Tag Archives: love stories

How Men and Women (Legally) Screw Each Other (Over)

There are a great many ways for men to offend women. In fact, there are so many that men these days have to walk on egg-shells every day, picking and choosing their words as carefully as possible. They have no idea whether asking a woman about her favorite kind of ice cream will result in a date or a sexual harassment claim.

We’re at a point in our culture where pretty much anything can be construed as sexual innuendo. Take the following sentence:

Sure, I can give you a ride, ma’am.

It seems innocent enough. People probably say this in polite conversation every day. Now, channel you’re inner 13-year-old who just discovered internet porn. That ride isn’t referring to a car and what the man wants to give the woman has nothing to do with traveling. If the guy’s dick had a mouth, it would probably say this:

Sure, I’ll give you a ride, ma’am. Now come over here and sit on my dick while I fuck you!

I’m not saying that happens outside a bad porno. I’m just saying that it’s implied more than we care to admit.

We live in an era where the old patriarchal order is giving way to a new, more equitable way of doing things. By and large, this transition has been very positive. Few outside the clergy and Congress would argue that society is better when both genders get a chance to live their lives as equals instead of adhering to a rigid caste system where the individuals at the top get to decide what, who, and how often they fuck.

As positive as this new way of doing this is, there are a few wrinkles that we’ve yet to iron out. I’m not just talking about the wage gap, spousal abuse, or gender discrimination either. Instead, I want to focus on something a bit more subtle. I want to focus on the other side of the gender imbalance coin that often goes unnoticed.

One of the oldest and most effective ways to offend a woman these days is to tell her to get back in the kitchen and make a sandwich. I don’t know what it is about wanting women to make sandwiches. Making is a sandwich is not that hard. Plus, I kind of like making my own decisions about how much peanut butter I use. That’s just me.

For whatever reason though, the idea of a woman making a man a sandwich is symbolic of that old Father Knows Best mentality that women belong in the kitchen, men belong at work, gays belong in the closet, and sex belongs in a darkened bedroom. We all know that old trope and even most men thinks it’s laughable. However, there’s another unspoken side to that laughable trope that few talk about and isn’t a laughing matter.

Let’s re-examine that old sandwich joke for a moment. Let’s examine it from both sides time. We all know this side from the man:

Shut up and make me a sandwich!

However, what about the side of the woman that says:

Shut up and sign this legal document that entitles me to half your shit and custody of your kids whenever the fuck I feel like it!

Does that sound right? Does that sound like something any woman would say out loud? Of course not. Women wouldn’t say this out loud these days any more than a man would order them to make him a sandwich. However, this dynamic is an inescapable part of modern gender dynamics and it’s making us hate each other way more than we should.

I’ve discussed before on this blog how certain cultural taboos are driving the two genders apart and ruining our sex lives. At least those taboos and quirks aren’t legally enforced. What I just described though does have the full weight of the law behind it. We don’t call it a taboo though. We call it no-fault divorce.

I can already sense some people cringing at the mere mention of the word. Divorce is one of those few concepts that’s hard to make sexy, even for an aspiring erotica/romance writer. I know how ugly it can get. I come from a family that was shaped by divorce. While my family never let it get too ugly, it’s still the ultimate mood-killer that can turn any kind of passion into a toxic (not to mention expensive) mistake.

The modern concept of divorce is actually very new in the grand scheme of things. For most of human civilization, divorce was only granted if there was cause. If a man beat up his wife, cheated on her, or lied to her about the premise of their relationship, then that was grounds for divorce. People couldn’t just get divorced because they felt like it.

That all began to change in the mid to late 20th century. Here in America, the great state of California enacted the first no fault divorce law in 1969, a year that isn’t that ancient when you consider how many people these days recall/complain about it. By 1983, the same year Michael Jackson released Thriller, nearly every state in the union had no-fault divorce laws on the books. When you consider that civilization as we know it is over 4,000 years old, this may as well be the historical equivalent of an abrupt kick to the balls.

This is a painfully apt metaphor because this phenomenon completely changed the dynamics of marriage, especially for men. It shows in the data. According to the Centers for Disease Control, divorce rates really began to spike around the late 60s and early 70s, which is around the same time that no-fault divorce entered the picture.

Granted, there had been spikes before, but these usually came in conjunction with wars and economic upheavals. That’s understandable to some degree. It’s easy to imagine a marriage getting overly strained at a time when bombs are dropping and everybody is flat broke. No-fault divorce took a different path, but this time it screwed over one side more than others.

