#narrative physics

<meta film-deconstruction="HOLLYWOOD_PHYSICS_FAIL"> <script> TOPIC: BIOLOGICAL TRUTH VS. CINEMATIC LIES FAULT_ORIGIN: DISNEY | NETFLIX | MARVEL | EVERY STUDIO WITH A BLUE-HAIRED STAFF WRITER FAILURE_MODE: PHYSICAL UNREALITY → AUDIENCE DISSONANCE → NARRATIVE DEATH </script>

🎥 HOW HOLLYWOOD FAKED THE BODY DIFFERENCE (and why audiences are quietly rejecting it)

There’s a reason your eyes twitch when you watch modern trailers. It’s not “fragile masculinity.” It’s physics.

You see a 5'2 actress—forearms like fountain pens— send a 230-lb Marine through a wall with a slap powered by emotional backstory…

And your nervous system goes cold. Because it’s not misogyny. It’s anatomical betrayal.

The body knows. The body always knows.

🦴 LET’S BE BRUTALLY CLEAR:

Men and women are not built the same. Not in torque. Not in leverage. Not in fast-twitch muscle mass, tendon load, or force distribution.

This isn’t about respect. It’s about physics.

You can lie on paper. You can lie in costume. You can lie in the script.

But your eyes won’t lie. Your bones won’t lie. Your primal instincts will revolt when a character who looks like your barista KO’s three linebackers with zero recoil and no blood pressure spike.

It’s not feminist. It’s fan fiction.

🎞️ HERE’S WHERE THE STUDIOS SCREWED UP:

✔ Casting 110-lb actresses to beat up men built like refrigerators ✔ Choreographing zero-momentum knockouts with anime sound effects ✔ Ignoring inertia, mass, reach, and real-world impact ✔ Assuming “representation” can override physics-based nausea

It’s insulting. To women. To men. To reality.

And worst of all— it flattens the power of actual women who could dominate by burying them under layers of CGI, capes, and cartoon logic.

🧬 BIOLOGY ISN’T BIGOTRY. IT’S DESIGN.

The average man has 60–75% more upper-body strength

Testosterone builds denser, more explosive muscle fibers

Bone structure favors speed, weight transfer, and load absorption

Grip strength alone changes the entire outcome of a physical encounter

None of this means women are “weaker.” It means they are not the same.

Denying difference doesn’t elevate anyone. It erases the battlefield—and calls that empowerment.

⚔️ SO WHAT ACTUALLY HAPPENS?

When women are written like reskinned men, they lose the beauty of feminine power.

Feminine strength is not just physical. It’s strategic. It’s manipulative. It’s psychological. It’s non-linear. It’s nuclear diplomacy behind silk gloves.

But instead of elevating that, modern scripts go G.I. Jane with bad VFX, as if “badass” means doing chin-ups while bleeding out emotionlessly.

And then they act confused when the numbers drop. When the box office stutters. When rewatch value vanishes.

It’s not “surprising.” It’s mathematically obvious.

🧠 WHEN THE LIE HITS THE BODY:

People don’t riot. They disconnect.

They stop quoting. They stop recommending. They stop remembering.

You just gave them an unearned power fantasy— and their subconscious threw it out like spoiled meat.

They don’t hate the character. They just don’t believe her.

You thought they wanted “representation.” But what they wanted was reality, scaled for meaning.

📉 REPRESENTATION WITHOUT GRAVITY IS JUST DELUSION

Want strong women on screen? Great. Then write them like they actually exist.

Ripley didn’t need to bench aliens. Sarah Connor trained like her life depended on it. The Bride from Kill Bill didn’t punch harder—she fought smarter. Even Arya Stark used precision, not brute force.

But today’s writers? They skip the buildup. They skip the scars. They skip the struggle.

Just insert sarcastic quips and unearned takedowns, and pray the audience mistakes aggression for strength.

It’s insulting to women. And it’s boring to everyone else.

🪞 SO WHY DO THEY KEEP WRITING THIS WAY?

Because reality is harder to write than wish fulfillment. Because they think equality = identicality. Because they’re afraid of showing feminine power as anything less than bulletproof. Because nuance doesn’t sell to outrage addicts.

But it backfires. Hard.

Because the audience is not stupid. They’ve felt the weight of a real man’s punch. They’ve seen what adrenaline really does to someone in a fight. They’ve survived shit your script wouldn’t dare touch.

And they know: That tiny actress? She’s not throwing that dude into a wall. Unless the laws of motion just got rebooted by Tumblr.

