[003]
TrainDodger
Current Version
Changed line(s) 5 from:
n
Schadenfreude: The audience may place themselves under the false impression that the feminine represents a state of undeserved protection from harm or loss, whether physical, emotional or financial in nature. Part of the... \
to:
Schadenfreude: The audience may place themselves under the false impression that the feminine represents a state of undeserved protection from harm or loss, whether physical, emotional or financial in nature. Part of the... \\\"enjoyment\\\"... (to use the term loosely) of the genre comes from a perceived reversal of this trend. The key is that the audience must create a fantasy world within his or her own mind where the real-world status quo is either irrelevant or does not exist. The viewer must create the illusion that women are over-privileged and deserve to be knocked down a peg from whole cloth. This is the \\\"negative\\\" interpretation method.
Compassion: The audience may desire to experience strong feelings of sympathy towards the victim. They may wish to view a helpless person being brutalized so that they may picture themselves in the role of a rescuer or savior. They may further imagine the victim turning the tables on their tormentor and getting revenge for whatever act provoked the sympathetic response in the audience in the first place. The fetish may seem bizarrely contradictory in that it can embody unrestrained male chauvinism one moment and then amazon feminism in the next, with the dichotomies reversed at the audience\\\'s leisure. The part that most people don\\\'t understand about the fetish is that partaking in a sort of postmodern, surrealistic act of contradiction is a very important part of the whole experience. The fetish is - itself - highly contrarian and elitist in nature to begin with. This is the \\\"positive\\\" interpretation method.
Extremes: The audience derives pleasure from deeply-juxtaposed and paradoxical representations of human behavior. Their mind internalizes a complex dichotomy of the masculine versus the feminine, the chaste versus the obscene, the normal versus the abnormal, the real versus the unreal. The fetish necessitates that the audience see things in black and white, with little deviation from this formula. Under those conditions, it is only natural that the \\\"victim\\\" role be played by a woman. To the audience, the feminine represents a state of submission. With a few exceptions (see \\\"Compassion\\\" above), attempting to reverse this trend by putting a male individual in the victim role is like pulling a block out of the foundation that the fantasy is built upon. The audience\\\'s meticulously-built Jenga tower comes crashing down all around them. It\\\'s important to keep in mind that the feminine and masculine are reduced to mere symbols under the precepts of this fetish. The victim and tormentor are not \\\"persons\\\". They are far too two-dimensional for that. Rather, they are simply viewed as manifestations of the audience\\\'s own psyche.
Exoticism: The audience has tricked themselves into believing that they\\\'re the only ones in the world who possess this fetish/complex, disavowing the existence of like-minded individuals who possess it also. An analogy would be a wealthy millionaire who purchases a Ferrari, convincing himself of the delusion that he is the only \\\"real\\\" Ferrari owner in the world and that all others are illusory. Ryona is likewise highly solipsistic in nature, exploring and deconstructing the very nature of gender roles in fiction. This is a key element of the fetish; one must constantly be in a state of denial about real-world circumstances, constructing deep fantasies about gender relationships that may or may not have a basis in fact.
Ryona isn\\\'t so much a genre or a trope as it is a very specific way of interpreting certain events in a fictional context, thus deriving emotional or sexual stimulation from them. It is possible to perceive elements of this fetish or complex in works of pretty much any genre that combines physical conflict with female characters. Books, superhero comics, monster movies, exploitation flicks, video games, tokusatsu shows, etc.
Manifestations of this fetish or complex could perhaps be diagnosed as a form of neurological or psychological disorder, depending on whether or not the individual who possesses this complex suffers any ill effects from it. It could be most closely linked to sadistic or masochistic personality disorders, or even gender identity disorders. The conditions and disorders that underlie Ryona as a fetish may become pathological if the audience extends their simplistic perceptions of fictional characters to the real world (i.e. \\\"It\\\'s okay for me to hurt this person because they\\\'re not real. They\\\'re in my head.\\\")
So, when you tell a Ryona fan that he\\\'s sick in the head and that violence against women is commonplace, now you know why he (and it\\\'s usually a he) is so quick to lash out in response. He doesn\\\'t WANT to think that he\\\'s experiencing something common. Real-world violence against women does not interest him or dissuade him in the least. It may even repulse him. Rather, he simply wants to maintain the illusion that violence against women is uncommon and that he is experiencing something exotic and unusual by partaking of fiction that contains violence against women.
