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PDL
Current Version
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Anyway, I received word that Ponibooru is allowing pornography of underaged characters to be uploaded to it.
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I received word that Ponibooru is allowing pornography of underaged characters to be uploaded to it.
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I \'\'\'demand\'\'\' that every link to the site be removed permanently.
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I \\\'\\\'\\\'demand\\\'\\\'\\\' that every link to the site be removed permanently from \\\'\\\'\\\'ALL THE PAGES\\\'\\\'\\\'. The MLP Fandom already has a shitty reputation, I don\\\'t want it sullied further.
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I demand that every link to the site be removed permanently.
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I \\\'\\\'\\\'demand\\\'\\\'\\\' that every link to the site be removed permanently.
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Such content is, if I remember, against our rules. Not least because in certain countries such as the UK, merely having a link to such an image in your computer cache is enough to get you pegged as a sex offender, for life. Doesn\'t matter why--if it\'s there, you\'re fucked.
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Such content is, if I remember, against the rules. Not least because in certain countries such as the UK, merely having a link to such an image in your computer cache is enough to get you pegged as a sex offender, for life. Doesn\\\'t matter why--if it\\\'s there, you\\\'re fucked.
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\\\"Society looks down on men in general expressing their feelings\\\" is certainly an observable fact here (again, on my planet), and male characters\\\' feelings are usually kept out of the text and written into the subtext, but not discussing one\\\'s feelings is quite another thing from not having any, or from having only irrelevant feelings. (By the way, what are they irrelevant to?)
Another example would be Doctor Who, right, where a lot of the deeper emotional impact comes from the way that the Doctor is willing to throw himself constantly into danger to save other people\\\'s lives, rather than from the frequent and cheap dramatic way that the companions are constantly being kidnapped or whatever. A lot of people find them irritating on those grounds.
Also, I\\\'m not sure if what you are saying is even internally consistent. The audience identifies with men because they stereotypically aren\\\'t motivated by feelings but are responsive to circumstances, just like the audience, and that\\\'s what makes them expendable --- meaning that the audience regard themselves as expendable?
Another example would be Doctor Who, right, where a lot of the deeper emotional impact comes from the way that the Doctor is willing to throw himself constantly into danger to save other people\\\'s lives, rather than from the frequent and cheap dramatic way that the companions are constantly being kidnapped or whatever. A lot of people find them irritating on those grounds.
Also, I\\\'m not sure if what you are saying is even internally consistent. The audience identifies with men because they stereotypically aren\\\'t motivated by feelings but are responsive to circumstances, just like the audience, and that\\\'s what makes them expendable --- meaning that the audience regard themselves as expendable?
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Or I like the Sherlock Holmes stories, which are perhaps a better example. Even though they have an enigmatic central character, a relative \'cipher\' for a narrator, very little discussion of their relationship, and an intellectual and relatively bloodless atmosphere, Holmes and Watson are close to each other; proverbially so.
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Or I like the Sherlock Holmes stories, which are perhaps a better example. Even though they have an enigmatic central character, a relative \\\'cipher\\\' for a narrator, very little discussion of their relationship, and an intellectual and relatively bloodless atmosphere, Holmes and Watson\\\'s relationship is well realized and the reader has a strong impression of their close affection for each other.
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\\\"Society looks down on men in general expressing their feelings\\\" is certainly an observable fact here (again, on my planet), and male characters\\\' feelings are usually kept out of the text and written into the subtext, but not discussing one\\\'s feelings is quite another thing from not having any, or from having only irrelevant feelings. (By the way, what are they irrelevant to?)
Another example would be Doctor Who, right, where a lot of the deeper emotional impact comes from the way that the Doctor is willing to throw himself constantly into danger to save other people\\\'s lives, rather than from the frequent and cheap dramatic way that the companions are constantly being kidnapped or whatever. A lot of people find them irritating on those grounds.
Also, I\\\'m not sure if what you are saying is even internally consistent. We get the assertion that the audience identifies with men because they stereotypically aren\\\'t motivated by feelings but are responsive to circumstances, just like the audience, and that\\\'s what makes them expendable --- meaning that the audience regard themselves as expendable?
Another example would be Doctor Who, right, where a lot of the deeper emotional impact comes from the way that the Doctor is willing to throw himself constantly into danger to save other people\\\'s lives, rather than from the frequent and cheap dramatic way that the companions are constantly being kidnapped or whatever. A lot of people find them irritating on those grounds.
Also, I\\\'m not sure if what you are saying is even internally consistent. We get the assertion that the audience identifies with men because they stereotypically aren\\\'t motivated by feelings but are responsive to circumstances, just like the audience, and that\\\'s what makes them expendable --- meaning that the audience regard themselves as expendable?
