redshoesnblueskies: no-im-a-fucking-unicorn:not-so-secret-nerd:youkaiyume:fadagaski:mad-max-war-girl…

Tuesday, October 27th, 2015






















I’m gonna figure out who’s the old person of the fandom
Its my self imposed quest of discovery

Dude I’m curious too! How old are all you guys?


I think I’m somewhere in the middle. I’ll be 28 in December.

I know I’m not the oldest one here but at 33 in March, I’m certainly not the youngest. :P

((21! 22 on December 10th. c: ))

21, 22 in December (30th). Hey there age birth month buddy.

21, 22 in November (13th)


41.  42 in two weeks.  

22 in January

Turning 21 in January! 

25 in May

31. 32 in Sep

historic is 20

19 … I’m a fetus omg





You think you’re a fetus? 13

Unicorn, I think it’s lookin’ like you’re the youngest :D

54 in March.

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redshoesnblueskies: bonehandledknife: redshoesnblueskies: flamethrowing-hurdy-gurdy: Going back…

Monday, July 13th, 2015





Going back to that conversation about what fandom focuses on, I don’t ‘forget’ about the Vuvalini. I just have less to say. Less cohesive thoughts. And as part of a community my behaviour can be interpreted as a symptom of misogyny (for example), but I’m an individual first and foremost, someone who is not obligated to give equal attention to characters from a work of fiction. Someone who has their own complex reasons for being more attracted to one part of a story than another (and please, I am not using ‘attracted’ in the sensual sense thanks very much).

It’s a hard issue, though. Why shouldn’t we be critical of a fandom? But then again, when are we missing the mark, when does criticism become policing and guilt-tripping? 

I prefer to listen to others talk about the Vuvalini because their input is more interesting than mine could be. Mostly because I don’t find them as inspiring. This is a personal, subjective feeling, and thus obviously flawed in its universal appeal, because it’s only supposed to make sense to ME.

 I’ve talked about the Wives plenty, and I’ve always been critical of the War Boys, since, you know, they are cruel and murderous assholes, and that’s not cute. Even if the movie did make the wild suicidal abandon and violence of the War Boys one of its selling points, and Nux was engineered to break hearts.

See, I’m already trying to explain myself, when, really, I shouldn’t have to. 

(either way it’s good this conversation is happening, even if it’s uncomfortable. I just kinda wanna come out on the other side with my head still on)

(er, gurdy this went off in an ice-cream driven direction of un-rant. if you’d like I’ll take it out and put it in its own post…but it seems relevant to leave it here if you’re okay with that :)

I’ll throw in my 2 cents here, since to throw them in elsewhere seems confrontational and I have no interest in that.  My sense of the Vuvulini is that they are complete in themselves.  They have a wholeness that is intrinsic to they way their story is told – both the women themselves and the culture.  They don’t need my help becoming complete.  They don’t need my help with backstory.  They don’t need my help with identity.  In my mind, they are a climax culture.  Coming from me this is a deep compliment, since I only fic stories that are, in my own perception, incomplete, flawed or psychologically inaccurate.

Incidentally, I don’t feel the need to fanfic Fury Road as a whole for the same reason.

As to the larger fandom tendency to wax both poetic and hilarious on the subject of the warboys, I think there are a bunch of reasons for that.  They are flawed, they are wounded, they represent an enormous potential for change and growth. All of these things make them fascinating subjects for further story telling.  They are young and sexy – this makes them fun to cap and gif and draw and fantasize about.  They are male, and lets face it most fandom running loose on tumblr is attracted to men.

And on a deeper level, I think a deep reason slash works so well is the novelty of exploring the seldom seen emotional side of men, vulnerable side of men, emotional range of men.  I think this is an issue beyond the problematic fact of so few women in media to play with in fic  I think slash fic is a consistent form of story telling because it’s a chance to represent the healing of men – a return of men, one way or another, to a more whole state of being by imbuing them with a range of emotion and intention and action that they never would receive in conventional story telling.