Don\\\'t take my word for it, though. I\\\'m no psychologist. This is just my own little attempt to analyze the genre as deeply as I can and clear up any misconceptions that some people might harbor over it.
Compassion: The audience may desire to experience strong feelings of sympathy towards the victim. They may wish to view a helpless person being brutalized so that they may picture themselves in the role of a rescuer or savior. They may further imagine the victim turning the tables on their tormentor and getting revenge for whatever act provoked the sympathetic response in the audience in the first place. The fetish may seem bizarrely contradictory in that it can embody unrestrained male chauvinism one moment and then amazon feminism in the next, with the dichotomies reversed at the audience\\\'s leisure. The part that most people don\\\'t understand about the fetish is that partaking in a sort of postmodern, surrealistic act of contradiction is a very important part of the whole experience. The fetish is - itself - highly contrarian and elitist in nature to begin with. This is the \\\"positive\\\" interpretation method.
Extremes: The audience derives pleasure from deeply-juxtaposed and paradoxical representations of human behavior. Their mind internalizes a complex dichotomy of the masculine versus the feminine, the chaste versus the obscene, the normal versus the abnormal, the real versus the unreal. The fetish necessitates that the audience see things in black and white, with little deviation from this formula. Under those conditions, it is only natural that the \\\"victim\\\" role be played by a woman. To the audience, the feminine represents a state of submission. With a few exceptions (see \\\"Compassion\\\" above), attempting to reverse this trend by putting a male individual in the victim role is like pulling a block out of the foundation that the fantasy is built upon. The audience\\\'s meticulously-built Jenga tower comes crashing down all around them. It\\\'s important to keep in mind that the feminine and masculine are reduced to mere symbols under the precepts of this fetish. The victim and tormentor are not \\\"persons\\\". They are far too two-dimensional for that. Rather, they are simply viewed as manifestations of the audience\\\'s own psyche.
Exoticism: The audience has tricked themselves into believing that they\\\'re the only ones in the world who possess this fetish/complex, disavowing the existence of like-minded individuals who possess it also. An analogy would be a wealthy millionaire who purchases a Ferrari, convincing himself of the delusion that he is the only \\\"real\\\" Ferrari owner in the world and that all others are illusory. Ryona is likewise highly solipsistic in nature, exploring and deconstructing the very nature of gender roles in fiction. This is a key element of the fetish; one must constantly be in a state of denial about real-world circumstances, constructing deep fantasies about gender relationships that may or may not have a basis in fact.
Ryona isn\\\'t so much a genre or a trope as it is a very specific way of interpreting certain events in a fictional context, thus deriving emotional or sexual stimulation from them. It is possible to perceive elements of this fetish or complex in works of pretty much any genre that combines physical conflict with female characters. Books, superhero comics, monster movies, exploitation flicks, video games, tokusatsu shows, etc.
Manifestations of this fetish or complex could perhaps be diagnosed as a form of neurological or psychological disorder, depending on whether or not the individual who possesses this complex suffers any ill effects from it. It could be most closely linked to sadistic or masochistic personality disorders, or even gender identity disorders. The conditions and disorders that underlie Ryona as a fetish may become pathological if the audience extends their simplistic perceptions of fictional characters to the real world (i.e. \\\"It\\\'s okay for me to hurt this person because they\\\'re not real. They\\\'re in my head.\\\")
So, when you tell a Ryona fan that he\\\'s sick in the head and that violence against women is commonplace, now you know why he (and it\\\'s usually a he) is so quick to lash out in response. He doesn\\\'t WANT to think that he\\\'s experiencing something common. Real-world violence against women does not interest him or dissuade him in the least. It may even repulse him. Rather, he simply wants to maintain the illusion that violence against women is uncommon and that he is experiencing something exotic and unusual by partaking of fiction that contains violence against women.
