Man bad, woman good; repeat the mantra.
1) First and foremost, there is only one source of all evil. Man is the enemy and the only enemy is man. No matter how many protagonists are female, antagonists must remain male. This goes for the villain's entire organization, with one exception cf. #3
2) Women are never wrong. Every woman must be supplied with at least one straw-man (preferably several) to correct or over whom to display her superior skills or morality. Every scene must shoehorn in a female viewpoint superior to a male's, regardless whether the topic is science, what to have for breakfast or the very fate of the universe.
3) Women never do wrong. If any woman does something wrong, it's either in service to a noble cause ("the ends justify the means" is only a moral pitfall for men) or because she's been driven to wrongness by a man. Any woman enrolled in an evil organization is always an innocent patsy of the man in charge, and she'll flip to the heroic side at first opportunity. That or she's a hypercompetent professional with no stake in her boss' morality... somehow. The Nuremberg defense flies perfectly fine in Femtasia.
4) Women never fail. If any female character cannot achieve her goals, it must always come down to interference by male stupidity or male malice, never ever because she herself is less amazing than she thought she is.
5) Any character trait or action like insults, greed, selfishness, violence, etc. which would be categorized as abusive if performed by a male serves in a female merely to show what a "strong woman" she is. Better yet, spin off every negative trait as a hard luck backstory showing how any flaw a woman might have stems from being mistreated by men in the past, to reinforce rules #1&3.
6) A woman never suffers in vain. Male extras can get torn apart limb from limb, skinned alive, tossed into volcanoes or at the very least lose everything and get humiliated while the audience laughs at their suffering, but any woman's every plight is a call to action or a condemnation of anyone who would dare mistreat her.
7) Establish female superiority from scene one, either being victimized by a man or all men, or by triumphing over men. Have her execute one in a duel in her first scene, or put up with an incompetent male boss, or shoot to death an entire bar full of disposable males, that is if she's not too busy getting raped (literally or figuratively) to fuel her upcoming rampage against all mankind as complicit in the crime of one man. The audience must know from the start the nature of the enemy.
8) Never praise a male. Everything good in the heroine's life must come from women. After escaping her sainted mother and worthless evil pig of a father, the heroine gets mentored by a woman (or, if by a man, must later rebel against him for holding back her greatness) is subverted by and prevails over a male peer/competitor for social status, actively scorns any male figures of authority for their (author-assured) incompetence and finally becomes the world's only hope against The Man.
9) Fish don't need bicycles. If a man offers to help the heroine, she must lambaste the worthless pig for insulting her superior ability. If a man fails to help the heroine, she must lambaste the worthless pig for his unmanly lack of chivalry. If a man ends up helping the heroine, play down the act's utility to her, but play up the righteousness of the gesture. He owes it to her. The worthless pig. (After all, we all know she could've done everything herself if she weren't so busy being superior.) If he dies in the process, she never experiences any guilt over it like male protagonists rampaging in the explicit name of their martyred girlfriends. After all, when a man dies for women&children first, he's just fulfilling his purpose.
10) The heroine gets to make up as many rules as she wants.
11) There is no need for independence in Femtasia. All males are either with the heroine or against her, must either be brought to heel or vanquished in the righteous name of ovarian supremacy.
12) As corollary to #s 6 and 8, lowly males are never to be permitted even the slightest toehold upon women's
self-adjudicated moral high ground. If you include a male victim, focus on his flaws to drive
home the message that he deserves whatever's coming to him, and is therefore not a real victim like a female version.
13) An exception can be made to #12 if the audience is assured a man "has a wife and children" or is in some other way actively justifying his worthless existence by servitude toward his superiors in the natural order. A woman on the other hand need only declare her innocence.
15) The few times sex in fiction isn't rape, it must be presented as quasi-rape (a.k.a. a prelude to the woman discovering the man's betrayed her somehow) or an act of condescension (magnanimously sullying her pristine form with his primitive bestial touch) or a stamp of divine approval legitimizing his continued existence and action. But it's usually rape.
16) Men are descended from apes; women are descended from heaven. All male desires must be presented as animalistic and primitive while female desires are the acme of all that is elevated and pure, even when (like mating rituals and codependence) they could easily be demonstrated to directly mirror the shit-flingingest monkey-girl's concerns.
17) As corollary to #3, if a female might be somehow complicit in or benefit from the dirty deeds of males, ensure she voices some cookie-cutter moralism at them to maintain superiority. She's outraged, outraged, do you hear? Now fork over the filthy lucre.
18) If any man dares comment on a woman's cuteness or sexiness, it's an opportunity for a fifteen-minute wail and moan about patriarchal oppression. That or just murder him for it. Note this won't stop the heroine from being absolutely idealized in every way from an adorable button nose to gravity-defying rack to high heels costing more than a car, to make-up that remains perfectly applied even if she flies face-first into a hurricane. You're just not allowed to notice it.
19) Humor is a single-edged sword. No male in fiction may mock a female but that the scene is repurposed to paint him as boorish and heartless for doing so. Female mockery of males on the other hand is adorable and a transcendent revelation of the human condition. Heaven knows what we'd do without such witticisms as "shitlord" to enliven our cultural landscape.
...
Now, if all of the above put you at risk of being called out on plotless, artless, meaningless, endless bigoted propagandistic slurry of such thickness as would gag Goebbels, just remember you stand for the forces of good against evil. Therefore anyone criticizing you can be dismissed as an enemy of the people, fired and blacklisted in the name of The Right side of history.
Man bad, woman good; repeat the mantra.
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