I believe slash is an enduring story telling form because it is the place where we imagine what men could be outside the influence of misogyny.  As a mother to sons, I can tell you for certain, imagining men free of the damage of misogyny is a feminist act.

Sure it also means we can imagine the objects of our interest in endlessly sexual escapades – but why are their escapades interesting?  Because they are much more fully realized as human acts rather than over-hyped acts of masculinity.  And that is a feminist point of view, too.

Is the erasure of women in representation the product of misogyny?  Abso-fucking-lutely.  Is the ongoing obsession of fans with writing m/m slash a product of misogyny?  It’s fucking not.  To levy that judgement on all the fans who love reading and writing m/m slashfic is toxic and unacceptable.

I do not accept it – not for myself and not for my fellow fans.

This is me, this is my perception, and this is not a judgement on the conversation as a whole.

But I mean, broken is what drama is. 

The space of art is in that space between the finger of God and Adam. It’s the spark of life, it’s creation, it’s choice. It’s a lack thereof.

You don’t story perfection, you don’t create dramas out of perfect relationships unless you’re pitting this relationship against an imperfect world and watching how that relationship survives against it. I’ve written about this elsewhere but I’m kinda too tired and heartsore to find the link, but I can’t create characters without a hook into how they fight/work out differences amongst their team. You don’t individualize as a child, as a teen, as a person until you define what makes you different from your family/peer group and I find it sad how the narrative didn’t take that extra step with the Vuvalini to make them people.

And I get why they didn’t, is the worst part. They almost can’t. They’re strapped in by the constraint of it being a non-misogynistic story because one of the worst parts of toxic masculinity is how it sets women against each other.

And that frustrates me as a writer to hell and back because I can’t get there. I don’t know what these women are like. I don’t know what their arguments are like. My own relationship with older female family is tense at best and toxic at the worst of times, which is sort of a massive sort of. Frustration? because it’s seriously giving me writer’s block on certain stalled fic. among other things.

Frankly. It’s easy for me to write joyful angry violent suicidal war boys. 

You write what you know.

  • Though they have long since resigned themselves to it, it’s clearly a sore spot that they have to kill every man they see out in the Wasteland.  For their own safety.  And yet they didn’t become ‘many mothers’ without enjoying the presence of men in their community, so they are not man-hating, yk?  They are women-celebrating, women-protecting.  As a possible point to grab onto them as people, that might be a place to start :)  How did a group of women devoted to life…come to decide they had to deal out death to all comers?  What did they have to go through, what parts of their souls did they have to crush?

    Regarding their on-screen story, I guess they look natural to me in their quiet non-verbal settled-ness because I have known and had good relationships with older women and found them to be similar.  I’m sure that’s not always the case, but it was for me.  They didn’t talk about their struggles, how they worked hard to become the women they were, what the culture of their early lives were like. They weren’t becoming they were being – not nearly dynamic of a stage of life.  If you want to tell the story of women in their 60s-70s, you are going to have to tell a very differently paced story.  

    What we know of the Vuvulini is quiet contemplation of the stars.  Soft occasional remarks on the past.  The piles of goods they leave Max.  The one or two word glee of competence in defending themselves and the future of these women, at the likely cost of their own lives, in one or two words (’One man, one bullet’  ‘Here we go girls!), and in scores of actions.  There story is there on screen – it’s just that it’s a largely told story.  It’s not a story in progress, it’s a story they are defending the furthering of.

    I don’t see their story as under-told.  I see the essence of their story being not that of a younger age-range.  The fact that the stories of older people are almost not represented on screen at all, makes the very much on-screen visual story telling of the Vuvulini even harder to discern than the visual character -development of the wives.  We barely recognize their story because almost none of us in this discussion are involved with that culture of women.  But it is there.