Don\\\'t take my word for it, though. I\\\'m no psychologist. This is just my own little attempt to analyze the genre as deeply as I can and clear up any misconceptions that some people might harbor over it.
Changed line(s) 5 from:
n
Schadenfreude: The audience may place themselves under the false impression that the feminine represents a state of undeserved protection from harm or loss, whether physical, emotional or financial in nature. Part of the... \
to:
Schadenfreude: The audience may place themselves under the false impression that the feminine represents a state of undeserved protection from harm or loss, whether physical, emotional or financial in nature. Part of the... \\\"enjoyment\\\"... (to use the term loosely) of the genre comes from a perceived reversal of this trend. The key is that the audience must create a fantasy world within his or her own mind where the real-world status quo is either irrelevant or does not exist. The viewer must create the illusion that women are over-privileged and deserve to be knocked down a peg from whole cloth. This is the \\\"negative\\\" interpretation method.
Compassion: The audience may desire to experience strong feelings of sympathy towards the victim. They may wish to view a helpless person being brutalized so that they may picture themselves in the role of a rescuer or savior. They may further imagine the victim turning the tables on their tormentor and getting revenge for whatever act provoked the sympathetic response in the audience in the first place. The fetish may seem bizarrely contradictory in that it can embody unrestrained male chauvinism one moment and then amazon feminism in the next, with the dichotomies reversed at the audience\\\'s leisure. The part that most people don\\\'t understand about the fetish is that partaking in a sort of postmodern, surrealistic act of contradiction is a very important part of the whole experience. The fetish is - itself - highly contrarian and elitist in nature to begin with. This is the \\\"positive\\\" interpretation method.
Extremes: The audience derives pleasure from deeply-juxtaposed and paradoxical representations of human behavior. Their mind internalizes a complex dichotomy of the masculine versus the feminine, the chaste versus the obscene, the normal versus the abnormal, the real versus the unreal. The fetish necessitates that the audience see things in black and white, with little deviation from this formula. Under those conditions, it is only natural that the \\\"victim\\\" role be played by a woman. To the audience, the feminine represents a state of submission. Attempting to reverse this trend by putting a male individual in the victim role is like pulling a block out of the foundation that the fantasy is built upon. The audience\\\'s meticulously-built Jenga tower comes crashing down all around them. It\\\'s important to keep in mind that the feminine and masculine are reduced to mere symbols under the precepts of this fetish. The victim and tormentor are not \\\"persons\\\". They are far too two-dimensional for that. Rather, they are simply viewed as manifestations of the audience\\\'s own psyche.
Exoticism: The audience has tricked themselves into believing that they\\\'re the only ones in the world who possess this fetish/complex, disavowing the existence of like-minded individuals who possess it also. An analogy would be a wealthy millionaire who purchases a Ferrari, convincing himself of the delusion that he is the only \\\"real\\\" Ferrari owner in the world and that all others are illusory. Ryona is likewise highly solipsistic in nature, exploring and deconstructing the very nature of gender roles in fiction. This is a key element of the fetish; one must constantly be in a state of denial about real-world circumstances, constructing deep fantasies about gender relationships that may or may not have a basis in fact.
Ryona isn\\\'t so much a genre or a trope as it is a very specific way of interpreting certain events in a fictional context, thus deriving emotional or sexual stimulation from them. It is possible to perceive elements of this fetish or complex in works of pretty much any genre that combines physical conflict with female characters. Books, superhero comics, monster movies, exploitation flicks, video games, tokusatsu shows, etc.
