Magic Sex Change Stories
LGBT+ people make up a sizeable proportion of our population, but today still only represent a minuscule proportion of speaking characters in top films (see below for rates of speaking characters in popular films from 2014-2017). In this blog entry we make the case that increased representation will help LGBT+ people feel seen and included, reduce anti-LGBT+ prejudice, and lead to a richer, more interesting world of stories.
magic sex change stories
On the one hand, greater LGBT+ representation means crucial visibility for young LGBT+ people. It means more narratives, characters, and role models for these young LGBT+ people to identify with. It signals to young LGBT+ people that their lived experiences matter and that their stories are valued. In doing so, it may help ameliorate the stigma felt by LGBT+ youth, positively affecting their psychological wellbeing. It could go a long way in reassuring these kids that happy fulfilling lives are possible.
On the other hand, greater representation may also help non-LGBT+ people to connect with LGBT+ stories. Media portrayals may have been in part responsible for positive shift in attitudes towards LGBT+ in recent decades, and the advancement of gay rights.
Dr Charlie Rose Crimston is a moral psychologist who specializes in the study of moral based change, decision-making and identity. Charlie is currently a Postdoctoral Research Fellow within the School of Psychology at the University of Queensland. She is also a proud transgender woman. ...
The protagonist must adapt to their new body. Usually, they try their best to hide it or, failing that, attempt to fit in as best as they can by adhering to established gender norms. The story shares some similarity to the gender dysphoria felt by a transgender person. Just as a trans person might feel about their own bodies (dysphoria is a very common but not universal experience), TSF stories present the protagonist with a body they feel uncomfortable with and explore their reaction to it following their transformation.
And here is where the fetish often gets a little ugly. When many of the transformed men previously presented as cis male (men assigned male at birth) and heterosexual, the last thing they might reasonably entertain is sucking a dick. Often times the plot device used to propel a normal cis het dude into becoming a nymphomaniac is through rape. And the stories further argue that these transformed people, while initially portrayed as sexually abused, may have secretly or subconsciously desired it.
But even despite the heteronormativity, the humiliation, and the pain transformed people may face, the transformation in TSF stories undercut some messy elements of socializing into the world as trans.
Sex change surgery that is reversed is another common signifier of the Easy Sex Change. In stories with easily-undone sex changes, even characters who aren't transgender may choose to have one in order to hide their identity, treating it as simply the next level of being Disguised in Drag.
This trope is also common in video games with Character Customization. If a game allows you to change your character's gender, the process will rarely be more complicated than talking to a certain NPC and paying a small fee. Sometimes, it may even be as simple as opening the "edit appearance" menu.
Often followed by Old Friend, New Gender. Not to be confused with Gender Bender, which involves sex changes that (usually) are even easier, and driven by magic or Applied Phlebotinum. This trope is more about idealized (occasionally highly idealized) versions of Real Life SRS.
LGBT themes in mythology occur in mythologies and religious narratives that include stories of romantic affection or sexuality between figures of the same sex or that feature divine actions that result in changes in gender. These myths are considered by some modern queer scholars to be forms of lesbian, gay, bisexual, or transgender (LGBT) expression, and modern conceptions of sexuality and gender have been retroactively applied to them. Many mythologies ascribe homosexuality and gender fluidity in humans to the action of gods or of other supernatural interventions.
The status of mythology varies by culture. Myths are generally believed[by whom?] to be literally true within the society that created them and deemed erroneous or fictitious elsewhere. Cultures may regard myths as containing psychological or archetypal truths. Myths may explain and validate the social institutions of a particular culture, as well as educate the members of that culture. This societal role has been posited for stories that included same-sex love, which educate people as to the correct attitude to adopt toward same-sex sexual activity and gender constructions.
It is common in polytheistic mythologies to find characters that can change gender, or have aspects of both male and female genders at the same time. Sexual activity with both genders is also common within such pantheons, and is compared[by whom?] to modern bisexuality or pansexuality. The creation myths of many traditions involve sexual, bisexual or androgynous motifs, with the world being created by genderless or hermaphrodite beings or through sexual congress between beings of the opposite or same apparent gender.