    Reposted from

    redshoesnblueskies replied to your photoset “(inspired by flamethrowing-hurdy-gurdy)”I’m…

    Thursday, June 18th, 2015


    replied to your photoset

    “(inspired by flamethrowing-hurdy-gurdy)”

    I’m sorry to tell you, you’re going straight to hell for this straaaaaaaight to hell. Express elevator. Like in Aliens. Only that was just a regular elevator. On an alien fictional planet. In a massive fusion plant. THIS ELEVATOR IS MUCH WORSE.

    Yeah, I was a little worried about that, especially when I was working on the ohana gif.

    Reposted from

    flamethrowing-hurdy-gurdy: Argh, I just realised who grunting Mad Max reminds me of.You gonna…

    Wednesday, June 17th, 2015


    Argh, I just realised who grunting Mad Max reminds me of.

    You gonna laugh.


    Yeah, the little blue Disney alien dude.

    Who also communicates only in grunts and half-words, and has a single, awkward kinda-sorta-don’t-wanna-talk-but-I-gotta speech at the end of the film. Who also doesn’t quite know what he’s supposed to do with himself. Who needs to repeat certain things in order to reassure himself that, hm, yes, yes, what I just said is correct, it sounds weird spoken out loud, but yes.

    Because what both of them say anchors them in the universe somewhere, when before the entire point of them was that they were speeding bundles of nerve and fury and instinct and not attached to anyone or anything.

    “This is my family. It’s little…and broken…but still good. Yeah. Still good”. Vs “Max. My name is Max That’s my name. *nods to himself reassuringly*.”

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    bassfanimation: According to Charlize Theron, Furiosa never refers to the women by their names…

    Tuesday, June 16th, 2015


    According to Charlize Theron, Furiosa never refers to the women by their names because she doesn’t want to know their names, because that means forming attachments, which is futile in the world they live in.

    Me reading more into this: Furiosa is used to losing people and the fewer attachments she makes, the better protected she is from pain.  BUT SHE ASKS MAX FOR HIS NAME, AND HE TELLS HER AT THE END, IT’S THE LAST THING HE TELLS HER.  

    Ughhhhh, these characters are killing me.

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    4 times the gates were open

    Saturday, June 13th, 2015


    And by “gates” I mean the cineplex doors and by “open” I mean they accepted my money for the pleasure of watching Mad Max Fury Road again. 

    – I noticed another scene with a War Boy lifting a War Pup in the background: after Joe realizes Furiosa has “stolen” his wives and the war drums are beating, they start lowering the vehicles from within the Citadel to the ground below. As one vehicle starts being lowered, you can see a War Boy lifting a Pup off the platform and setting him down on the cavern floor. 

    – Ace. Man, Ace. After Morsov’s historic death and while the other War Boys are still shouting “Witness” in really joyous voices as if the guy dying truly was an awesome thing, Ace makes the V8 salute and bows his head and he sounds solemn when he says “Witness him.” He’s significantly older than the average War Boy, too, which would seem to indicate that he hasn’t been particularly eager to go to Valhalla any time soon. I think it’s a really great touch on the part of the writers and director. They might all have to live in Joe’s world and he might have them believing he’s a god, but they don’t all have to accept his bullshit in their heart of hearts. 

    – The War Boys’ combat style requires a lot of communication between the lancer and the driver. Nux and Slit seem to work very well together, but it’s hard to tell where they rank among their peers because of how insanely badass ‘normal’ is for War Boys. 

    –  Even seeing it a fourth time, the driving-into-the-sandstorm scene is still fucking epic. I think for any first time viewer seeing Nux cheerfully proclaim it a “lovely day” while watching his brothers-in-arms get swept up into a fiery storm really drives home how brainwashed the War Boys are. To us it looks like they’re dying horribly – hellish is the word that keeps coming to mind – but to Nux they’re heading to Valhalla in an usually spectacular fashion. 