Manifestations of this fetish or complex could perhaps be diagnosed as a form of neurological or psychological disorder, depending on whether or not the individual who possesses this complex suffers any ill effects from it. It could be most closely linked to sadistic or masochistic personality disorders, or even gender identity disorders. The conditions and disorders that underlie Ryona as a fetish may become pathological if the audience extends their simplistic perceptions of fictional characters to the real world (i.e. \\\"It\\\'s okay for me to hurt this person because they\\\'re not real. They\\\'re in my head.\\\")
So, when you tell a Ryona fan that he\\\'s sick in the head and that violence against women is commonplace, now you know why he (and it\\\'s usually a he) is so quick to lash out in response. He doesn\\\'t WANT to think that he\\\'s experiencing something common. Real-world violence against women does not interest him or dissuade him in the least. It may even repulse him. Rather, he simply wants to maintain the illusion that violence against women is uncommon and that he is experiencing something exotic and unusual by partaking of fiction that contains violence against women.
Don\\\'t take my word for it, though. I\\\'m no psychologist. This is just my own little attempt to analyze the genre as deeply as I can and clear up any misconceptions that some people might harbor over it.
Compassion: The audience may desire to experience strong feelings of sympathy towards the victim. They may wish to view a helpless person being brutalized so that they may picture themselves in the role of a rescuer or savior. They may further imagine the victim turning the tables on their tormentor and getting revenge for whatever act provoked the sympathetic response in the audience in the first place. The fetish may seem bizarrely contradictory in that it can embody unrestrained male chauvinism one moment and then amazon feminism in the next, with the dichotomies reversed at the audience\\\'s leisure. The part that most people don\\\'t understand about the fetish is that partaking in a sort of postmodern, surrealistic act of contradiction is a very important part of the whole experience. The fetish is - itself - highly contrarian and elitist in nature to begin with. This is the \\\"positive\\\" interpretation method.
Extremes: The audience derives pleasure from deeply-juxtaposed and paradoxical representations of human behavior. Their mind internalizes a complex dichotomy of the masculine versus the feminine, the chaste versus the obscene, the normal versus the abnormal, the real versus the unreal. The fetish necessitates that the audience see things in black and white, with little deviation from this formula. Under those conditions, it is only natural that the \\\"victim\\\" role be played by a woman. To the audience, the feminine represents a state of submission. Attempting to reverse this trend by putting a male individual in the victim role is like pulling a block out of the foundation that the fantasy is built upon. The audience\\\'s meticulously-built Jenga tower comes crashing down all around them. It\\\'s important to keep in mind that the feminine and masculine are reduced to mere symbols under the precepts of this fetish. The victim and tormentor are not \\\"persons\\\". They are far too two-dimensional for that. Rather, they are simply viewed as manifestations of the audience\\\'s own psyche.
Exoticism: The audience has tricked themselves into believing that they\\\'re the only ones in the world who possess this fetish/complex, disavowing the existence of like-minded individuals who possess it also. An analogy would be a wealthy millionaire who purchases a Ferrari, convincing himself of the delusion that he is the only \\\"real\\\" Ferrari owner in the world and that all others are illusory. Ryona is likewise highly solipsistic in nature, exploring and deconstructing the very nature of gender roles in fiction. This is a key element of the fetish; one must constantly be in a state of denial about real-world circumstances, constructing deep fantasies about gender relationships that may or may not have a basis in fact.
Ryona isn\\\'t so much a genre or a trope as it is a very specific way of interpreting certain events in a fictional context, thus deriving emotional or sexual stimulation from them. It is possible to perceive elements of this fetish or complex in works of pretty much any genre that combines physical conflict with female characters. Books, superhero comics, monster movies, exploitation flicks, video games, tokusatsu shows, etc.
