoppable and eternal. Possibly the most important pop-artist alive.
Omocat is sort of like a female and westernised Tsukushi.
My point so far, in case I'm wandering a bit and losing any of you, is that certain finely strung people can develop a fascination with an adult's idea of the childish. In my reading of this, the superior way to take this is the oriental one. An association between children and a fineness of character, cuteness of form, idealism and purity, and from there a compelling experience of a real and scary and
adult world. This is how I would characterise the work of Omocat, Tsukushi, and yes, the lower, more perverted fascination with shota and loli in the orient I believe are a manifestation of the same tendency. Perhaps you find these things distasteful, but I think there is a case to be made that you need to be a certain kind of idealist to be interested in them.
Now, if I'm referring to the orient in something, that means I see another side to it. I believe I said that there is an imperfect overlap between the sensibilities of fujos and FtMs. This divergence is a pretty neat example of the oriental/western split in perception and preference as I see them.
In the west we have lots of media that deals with an adult's idea of the childish. But how this manifests is very different to the oriental works I describe above. There is a fascination with traits seen as
childish, and in addition to that
a class of experiences seen as childish. Which manifests one one hand in simple grotesquerie made by adults ostensibly for children, which needed heavy top-down forcing at all times and died as soon as the internet opened the doors to
the orient (this is what I mean by NAMBLAcore. The fascination with feet, slime, ketchup, dressing and acting like a retard, Dan Schneider stuff, basically the opposite of where Tsukushi takes a fascination with children, which is a belief that they are nicer and purer and worthy of higher experiences of the world). That's one half, and on the other we have
filed down reality. Where there's an idealised view of children in the minds of adults who are gigantic stunted weirdos (or making stuff for them). Reality with the edges filed off and made
kid-safe. On this end I think
Warrior Cats. A fascinating series of novels I only learned about recently, written by a team of women who were able to intelligently read the cultural room and produce
kiddy narrative epics about heroic personalities having strong relationships and engaging in high stakes living, but with the extremity removed. The world toned
down rather than up.
But of course this is backward to what people actually want. The audience of Warrior Cats I assume is the ten year old Omocat's of the world and girls like that who never quite grew up and found their edges again. Never
quite, but why Warrior Cats was brought to my attention, there is basically a kind of cold war within its fanbase between girls who want to accelerate and intensify until this stuff reads like Made in Abyss and older women who want to keep things in the spiritual playpen forever.
This side of western
childish media is what's relevant to the issue at hand, which is tranny sociology in case you've forgotten (I often worry I wander too far when writing). What are the sensibilities of FtMs? Well I hope you can agree with me first that their taste is
childish. And from there, why all of the above was necessary, which childish? Well,
we can look at what they're making, then you can probably tell me.
"Yeah bro, can you even handle my irreverence? Isn't Nimona just CRAZY?"
Pooners, are girls who are attracted to an idea of children as living in a softened reality. Specifically boys because in their minds they're less sexualised by the world, meaning their reality is even softer and less scary. Growing up as a girl I'm sure can be scary, so I sympathise and feel like I kind of get where this comes from. Boyhood as a kind of toy reality in which nobody
wants you in any kind of scary way and everything can be platonic and pure, which then leaves life open to radical and quirked out zany adventures of the Nimona kind. This is
escapism rather than upwardly oriented idealism, so naturally the
art suffers quite badly when approached from this angle compared to its opposite.
Not only do FtMs and Fujos not agree in taste, I would actually see they're moving in opposite directions. If they look like they can be paired together that's just because you identified a point where they passed each other. Omocat and ND Stevenson might have both read Warrior Cats, but one type of girl goes on to writes rapefics about its characters, while the other starts rallying fanmobs to force the authors to apologise for problematic depictions of relationship dynamics in past works.
I hope you can spot the differences now when looking at these things. And also appreciate what I mean when I talk about
childishness in media.