Once again, it all comes back to economics. I know. It’s right up there with chicken pox and dead kittens in terms of unsexiness, but it’s still the primary driver of damn near everything that guides human civilization.

Using the same caveman logic I’ve used before, we can see the incentives that guided marriage for most of human history. Remember, it wasn’t until recently that people started marrying for love. Most of the time, marriage was a loveless business arrangement. Even without the love though, it had incentives.

Men needed women who could bear children that would inherit their property and/or work the fields. Men can’t have children so they need to provide a home for a woman in which to bear those children. By marrying a man, a woman got a home and a steady supply of care. By marrying a woman, a man got children who could work the fields and inherit the property. It’s a model that served civilization well for a long time…to a point.

The problem with this model is that it had a lot of incentives to keep women in the home and out of the workforce. Remember, this is also an era where most women died in childbirth and there weren’t as many tools with which to maintain the home. Keeping women in the home helped protect them to some degree while the men did the back-breaking labor that their wealthy overlords demanded.

That model needed tweaking in the modern era. It was no longer enough for men to just work the fields and fight wars anymore. The economy became more complex. Opportunities became more varied. As a result, new incentives emerged that drew women into the workforce. Over the course of the 20th century, women became as integral a part of the economy as men. They still aren’t entirely equal in many cases, but compared to 95 percent of human history, it’s pretty damn equal.

Unfortunately, this equality doesn’t extend to divorce. While women are gaining more education and independence, we still have these old taboos and biases that cling to us like ticks. Is a marriage in trouble? It must be the man’s fault. Is a woman unhappy? It must be the man’s fault. Is a home unstable and unhealthy? It must be the man’s fault.

Turn on any sitcom, watch any movie, or listen to any song and the themes are almost all the same. Every problem in every relationship can be heaped on the selfish, arrogant, whiny, insecure, irresponsible, irredeemable man. Men don’t love their children as much. They don’t put as much energy into a relationship. They’re more selfish and stupid. It’s the basis of pretty much every single episode of the Simpsons and Family Guy.

Is it any wonder why, according to the National Parents Organization, that there’s an unmistakable bias in the judicial system towards men in divorce court? Women tend to get custody of the kids, half the man’s assets, and regular alimony payments. On top of that, the man doesn’t even have to cheat on her. She can get this all if she fills out the right paperwork and has a competent divorce attorney. In that sense, the movie Liar Lair may as well be a goddamn documentary.

Go back to the economics for a moment. Look at the incentives as they stand. Then, picture this overly simple conversation between a man and a woman.

Sure! I’ll have sex with you and have your kids. Just sign this legal document that entitles me to half your assets and custody of your kids if I ever feel unhappy enough for any reason whatsoever.

Is it any wonder why marriage rates are declining rapidly among millenials? Is it any wonder why men are reluctant to commit these days? Is it any wonder why some men show hostile attitudes towards women?

This is a problem. This is making it difficult for us to love each other. Men and women can hate each other all we want. Our biological wiring doesn’t give a shit what the law says. It still drives us to want to be together. We can’t turn that drive off, but we can do something about these perverse incentives. We just have to acknowledge they are perverse and realize that there are more effective ways to love one another.

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(Long) Overdue Update (I Hope) on “Embers of Eros”

It’s been a while since I talked about the status of “Embers of Eros” and Crimson Frost Books. It’s actually been a long while. I haven’t mentioned this issue on my blog since July. There’s a reason for that and a distressingly good reason at that.

I haven’t heard a peep from Crimson Frost in nearly two months. There are celebrity marriages that last that long. It led me to believe that they either went bankrupt or just forgot about me entirely. Either way is troubling and makes me wonder if I’ll have to start from square one again, which is not an appealing idea.

Despite my concerns, I’ve been trying to keep it quiet until I actually know what the hell is going on. That has taken much longer than I had hoped, but I finally got a message from them last night. I’ve been told that my book is still on for publication and the current target date is some time in November. I just need to go over the edits first.

Now, I’ve heard this before. This isn’t the first time Crimson Frost has promised a publication date for me. I’ve learned to maintain an healthy (or unhealthy, depending how you look at it) bit of skepticism with their promises. However, this time they do seem a bit more responsive. They say they’ll get the edits to me some time today or tomorrow. If they can actually deliver, then that’ll set some of my concerns at ease. If I don’t hear from them by Wednesday, then I’ll know that nothing has changed.

