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Good Psychology: Racter from Shadowrun: Hong Kong

So the Shrink loves videogames. I was recently playing Shadowrun: Hong Kong (check it out here!) when I came across the following dialogue from Racter, one of the companion characters.

[Image: A portrait of a white-haired man in black smoking, accompanied by the text: “Racter: Absolutely. I was diagnosed as a primary psychopath at the age of eight.”]

Me, upon reading this:

[Gif: Loki arching his eyebrows, sighing, then shaking his head unimpressed and disappointed.]

[Image: “Well... ‘diagnosed’ is probably not the correct word. There is no formal diagnosis of ‘psychopath’ in the DSM. But all the markers were there.

I displayed a complete lack of empathy on the Davis Interpersonal Reactivity Index, and I scored a perfect 40 on the PCL-R. A blood test showed that I had inherited a damaged gene that has been linked with aggressive behavior, and the activity level in my ventromedial prefrontal cortex is vanishingly low.”]

[Gif of a sudden pan in on Andy from Parks and Rec, looking extremely shocked and very happy]

Guys, gals, and nonbinary pals, I have never before seen a piece of media properly talk about psychopathy. It’s to the point where I actively discourage people from trying to use it in their work, because I’ve never seen it well handled.

But holy shit. The writers of this game did their fucking research.

And guess what? Racter is not a bloodthirsty Hollywood-style “psychopath” who’d stab you as soon as look at you.

Some direct quotes:

“Before I turned to the shadows, I considered myself a ‘prosocial’ psychopath. That is to say, I had the markers for psychopathy, and I expressed some of the expected behaviors. But I never killed anyone... at least, not until it became a job requirement.

Now, I’m not so sure. I will admit that there is a certain thrill to our profession... it’s quite liberating, being paid to hunt and kill other men. But I only indulge in these appetites when I’m on the job, and I never bring my work home with me.”

“People with my condition... my *advantage*... are not incapable of bonding with others. The only difference is that we do so on a cerebral level, rather than an emotional one.

I enjoy our association, and I recognize the advantage in our being allies. I like talking to you. What better reason for us to be friends?”

The writers managed to avoid the near-omnipresent media stereotypes when writing his character. Hats fucking off.

Note - There is more than a little Freudian psych that heavily plays into part of his character. But you know what? It’s actually not too badly handled, and even with my hatred of Freudian psych, the Shrink is willing to give them a pass for this one.

Also note - I was looking through one of the Shadowrun RPG rulebooks and found they had dedicated ~40 pages to operationalizing mental illness for use in a tabletop RPG. It was glorious.

Disclaimer

#text #shadowrun #good representation #shadowrun hong kong #racter #antisocial personality disorder #psychopath #freud was a hack #Media Examples #video games #this is not psychological or medical advice #this is writing advice #did the fucking research #best of scriptshrink

A Call for Radical Protest

It’s common knowledge that non-violent and less directly disruptive protests are the better or more ethically correct kinds of protests, but is that really true? Many protests throughout history that have been successful have been radical and even violent. Stonewall is an important example of this. From the birth of the gay rights movement it has been a militant, violent, and radical movement with protests to match. Yet modern day queer rights activism has largely lost this more radical edge, being reduced to just donating to big nonprofits and attending pride parades with cops present.

Dean Spade argues that in order to honor the legacy of stonewall and the people who fought so hard for our rights, we must learn from them and reignite the militant fire that fueled these radical protests. "Stonewall was a proud moment of bold action taken by people living in a time of mobilization and militancy. Now is the time to honor that legacy with out own action" (Spade, 2019)

This idea of radical protest brought up a few different things for me, black lives matter, Martin Luther King Jr. and Malcolm X, but the most recent and one of the strongest things it brought up is the recent radical protests led by women in Iran.