    – Slit must have heard Max angrily shout “That’s my head” while he was hurling lances mere inches above Max’s head. That explains why he specifically threatened Max with decapitation. I didn’t think he’d heard Max or had been actually paying attention to what the “raging feral” was saying, but clearly he did. 

    – “…breeding stock, battle fodder. You’re an old man’s battle fodder.” I find it really interesting that the wives view the War Boys as fellow victims of Joe’s. I mean, they are, but it’s incredibly insightful and mature for the wives to realize it. It would have been understandable if they’d hated them as extensions of Joe’s whole vile regime. It’s intellectually and philosophically impressive and it makes me wonder if the wives sat around in the vault having really deep debates about various things. 

    – The wives recognize the People Eater and the Bullet Farmer and can name the stuff each has in his war party. This would seem to indicate they did not spend their entire time as Joe’s slaves locked up in the vault, that they had the opportunity to meet or at least see Joe’s allies. I can easily imagine Joe having dinner parties or something – he does love spectacles. 

    – When Toast grabs the rifle to reload it, Angharad looks shocked and Toast gives her a look that seems almost defiant. 

    – The Imperator who dives in front of Joe to take the bullet for him when Furiosa shoots at Joe (while being shielded by Angharad) is the same Imperator who’d told Rictus to stop using the flamethrower because it endangered the wives. 

    – I never noticed this before during the previous three times I saw the movie, but there’s a very brief shot of Nux sitting in the lookout cab at the back of the war rig right after Angharad falls and goes under Joe’s car. I can’t wait to get the DVD so I can watch those few seconds again and again. It really was so brief that I didn’t even get the chance to register the expression on Nux’s face. 

    – After the war rig is out of the mud (thanks to using Nux’s suggestion to use the “tree thing” to pull it out), Nux happily says to Capable, “I never thought I’d get to do something so shine.” He’s probably referring to driving the war rig, however briefly, as per his previous declaration that he wanted to drive the war rig as his reward. It’s still heartrendingly adorable. 

    – I wonder what Nux is thinking while Max and Furiosa have their conversation about hope and redemption. He was obviously listening closely. I don’t think it’s a coincidence that his response when Max, Furiosa, the wives, and the Vuvalini all turn to look at him for his input on the new plan is “Feels like hope.” 

    – Speaking of the new plan scene, God, I love the way Capable and Nux exchange a look before she dismounts from the bike and offers her input to the others. There’s clearly an “us” – a joint making of decisions that will affect them together. 

    – I feel so bad for the poor War Boy who has to give the People Eater’s grossly bloated feet a pedicure. I wonder if they drew lots and he lost. It took six of them to lift the bastard up into his vehicle. 

    – When the polecat grabs Toast out of the war rig and puts her in Joe’s car, Joe keeps a gun pointed at her. He’s no longer deluding himself about his wives being “stolen”. 

    – There’s a look of disbelief in Nux’s eyes when Cheedo announces that Joe is dead. How does it feel to have your god die, I wonder? Did Nux go to his death thinking he would see Joe in Valhalla? Or did the knowledge that Joe had been killed and was therefore no god destroy his belief in Valhalla? Did he sacrifice himself know that there was nothing else, nothing to look forward to after death? 

    – I didn’t realize before how entirely the decision to accept Furiosa’s overthrow of Joe was the decision of the War Pups. Yes, the Wretched are shouting, “Bring them up! Bring them up!” but they don’t matter. The milk mothers turn on the water, but the adult men are standing around frozen. It’s the Pups who glare at Corpus as though daring him to voice an objection and the Pups who pull the lever to start the platform rising. Guess it felt like hope to them. :)

    Reposted from

    dear-resident-mmfr-expert: what kind of info do we have about the planning phase of the escape? i have a vague feeling it was done at the time it was /because/ angharad was pregnant? (i am planning a fan art)

    Thursday, June 11th, 2015

    I wish I knew more, but at the moment I only have what I’ve seen in the movie, and a few scans from the “Art of…” book and the tie-in prequel comics being put out by Vertigo. I agree, though, about Angharad’s pregnancy being the ticking clock that pushed them into action.