I’ve been very patient with Crimson Frost, mainly because I have to. They’re the only publisher to date who has given me a chance to publish with them. I’ve yet to hear back from other publishers and at Crimson Frost’s request, I didn’t submit “Embers of Eros” to another publisher. So this story that I’ve had completed for quite some time now is basically in limbo because of these people. I just need them to follow through.

If they can, then all is forgiven. I’ll finally be able to say that I actually published a book on a scale other than self-publishing. That’s a crucial step for me if I want to achieve any level of success as a writer. It’s a small step, but step none-the-less.

I want to give Crimson Frost until the end of the year to make this happen. If they can’t or if they stop responding to my emails again, then I’m wiping my hands clean of them and moving on. I don’t want to start from square one again, but that may be necessary.

At the very least, it seems Crimson Frost is showing some level of commitment. They did give me a cover for Embers of Eros and it’s sexy as hell. To help get some of you excited about this book, here’s what that cover looks like.

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Hope this gets people excited, in more ways than one. I really want this book to find an audience. I want it to be my first sliver of success after seven self-published books that went nowhere. So here’s hoping that Crimson Frost pulls through.

With that said, I do intend to begin discussion of another topic this week. I don’t want to divulge that topic just yet, but it’s bound to be a bit more controversial than hugs and foreplay. Stay tuned for some more juicy details!

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An Idea For My Next Book

After spending the week discussing distressing topics like circumcision, including a distressing anecdote about my own circumcision, I’m ready to move onto topics that don’t completely kill the mood. I’m trying to be a successful romance/erotica writer, damn it! I need to keep that mood sexy on this blog. Maybe this will help.

With that in mind, I thought I’d provide a quick update on my current work. For the past couple months, I’ve been writing the first draft to a sci-fi romance story. It’s a story that has turned out to be much longer and much bigger than I initially planned. That tends to happen with my stories. I start writing them, but they go in directions I don’t expect, hopefully for the better.

Despite the size of this story, I can say that it’s almost over. I hope to finish it within the next few days. Even with the end of another book in sight, I like to think ahead to my next book. It’s just how my mind works. It’s not enough to just finish something. I have to have another project waiting in the wings that’ll help me improve. I’ve done this ever since I wrote Child of Orcus. Part of getting good at any craft is always seeking to improve.

As it turns out, the stuff I do on this blog actually helps me explore new ideas. By writing about certain topics, be they insights into sex-positive comic book characters or my love of sleeping naked, it gets my brain in the right state, among other parts of my body. One topic in particular got me thinking.

A while back, I explored the issue of jealousy. I asked whether or not this was a truly natural emotion or a byproduct of our cultural and societal attitudes. It’s not a question I expected to answer. It’s one of those questions that can’t really be answered for everybody, but does make us think differently about concepts of romance.

This leads into this new idea. I don’t have a title for it yet (although I am open to suggestions), but I feel like this is an idea I should pursue. Here’s the scenario:

We have two people, a man and a woman who married young and did all the right things. They love each other. They support each other. They both have fulfilling careers that keep them busy. By all accounts, they followed society’s rules towards relationships, sex, and romance. Despite this, they’re still deeply unsatisfied.

Did I mention that the man works as a body guard at high end clubs that cater to beautiful women and aspiring Hollywood stars? Did I also mention that the woman works as trainer to top male athletes? If not, I guess I should mention it because this line of work surrounds them with all sorts of beautiful people and a lot of temptation. Think about it. If your work involves hard-partying women and sexy male athletes, wouldn’t you be tempted?

Some people can brush off that temptation. These two can’t. Following the unspoken rules that society says they should follow just isn’t enough for them. It leaves them feeling stressed, frustrated, and incomplete.

Finally, they come to one inescapable conclusion. They can’t be monogamous. It just isn’t how they’re wired. They need to step outside these rules. They need to explore the temptation that surrounds them. If for no other reason, they need to see if this fulfills them.

This leads them to join a special private club in the Hollywood Hills. It’s a club run by a mysterious woman who claims she can make their love stronger by immersing them in a world of sex, decadence, and excess. It sounds crazy. Hell, it’s the outright antithesis of the rules they so ardently followed. So why not give it a try?