When Masha Amini died in police custody after allegedly wearing her hijab “improperly”, women took to the streets to protest. They chanted “Death to dictator” and burned their head scarves, and these protests lasted for weeks. This was met with harsh backlash as over 16,000 protesters were arrested and more than 300 killed by police. It was violent, it was radical, and it demanded change, change that is still being fought for almost 2 months later. This is the kind of protest that Spade calls for, disruptive and demanding, protest that will not be silenced until change happens. While it is unclear at this point whether these protests will be “successful” they have certainly demanded action from the Iranian government.

Radical action demands radical response, we’ve seen this throughout history, especially in the queer community with acts like stonewall and the ACT UP protests. Spade rightly argues that more of this radical action is called for to face modern day issues as well.

Citations

Bansinath, D. I., Bindu. (2022, November 15). What to Know About the Protests in Iran. The Cut. https://www.thecut.com/2022/11/women-across-iran-are-protesting-the-morality-police.html

Gheytanchi, E. (2022, November 14). Women Led Protests in Iran Evolve: Regime Controlled Industries are the Next Targets | Wilson Center. Www.wilsoncenter.org. https://www.wilsoncenter.org/article/women-led-protests-iran-evolve-regime-controlled-industries-are-next-targets

Spade, D. (2019, June 28). Op-ed: Honor Our Stonewall Veterans by Being Your Queer Militant Self. Www.out.com. https://www.out.com/pride/2019/6/28/op-ed-honor-our-stonewall-veterans-being-your-queer-militant-self?fbclid=IwAR1VOugQdG1pPEYvwUoXJAP4CKakjjJs5euqIfDQBnQviajfWJnvU2mfIKY

#media examples #queermedia #help iran #protesting #riots #radical

Queer Media Example

Hello everyone, I hope your week has been fantastic so far! Tomorrow I will discuss a media example related to this week's readings. Raina Deerwater, who analyzed LGBTQ+ media representation in the article "LGBTQ Representation Reaches New Record Highs" focuses on the volume of Queer, lesbian, Bi-sexual, and gay actors on streaming platforms between 2021-2022. To elaborate, 58% of LGBTQ characters are POC exceeding the percentage of white LGBTQ characters on broadcast television. This year alone, GLAAD counted "42 transgender regular and recurring characters across all broadcast, cable, and streaming services" (Deerwater, 2022). These numbers are reflected in Tv shows like Orange Is the New Black, Pose, Euphoria, and many other fantastic cinematic productions. Hollywood is making profound changes to LGBTQ representation; out of 775, 390 characters are POC, and this number is growing. It is remarkable how far we have come. Production agencies are headed in the right direction. In the past, tv shows that have LGBTQ characters have tried to represent these categories through a heteronormative lens. I want to illustrate this by talking about the 2006 tv show Ugly Betty. America Ferrera, who stars as Betty Suarez, gets a job at Meade Magazine as an intern. Claire and Bradford Meade, founders and owners of the magazine, allow Daniel and Alexis (their children) to run the publication. This was a reasonably progressive tv show due to the portrayal of the transgender character, Alexis Meade. She has a relatively significant role in the production, but her role is very inconsistent. Prior to her transition, Alexis is well built, and is seen as a sporty jock. After she transitioned, ABC hired Rebecca Romijn to step in as Alexis, a completely different actor. While breaking down beauty misconceptions, Ugly Betty still failed to represent trans people accurately. Alexis was often dead-named and spoken about as if she was "still a male". This can be seen in the youtube clip where she is called he and mocked by her brother, Daniel.

The show did not allow Alexis to speak about her transition and robbed the audience of witnessing their first trans character in many ways. She does have moments where she grapples with her transition, but you can tell that the writers did not have the capability to use her storyline in the way they should have. This is most evident in the youtube clip where Alexis is freaking out that she can’t do anything right.