    The first of the tie-in comics apparently gave back story for Immortan Joe and Nux. The second, Furiosa #1, which goes on sale next week, has a description that reads:

    High in the Citadel there exists a bio-dome of clean air and pure water, protected from the toxicity and anarchy of the Wasteland. Here the warlord Immortan Joe keeps his most prized possessions – his wives – imprisoned for his pleasure and his insistence that they bear him healthy male heirs.

    Then, amid this cruel depravity, an unlikely rescuer emerges…the Immortan’s most lethal warrior: the Imperator Furiosa.

    So that sounds like a pretty cool thing to get hold of if you want to know more.

    Other than that there’s just that one scene in the bio-dome early in the movie, and whatever one can infer from other scenes.

    I do wonder about the fact that Joe suspects something is up with Angharad the instant he sees that Furiosa has left the road to Gas Town. He must have had some reason to be suspicious already. Something in Angharad’s recent manner? Is there something that links Furiosa with the wives in Joe’s mind? Have they recently been in contact with each other?

    Then there are the words painted in the bio-dome:




    Those sound like a continuation of an argument that has already been taking place between Joe and Angharad.

    And then there’s the dialog between Joe and Miss Giddy:

    Joe: Splendid? Angharad? Where are they?

    Miss Giddy: They are not your property.

    Joe: Miss Giddy!

    Miss Giddy: You cannot own a human being. Sooner or later someone pushes back!

    Joe: Where is she taking them?

    Miss Giddy: She didn’t take them; they begged her to go! (They struggle over the shotgun, which goes off, missing Joe. He grabs Miss Giddy.)

    Joe: Where is she taking them?

    Miss Giddy: A long way from you.

    The other scene I really like in terms of what it implies about Angharad and the other wives’ state of mind is the argument between them and Nux in the war rig after he tries to strangle Furiosa. I love that scene. In a movie with so little dialog, to have this sudden shouted debate that bears directly on the movie’s underlying themes is breathtaking.

    I think the wives have spent a lot of time talking and thinking about these issues. Their decision to flee Joe wasn’t a spur of the moment thing. They were committed. They’d worked it out. They knew what they were doing and why they were doing it. I’m really curious what brought them and Furiosa into contact, who reached out to whom first, and how they came to realize that each was willing to take such a risky and irrevocable step.

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    Please tell me that when the sky opened up on your way home you said, “Oh what a day. What a lovely day!”

    Saturday, June 6th, 2015


    I had the MMFR soundtrack on so for a hot minute I was driving kind of recklessly, and then I realized that I was being not-safe and pulled over for a while.

    Honestly the rain came in so fast and hard (also hail) that I was mostly just concerned with not hurting someone, that road sees a lot of bike traffic/jaywalkers. YAY MIDWEST WEATHER IN A HIPSTER TOWN.

    But every time I run a yellow light now I scream “WITNESS ME!” so there’s that.

    Reposted from

    gingersnapwolves: as much as I really loved Mad Max: Fury Road, I feel like someone should have…

    Tuesday, June 2nd, 2015


    as much as I really loved Mad Max: Fury Road, I feel like someone should have checked their math

    because like

    “If you drive 160 days that way, all there will be is more salt”

    okay so let’s say they drove 25 miles per hour (which is much slower than they would need to across a salt flat) and drove for 12 hours per day on average (which is possibly less than they would have)

    in 160 days they would travel 48,000 miles

    which is enough to travel the circumference of the earth


    Max could be speaking metaphorically, continuing his line (almost his only other complete sentence) about how “if you can’t fix what’s broken you’ll go insane”. He could mean that even if Furiosa does circle the world twice, she’ll still carry the Wasteland inside her.

    Like he does.

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