In Inuit shamanism, the first two humans were Aakulujjuusi and Uumarnituq, both male. This same-sex couple desired company and decided to mate. This sexual encounter resulted in pregnancy for Uumarnituq. As he was physically not equipped to give birth, a spell was cast that changed his sex, giving him a vagina capable of passing the child. The now-female Uumarnituq was also responsible for introducing war into the world via magic, in order to curb overpopulation. The goddess Sedna is an Inuit creator deity, with dominion of marine animals. She is depicted as gynandrous or hermaphroditic in some myths, and is served by two-spirit shamans. Other myths show Sedna as a bisexual or lesbian, living with her female partner at the bottom of the ocean.
Many stories of Native Americans include Coyote seducing apparently lesbian couples, usually much to his detriment in the end. Other great spirits will sometimes take over a female body if no other presents itself when they wish to seduce a beautiful young woman.
Some lwa have particular links with magic, ancestor worship or death such as the Gede and Bawon. A number of these are further particularly associated with transgender identities or same-sex interactions. These include Ghede Nibo, a spirit caring for those who die young. He is sometimes depicted as an effeminate drag queen and inspires those he inhabits to lascivious sexuality of all kinds, especially transgender or lesbian behaviour in women. Gede Nibo's parents are Baron Samedi and Maman Brigitte; Baron Samedi is the leader of the Gede and Bawon and is depicted as bisexual dandy or occasionally transgender, wearing a top-hat and frock coat along with a woman's skirt and shoes. Samedi has a tendency toward "lascivious movements" that cross gender boundaries and also imply a lust for anal sex.
Other bawon displaying gay behaviour are Baron Lundy and Baron Limba, who are lovers and teach a type of homoerotic nude wrestling at their school, believed to increase magical potency. Baron Oua Oua, who often manifests with a childlike aspect, has been called the baron "most closely linked to homosexuality" by Voodoo practitioners.
Chinese mythology has been described as "rich in stories about homosexuality". The mythological stories and folklore of China reflect ancient Chinese perspectives toward homosexuality, rather than modern views. These myths are greatly influenced by religious beliefs, particularly Taoist and Confucian, and later incorporated Buddhist teachings.
Homosexual encounters are common in Chinese folk stories. The animal spirits or fairies often choose same-sex partners, usually young men or boys. According to Xiaomingxiong, one exception to this age preference is the dragon, a powerful mythological beast. Chinese dragons "consistently enjoy sexual relationships with older men", one example being in the tale of "Old Farmer and a Dragon", in which a sixty-year-old farmer is forcibly sodomised by a passing dragon, resulting in wounds from penetration and bites that require medical attention.
For thousands of years, male homosexuality was referred to in literature by alluding to two semi-legendary figures from the early Zhou Dynasty. The first was Mizi Xia and the half-eaten peach which he shared with his lover, the actual historical figure, Duke Ling of Wei. The second was Lord Long Yang, who convinced an unnamed King of Wei to remain faithful to him by comparing himself to a small fish which the King might throw back if a larger fish came along. While both Mizi Xia and Lord Long Yang may have actually existed, nothing is known about them beyond their defining stories, and their presence in Chinese literature was very much that of legendary characters who served as archetypes of homosexual love.
In another tale, Amaterasu retreats from conflict with her brother Susanoo into a cave, depriving the Earth of sunlight and life. In order to coax Amaterasu from the cave, the deity of humour and dance, Ame no Uzume, performs a bawdy sexual dance that involved exposing her breast and vulva, and inviting Amaterasu to admire them. On Amaterasu's stepping out of the cave, the kami Ishi Kori Dome held up a magical mirror, and the combination of the dance and her reflection fascinate Amaterasu so much that she does not notice other spirits closing the cave entrance behind her.
According to one legend, male same-sex love was introduced into Japan by the founder of the True Word (Shingon) sect of Japanese esoteric Buddhism, Kūkai. Historians however, point that this is probably not true, since Kūkai was an enthusiastic follower of monastic regulations. Some Bodhisattvas change sexes in different incarnations, which causes some to associate this to homosexuality and transgender identities. Guanyin, Avalokiteśvara, and Tara are known to have different gender representations. 350c69d7ab