To add on, It seems as if ABC was juggling multiple identities and could not figure out how to make them intersect. This is best expressed by Ludmila Leiva, who wrote the article, “TV Is Getting More Progressive, But It's Failing Queer POCs”. She states, “These calculated placements of emphasis, on race instead of queerness or visa-versa — as if the two identities are mutually exclusive — occur constantly in the media” (Leiva, 2017). In earlier scenes, Alexis is heterosexual; however, after she transitions, she is only seen dating men. In this sense, it was the choice between having a gay trans character or a trans character. This show had a lot of potholes and inconsistencies but still gave some space to LGBTQ categories at the time.

This space also included two gay characters, Michael, the assistant, and Mark, Betty’s Nephew. While they both identified as homosexual, Mark is Latino, which resonates with a portion of the LGBTQ community we don’t see on tv two often. Mark and Miachel are both portrayed as queer, outspoken, and fashion gurus. The difference between Alexis and these two supporting characters is the storylines. Mark is shown coming out, experimenting with his sexuality, and changing his identity. There was more time fulfilling his character arc than any other LGBTQ character on Ugly Betty. This is not necessarily bad for the audience, but if given the opportunity, Ugly Betty could have represented four or five LGBTQ categories than just 2.

References

Deerwater , R. (2022, February 17). GLAAD's 2021-2022 where we are on TV report: LGBTQ

representation reaches new record highs. GLAAD. Retrieved September 27, 2022, from

https://www.glaad.org/blog/glaads-2021-2022-where-we-are-tv-report-lgbtq-representation-re

aches-new-record-highs

Leiva, L. (2017, June 28). TV is getting more progressive, but it's still failing queer people of color.

Bustle . Retrieved September 27, 2022, from

https://www.bustle.com/p/tv-is-getting-more-progressive-but-its-still-failing-queer-people-of-c

olor-64520

Phillips, C. (2021, September 19). "gentefied" will drop brown queer

love bombs all over your netflix queue. Autostraddle. Retrieved

September 28, 2022, from https://www.autostraddle.com/gentefied-

will-drop-brown-queer-love-bombs-all-over-your-netflix-queue/

#queer media #media examples #ugly betty

TV shows such as ‘Steven Universe,’ ‘She-Ra and the Princesses of Power,’ and ‘Craig of the Creek’ are leading the way with the most LGBTQ characters in children's animation.

Infographic based on this data: https://prezi.com/i/qetzya9fzlfb/new-wave-cartoon-representation/

Relating the compilation of media examples found by Insider in the LGBTQ Cartoon Character Database, I would like to suggest that the current mediascape of animated children’s shows is experiencing a wave of breakout texts. Andre Cavalcante developed the term “breakout text” to describe media that (a) breaks into the cultural mainstream, (b) breaks from historical representational paradigms, and (c) breaks into the everyday lives of the audiences it claims to represent. (Cavalcante, 2017)

While it’s tempting to assume that there is a single breakout text that each step towards better representation can point to, it is more accurate to say that there are waves of breakout texts which enable better visibility for marginalized groups.

Rebecca Sugar’s struggle with getting queerer aspects of Steven Universe greenlit echoes the creation stories of many breakout texts. But her perseverance (and success) ultimately inspired many other creators to more boldly approach their respective networks.

Although much less formal than a traditional piece of ethnographic fieldwork, the current wave of queer breakout texts within animation is a subject I have been in conversation with a number of LGBTQ-identifying friends over. We had all separately identified the linked fate drawn from sources that were not primarily aimed at us as an audience (which is to say, adults) but which we felt connected to, regardless. At the heart of mediatized linked fate, Calvante says:

lies the recognition that contemporary culture and society are thoroughly “mediatized” [...] In a mediatized world, the media “enable, structure, and change how individuals acquire normative orientation and enter into social relations with each other”. It is from within this logic of mediatization that the participants in my study understood their linked fates and imagined themselves in relation to others. (p. 8)

My own viewing experience watching Steven Universe would lead me to agree with Calvante’s description of audiences’ interaction with breakout texts; that show helped me to better grasp the concepts of gender and power and how they relate to me on a personal level. It’s also clear to me that the (relative) ease with which creators are producing queer characters for these shows, even queer stories themselves, is a fairly new phenomenon, built on the current wave of breakout texts.