Manifestations of this fetish or complex could perhaps be diagnosed as a form of neurological or psychological disorder, depending on whether or not the individual who possesses this complex suffers any ill effects from it. It could be most closely linked to sadistic or masochistic personality disorders, or even gender identity disorders. The conditions and disorders that underlie Ryona as a fetish may become pathological if the audience extends their simplistic perceptions of fictional characters to the real world (i.e. \\\"It\\\'s okay for me to hurt this person because they\\\'re not real. They\\\'re in my head.\\\")
So, when you tell a Ryona fan that he\\\'s sick in the head and that violence against women is commonplace, now you know why he (and it\\\'s usually a he) is so quick to lash out in response. He doesn\\\'t WANT to think that he\\\'s experiencing something common. Real-world violence against women does not interest him or dissuade him in the least. It may even repulse him. Rather, he simply wants to maintain the illusion that violence against women is uncommon and that he is experiencing something exotic and unusual by partaking of fiction that contains violence against women.
Don\\\'t take my word for it, though. I\\\'m no psychologist. This is just my own little attempt to analyze the genre as deeply as I can and clear up any misconceptions that some people might harbor over it.
Changed line(s) 5 from:
n
Schadenfreude: The audience may place themselves under the false impression that the feminine represents a state of undeserved protection from harm or loss, whether physical, emotional or financial in nature. Part of the... \
to:
Schadenfreude: The audience may place themselves under the false impression that the feminine represents a state of undeserved protection from harm or loss, whether physical, emotional or financial in nature. Part of the... \\\"enjoyment\\\"... (to use the term loosely) of the genre comes from a perceived reversal of this trend. The key is that the audience must create a fantasy world within his or her own mind where the real-world status quo is either irrelevant or does not exist. The viewer must create the illusion that women are over-privileged and deserve to be knocked down a peg from whole cloth. This is the \\\"negative\\\" interpretation method.
Compassion: The audience may desire to experience strong feelings of sympathy towards the victim. They may wish to view a helpless person being brutalized so that they may picture themselves in the role of a rescuer or savior. They may further imagine the victim turning the tables on their tormentor and getting revenge for whatever act provoked the sympathetic response in the audience in the first place. The fetish may seem bizarrely contradictory in that it can embody unrestrained male chauvinism one moment and then amazon feminism in the next, with the dichotomies reversed at the audience\\\'s leisure. The part that most people don\\\'t understand about the fetish is that partaking in a sort of postmodern, surrealistic contradiction is a very important part of the whole experience. This is the \\\"positive\\\" interpretation method.
Extremes: The audience derives pleasure from deeply-juxtaposed and paradoxical representations of human behavior. Their mind internalizes a complex dichotomy of the masculine versus the feminine, the chaste versus the obscene, the normal versus the abnormal, the real versus the unreal. The fetish necessitates that the audience see things in black and white, with little deviation from this formula. Under those conditions, it is only natural that the \\\"victim\\\" role be played by a woman. To the audience, the feminine represents a state of submission. Attempting to reverse this trend by putting a male individual in the victim role is like pulling a block out of the foundation that the fantasy is built upon. The audience\\\'s meticulously-built Jenga tower comes crashing down all around them. It\\\'s important to keep in mind that the feminine and masculine are reduced to mere symbols under the precepts of this fetish. The victim and tormentor are not \\\"persons\\\". They are far too two-dimensional for that. Rather, they are simply viewed as manifestations of the audience\\\'s own psyche.
Exoticism: The audience has tricked themselves into believing that they\\\'re the only ones in the world who possess this fetish/complex, disavowing the existence of like-minded individuals who possess it also. An analogy would be a wealthy millionaire who purchases a Ferrari, convincing himself of the delusion that he is the only \\\"real\\\" Ferrari owner in the world and that all others are illusory. Ryona is likewise highly solipsistic in nature, exploring and deconstructing the very nature of gender roles in fiction. This is a key element of the fetish; one must constantly be in a state of denial about real-world circumstances, constructing deep fantasies about gender relationships that may or may not have a basis in fact.
Ryona isn\\\'t so much a genre or a trope as it is a very specific way of interpreting certain events in a fictional context, thus deriving emotional or sexual stimulation from them. It is possible to perceive elements of this fetish or complex in works of pretty much any genre that combines physical conflict with female characters. Books, superhero comics, monster movies, exploitation flicks, video games, tokusatsu shows, etc.