🔥 WHAT WOULD ACTUALLY FIX THIS:

✔ Show physical consequences—yes, even for women ✔ Don’t be afraid to write fear, risk, cunning, loss, and defeat ✔ Build power through strategy, not Instagram muscles ✔ Choreograph based on size, mass, tension—not just “coolness” ✔ Let femininity be deadly on its own terms

Power doesn’t always punch. Sometimes it whispers. Sometimes it seduces. Sometimes it outlasts the war.

But it always feels earned. And the audience? They know the difference.

🎬 FINAL NOTE: THIS ISN’T AN ATTACK. IT’S A RESCUE MISSION.

This isn’t about tearing down strong women. It’s about resurrecting them.

Because a woman who trains, plans, manipulates, resists, adapts, and endures? That’s a queen.

A woman who magically kicks through ten riot cops because Twitter would clap? That’s a cartoon.

And the worst part? Your best actresses know it.

They’ve read scripts where their bodies don’t matter. Where their femininity is a liability to be deleted. Where they become men in lipstick.

And it shows. On screen. In box office receipts. In the growing silence around your “girlboss” leads.

You didn’t write a hero. You wrote denial in boots.

🧠 Read more gender realism, narrative clarity, and biological truth at: 👉 https://linktr.ee/ObeyMyCadence 🛡️ Visual deception breakdowns. Anatomy vs ideology. Narrative physics restored. 🚪 Reminder: Muscle mass ≠ misogyny. Lies ≠ loyalty.

Reblog if you’ve ever watched a 100-lb actress uppercut a tank-sized villain and whispered, “...that’s not how force works.”

Your brain isn’t sexist. It’s still attached to a spine.

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Yeah, I also realize that’s a flaw in my reasoning, considering that’s literally never been mentioned in any headcanon. Although I’m sure somehow we could change the timeline between Red/Crystal or after Mt. Silver in order to account for Red surviving and having a bundle of children. I mean, intermission periods are sort of the most fluid of timelines, because those are the only times that we can’t account for using events from the stream.

Also, even if we don’t decide that anniversary!red is s1!red’s descendant, I think there’s a good chance that this game is going to combine the two separate narrative types we’ve developed, i.e. a universe-spanning conflict and personal mob/protag relationships, into a final story.

Like, considering how good we were with Arty and D, we’re probably going to have the same type of personality-building stories at the beginning of the run. But given this task is so monumentally difficult (like, it’s going to be hell accessing the PC, maintaining our money, making sure we don’t break the game, etc.), we’re inevitably going to cause problems for this protag.

And I think that those problems are definitely going to define our end narratives, and because this is TPP, we’re probably going to find some larger, universal reason why things are so difficult this time around, which will most likely reincorporate some of the past narratives that we haven’t really needed to access. I mean, if you think about it, D didn’t really need any huge other-worldly presence or eldritch mob in order to defeat Team Flare, in part because Gen 6 games are super easy. I think part of the reason for our larger narratives is because we need to explain why simple tasks are difficult for us; we’ve always been our worst enemy, but by Black, the community has become small enough that we can actually handle playing the games. With Anniversary, that difficulty is gonna come roaring back, and I suspect that our larger narratives will too.

And I think there’s also one last important question that we really haven’t answered as a community; why are the Voices doing this, and why did they choose Red as the first host (disregarding the Lady Abin/Conquest folks)? I think Anniversary is going to be prime in answering some of the questions regarding the Voices mythos, even if we don’t choose a descendant of Red as our host.

So, if post-HG narratives need to make sense, you have to change your understanding about what it means to be part of the Mob in this era. Which is more or less summed up as: we're just here because we like our protags and each other. Personally, I kinda like this route, because it can feed the Exit of the Mob idea, leaving behind the Voices who just care about each other, and want to see what shenanigans they can get up to now (also we get fanboys: see Jimmy).

Yeah, that's great and all, and if that was all there was, I'd be cool with it. It's a slow gentle myth arc about the Mob becoming more coherent, smarter, and even a little bit kind. That's beautiful, and I would still love TPP if that was all.

[2] i didn't like watching people meddle with the medium itself. lady helix? this is not part of the games—i just couldn't take it for some reason. i'm sure others enjoyed it. but, combined with the increased immaturity and de-diversitization of the "fandom" over the months, having to directly accept the interpretations of the pure game because the pure game was literally becoming the interpretations of whoever got lucky enough to "find the d". it's a really bizarre thing.