This is the main base of the story. Larger details, like the names of the characters or the names of the club, haven’t been fleshed out yet. I intend to wait until I finish my current book before I work on issues like that. Until then, I feel like this is the story I want to tell next. This is the concept I want to explore.

There are already so many romance/erotica stories out there about two people falling in love and facing challenges to their relationship. Hell, I’ve written some of those stories myself. Sure, they’re fun and titillating in their own right. I want to try a different route. I want to tell a different kind of love story.

I admit it is counter-intuitive, the idea that two people can love each other and still give into temptation. It’s basically the basis of 95 percent of all bad pornos. I think there’s a more meaningful story to tell. I think there are more relevant issues to explore. I hope to do that with this book. I also hope I can get a publisher to take a chance on it.

I’ll provide additional details and insight later on. Until then, I’m always happy to hear back from others. What do you think of this idea? Is it something you’re interested in reading? Is it something you’re interested in discussing? I’m only an aspiring writer at the moment. That’s code for, “I’m not a success and have a lot of free time.” So I’m more than happy to chat about this or any other sexy/romantic topic.

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How To Craft A Love Triangle That DOESN’T Suck

I’ve spent most of this week complaining about how much I despise love triangles and why they’re the worst invention since the concept of sparkling vampires. I’ve explained why they suck and singled out one that sucks the most. Well, now I’m done complaining.

My parents raised me to understand that complaints that aren’t followed up with solutions is nothing more than glorified bitching and moaning. I will not permit bitching and moaning on this blog. Instead, I’m going talk about solutions instead of problems. It’s a step 95 percent of complaints on the internet never bother to make. I’m taking that step here.

As much as I hate love triangles, I know they’re not going away. So long as people keep telling love stories, with or without vampires, love triangles are going to manifest in some form or another. Enews even did an article a while back ranking the “hottest” love triangles on TV. I contest their characterization of these love triangles, but I don’t deny their appeal.

It’s inevitable that plenty of these love triangles will be god-awful for the same reasons I described in previous posts. With that in mind, let me just say that this post isn’t about those. I’m directing this post to those yet-to-be-told stories that have some sliver of hope of being decent.

So how do we go about it? How do we utilize love triangles in a way that doesn’t destroy the story? It requires a little more work and effort on the part of the writer. Those who make porn parodies and fan fiction may not be inclined to do that extra work, but it’s definitely worth doing. There are enough bad love triangles as it stands. Do we really need another reminder?

The primary problem with love triangles, as a concept, is that it narrows the characters. It reduces them to serving singular, shallow roles that limits their development. If a character’s sole purpose is to serve as a source of tension for a particular romance, then that character has as much depth and appeal as a speed-bump. Since we want to inspire love and not road rage, it’s important to have a focused approach.

With this in mind, here are Jack Fisher’s four key tips for making a good love triangle.

1. Make sure the emotions between all parties involved are balanced.

Let’s face it. Lopsided victories are boring. Would a Rocky movie be entertaining if Rocky Balboa got his ass kicked in every fight? Even if you’re going to have a Biff Tanner somewhere in this story, make sure there’s some meaningful depth to the emotions involved here.

This applies to romances involving two men and one woman, two women and one man, or multiple men and multiple women of various sexual orientations. It’s vital, regardless of which body parts are involved. The emotions with everyone involved should be sincere. The people in the love triangle can’t just be attracted to one another. They have to have real, genuine passion for one another. If it’s not genuine, then it’s just creepy and misguided. Look at Wolverine in the X-men movies for proof of how bad this can get.

2. As a plot, a love triangle must be a secondary plot at most.

This isn’t as easy as it seems. I’ve noticed this in reading other romance stories and trying to craft my own. Whenever a love triangle enters the picture, it often comes to dominate the underlying plot of the story, so much so that it derails whatever major plot came before it.

I’ve seen this happen in fan fiction, comic books, animes, and erotic thrillers. The tension within a love triangle tends to consume the story, becoming one big distraction that keeps the audience from getting too engaged. That’s why a love triangle must always be, except in the rarest of cases, be a secondary plot.

This is challenging, but it is possible. Books like The Hunger Games and TV shows like True Blood (at least the first few seasons) are able to do this in a meaningful way. If done right, it can make stars out of Jennifer Lawrence and Anna Paquin superstars.