#media examples #queer media #steven universe

COMING OUT ISN’T THE SAME

Both of this weeks readings discuss this idea of a coming out narrative that are told over and over and how they’re shaped to get a better look into others lives. This narrative is different from what would be considered a hetero-normative story because it involves telling those around oneself that they don’t follow whats expected of them. This experience consists of an individual coming out, the reaction from friends and family, finally the interaction with a love interest that may not last. This plot is repeated and when expressed on television producers tend to stay within the lines and avoid any physical interactions that might not be taken in by the audience as well.

“In all of these episodes, the sitcom follows the basic rules of gay and les-bian representation: no sexual interaction, treating Ellen’s revelation as a‘‘problem’’to be dealt with by her heterosexual friends and family, and minuscule representation of any sort of lesbian community/”

It’s as if there are guidelines to what can and can’t be shown between gay and lesbian characters compared to straight characters. The audience’s interactions with both pieces cause people to either feel uncomfortable or okay if no physical stuff goes on. Its easier to leave it to people to think what they want than cause controversy.

“that the most im-portant personal relationships a gay or lesbian character has are those s/he has with heterosexuals.”

Overall it seems to be that the focus of being out is centered around the experience that is expected and how audiences feel about it. The articles also discuss how when an actual member of the LGBT community plays a role it brings a piece of authenticity. Yet most audiences will also interpret the text differently and start to think that this narrative isn’t as big of an issue, because in the end as the article makes it clear family and friends will eventually understand their loved one and accept them because its whats expected.

The videos I choose prove that this is still ongoing in television and that the coming out narrative still follows this structure. The only difference is that there is some small intimate interaction between characters of the same sex. Yet it seems to only be discussed in the sense of how if makes straight characters /the audience feel, and almost takes away from a moment for any connection to the gay community cant or aren’t really made.The story-line in the show I choose also has scenes in which the biggest things one of the out character wants is to have the approval of the straight people around him.Within my example neither of the actors are gay but they have discussed the idea that they feel that they comprehend “coming out”a little better playing the role of a gay man.

References:

FREERORM. (March 29,2016). Shadowhunters | Season 1, Episode 12: Magnus Stops Alec's Wedding | Freeform. https://www.youtube.com/watch?v=5_dBOjU1w48

Dow, Bonnie (2001). Ellen, Television, and the Politics of Gay and Lesbian Visibility.Critical Studies in Media Communication

FREEFORM.(Apr. 4, 2018). Shadowhunters 3x03 | Maryse says goodbye to Alec and Magnus.https://www.youtube.com/watch?v=Ay1y1CgLTGg

#Media Examples #LGBT media #queer media #malec #shadowhunters #coming out

Hello there, sociopaths are portrayed as mainly villains my question is do you have any tips on writing Heroes who happen to be sociopaths?

Honestly, there’s only one piece of media I know of that handles this topic well. I did a review of it here.

Disclaimer

#Anonymous #asks #antisocial #antisocial personality disorder #good representation #Media Examples #this is not psychological or medical advice #this is writing advice #check the archives

Bad Psychology: Star Trek Voyager

Okay, so. I love Star Trek Voyager. I’ve been watching it again on Netflix.

But what the fuck is this nonsense:

[[Image description: Two stills from Star Trek Voyager S3E9: Villain I forgot the name of: “You came here to steal my timeship.” Emergency Medical Hologram: “A paranoid response indicative of bipolar personality disorder.”]]

I mean, I know that the field of psychology would likely have changed by the 24th century.

But bipolar disorder...is not a personality disorder. Not even fucking SLIGHTLY.

GAAH.

It might make sense if the Doctor was just trying to bullshit the villain of the week that I forgot the name of, but why not say “paranoid personality disorder” - the actual relevant diagnosis.

The Shrink is not amused.

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