Manifestations of this fetish or complex could perhaps be diagnosed as a form of neurological or psychological disorder, depending on whether or not the individual who possesses this complex suffers any ill effects from it. It could be most closely linked to sadistic or masochistic personality disorders, or even gender identity disorders. The conditions and disorders that underlie Ryona as a fetish may become pathological if the audience extends their simplistic perceptions of fictional characters to the real world (i.e. \\\"It\\\'s okay for me to hurt this person because they\\\'re not real. They\\\'re in my head.\\\")
Don\\\'t take my word for it, though. I\\\'m no psychologist. This is just my own little attempt to analyze the genre as deeply as I can and clear up any misconceptions that some people might harbor over it.
Compassion: The audience may desire to experience strong feelings of sympathy towards the victim. They may wish to view a helpless person being brutalized so that they may picture themselves in the role of a rescuer or savior. They may further imagine the victim turning the tables on their tormentor and getting revenge for whatever act provoked the sympathetic response in the audience in the first place. The fetish may seem bizarrely contradictory in that it can embody unrestrained male chauvinism one moment and then amazon feminism in the next, with the dichotomies reversed at the audience\\\'s leisure. The part that most people don\\\'t understand about the fetish is that partaking in a sort of postmodern, surrealistic contradiction is a very important part of the whole experience. This is the \\\"positive\\\" interpretation method.
Extremes: The audience derives pleasure from deeply-juxtaposed and paradoxical representations of human behavior. Their mind internalizes a complex dichotomy of the masculine versus the feminine, the chaste versus the obscene, the normal versus the abnormal, the real versus the unreal. The fetish necessitates that the audience see things in black and white, with little deviation from this formula. Under those conditions, it is only natural that the \\\"victim\\\" role be played by a woman. To the audience, the feminine represents a state of submission. Attempting to reverse this trend by putting a male individual in the victim role is like pulling a block out of the foundation that the fantasy is built upon. The audience\\\'s meticulously-built Jenga tower comes crashing down all around them. It\\\'s important to keep in mind that the feminine and masculine are reduced to mere symbols under the precepts of this fetish. The victim and tormentor are not \\\"persons\\\". They are far too two-dimensional for that. Rather, they are simply viewed as manifestations of the audience\\\'s own psyche.
Exoticism: The audience has tricked themselves into believing that they\\\'re the only ones in the world who possess this fetish/complex, disavowing the existence of like-minded individuals who possess it also. An analogy would be a wealthy millionaire who purchases a Ferrari, convincing himself of the delusion that he is the only \\\"real\\\" Ferrari owner in the world and that all others are illusory. Ryona is likewise highly solipsistic in nature, exploring and deconstructing the very nature of gender roles in fiction. This is a key element of the fetish; one must constantly be in a state of denial about real-world circumstances, constructing deep fantasies about gender relationships that may or may not have a basis in fact.
Ryona isn\\\'t so much a genre or a trope as it is a very specific way of interpreting certain events in a fictional context, thus deriving emotional or sexual stimulation from them. It is possible to perceive elements of this fetish or complex in works of pretty much any genre that combines physical conflict with female characters. Books, superhero comics, monster movies, exploitation flicks, video games, tokusatsu shows, etc.
Manifestations of this fetish or complex could perhaps be diagnosed as a form of neurological or psychological disorder, depending on whether or not the individual who possesses this complex suffers any ill effects from it. It could be most closely linked to sadistic or masochistic personality disorders, or even gender identity disorders. The conditions and disorders that underlie Ryona as a fetish may become pathological if the audience extends their simplistic perceptions of fictional characters to the real world (i.e. \\\"It\\\'s okay for me to hurt this person because they\\\'re not real. They\\\'re in my head.\\\")
Don\\\'t take my word for it, though. I\\\'m no psychologist. This is just my own little attempt to analyze the genre as deeply as I can and clear up any misconceptions that some people might harbor over it.