3. Don’t force the emotions. Let them manifest naturally.

This is actually easier than it sounds, but it can be tedious. I know this because I found myself taking a lot of extra steps when writing my book, Holiday Heat. That entire story is structured around a pseudo-love triangle of sorts, but no vampires are involved and there’s nobody resembling Biff Tanner. As such, I needed to add a few extra steps to develop the characters so that their emotions made sense.

This is critical because if a romance feels forced, then you’ll make the same mistake that Chris Claremont and the X-men movies made with Wolverine, essentially forcing emotions into a character for all the wrong reasons. If any character is going to have any genuine passion for another, it can’t just be for the hell of it.

4. The end result of a love triangle must be satisfying to all sides

This may sound hypocritical coming from an erotica writer, but try to make sure nobody gets screwed over too badly. This is what happened to X-men. This is what happened to Twilight. This is what happens with almost every bad love triangle. One character gets horribly screwed over and unless that character is a Biff Tanner type, it’s not going to be satisfying to the audience.

Most human beings who don’t have personality disorders tend to have an innate sense of justice. When we see injustice play out in the fictional world, it tends to upset us, just as it does when it occurs in the real world. So if there’s a character in a love triangle who doesn’t win the heart of his or her lover and gets unceremoniously cast off, then that’s not going to be satisfying. That’s going to be the literary equivalent of a dick move.

Again, this requires a bit of extra work. It means crafting a more complex plot wherein all parties involved achieve some kind of satisfying resolution to the emotional upheavals. It doesn’t always have to mean finding another love or forcing some other character to fill the void. Sometimes, it requires some extra layers to a plot, but it’s worth the effort if we, the audience, feel that everyone ends up satisfied on some level. It’s kind of sexy when you think about it.

So there you have it. Those our my four tips for making love triangles that don’t suck. I hope to employ them to some degree as I write more romance and erotica. I hope others can make use of them as well. This world has enough terrible love triangles. Let’s not create more. After Twilight, I think our civilization has had enough.

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Cyclops, Jean Grey, and Wolverine in the X-men: The Worst Love Triangle of All Time

I’m not a successful writer yet. I’m not certain that I’m an overly skilled writer either. However, as someone who has been writing almost every day since he was 15-years-old, I like to think I know something about this topic. As such, I’m of the opinion that any overly bizarre or frustratingly inane plot can work if written well. With enough skill, a writer can make a story about snake handler hooking up with an alien compelling.

Then, there are certain plots that are so poorly structured, so inherently weak, and so intrinsically flawed that the combined efforts of Shakespeare, Tolken, and Faulkner can’t save it. For me, that plot is that of the love triangle. I even dedicated an entire post about why I think it’s one of the most overused, poorly written plot devices in all of romance.

I avoided getting into specifics in that post because I wanted to focus on the bigger picture as to why love triangles as a concept suck in general. For this post, I’m going to reach deep into the steaming pile of shit that countless stories featuring bad love triangles have excreted over the years and discuss the worst of the worst.

So which love triangle is the worst among the vast mountain of shit that occupies such a prominent position in popular culture? In this case, the worst comes from the world of X-men and involves the characters Cyclops, Jean Grey, and Wolverine.

For the sake of this blog, it’s very convenient that the absolute bottom of the pit that is terrible love triangles takes place in the world of superhero comics. This is, after all, a topic that’s near and dear to my heart. I’ve made my love of superhero comics known on this blog before. I will likely cite superhero comics again in future posts as I discuss similar issues. In this case, however, it really is an issue of pragmatism because I really could not find a worse example of a bad love triangle than this one.

What makes it so mind-numbingly terrible? Well, to answer that, here’s a quick rundown of the structure of this worst-of-the-worst brand of romantic drama. Cyclops and Jean Grey are founding members of the X-men. They were among the original X-men that were first introduced in 1963 by the ultimate creative dynamic duo, Stan Lee and Jack Kirby. They’re also, by far, one of the most iconic couples in the history of X-men, if not all of superhero comics.

Wolverine didn’t enter the picture until later. He doesn’t join the X-men until 1975, which is a while after he makes his first appearance as a supporting character in The Incredible Hulk. As the X-men’s resident bad boy, he’s basically the opposite of Cyclops. He’s brutish, crude, ill-mannered, quick-tempered, and bad-ass to an insane degree. So naturally, he pulls in a lot of ass. There’s actually a chart documenting Wolverine’s many romantic entanglements and it’s even more confusing/impressive than it looks.

So the very idea of Jean Grey falling in love with him while being in love with Cyclops is akin to a man being in love with both a nun and a crack whore. However, that discrepancy alone isn’t what makes this love triangle so horrendously bad. It’s all the circumstances surrounding it that make it the poster child for everything that sucks about love triangles.

First and foremost, the entire reason why Jean Grey developed an attraction to Wolverine in the first place is ridiculously contrived. X-men writer, Chris Claremont (also known as the most prolific X-men writer ever), indicated in numerous interviews that the attraction between them was extremely shallow.

“He sees Jean, Jean sees him, hormones kick in, the rational brain checks into the Happy Hour hotel, and everyone else runs for cover.”

There’s nothing wrong with basic attraction. That’s the sort of thing men feel whenever they see an attractive stripper or the sort of thing women feel when they see Channing Tatum without his shirt on. It’s a good setup for a one night stand. It’s not a good foundation for a meaningful romance, which is the only thing that makes a love triangle functional to some degree.

That never happens in X-men and for a very bad reason. Due to editorial decisions within the X-men comics that are too convoluted for a single blog post, Claremont soured on Cyclops as a character and openly despised his relationship with Jean Grey, despite having done more than any other X-men writer to solidify their status as the premier romance of the X-men. So what does he do? He tries everything he can to break them up and had editors not thwarted him in 1991, he would’ve succeeded.

That’s the entire reason that this love triangle exists. A writer grew to despise a certain character and decided to punish them by making his girlfriend fall for someone who is the exact opposite of him. Think about that long and hard for more than 15 seconds. Seriously, think about it as rationally as any human mind can manage on topics involving fictional characters.

Are you done? Then, I hope you can now see just how flawed that reasoning is. The writer hates one character and uses that as the sole justification for an entirely separate relationship between two characters who have next to nothing in common. That’s akin to loving soccer just because you hate American football. It’s a bad reason to love a sport and a worse reason for a love triangle.

In my post about why love triangles suck, I pointed out that they tend to devalue characters. It turns them into prizes to be won. It tends to override other meaningful traits a character may have. For Wolverine, it turns him from this bad-ass loner into an obsessive, petty asshat. That’s the trait of an insecure teenager, not a bad-ass loner.

The effect is just as bad on Jean Grey, who effectively becomes the ultimate prize of sorts for Cyclops and Wolverine. This is pretty insulting to her character because Jean Grey does so much to set herself apart as a strong female character from an era where the concept hadn’t been refined yet. She is the center of the Dark Phoenix Saga, also known as the greatest X-men story ever written. Reducing her to a prize for two men undermines a character with so much more to offer.

The comics do a terrible job setting up this love triangle, which the writer himself admits was created for petty reasons. However, it’s the way it plays out in the X-men movies that make this love triangle truly the worst of the worst.

How can the movies actually make this worse? Well, somehow they found a way. To this day, I have a hard time believing that the writers at Fox didn’t actively try to make this love triangle worse than it already was. What they came up with still confounds me, both as a writer and an X-men fan.

Anyone who has seen any of the X-men movies knows that most of them are structured around Wolverine. That’s entirely fair. He’s the most popular X-men character of all time and he’s played by Hugh Jackman. In case you’ve forgotten, Hugh Jackman looks like this.

I’m not gay, but even I think he’s sexy. Naturally, he’s going to have a love interest. A man this sexy has to have one. The problem is, the writers of this movie don’t realize how terrible the love triangle is with him, Cyclops, and Jean Grey in the comics. That, or they see it and think they have a way to make it worse.

First and foremost, they gave no reason for Jean Grey and Wolverine to be attracted to one another. Hell, he tries to stab her when he first wakes up at the Xavier Institute in the first X-men movie. That alone should ensure her panties stay dry around him for the entire trilogy. Instead, the chemistry between them is outright forced.

It has to be because these two never really have a meaningful conversation. They never really get to know each other. They’re just physically attracted to one another and the only reason they don’t bone is because Jean Grey is engaged to Cyclops. As a result, Cyclops is reduced to the role of being an obstacle to Wolverine. That’s pretty much his only role in the first three X-men movies, being a hindrance to Wolverine getting into Jean Grey’s panties.

There isn’t even an effort to balance things out. Cyclops is portrayed as someone who’s not nearly as badass as Wolverine, but he’s still respectable and likable to an excessive degree. He helps save Wolverine the first time they meet. He offers to shake his hand, which Wolverine flat out refuses. He never gets overly upset with Jean about her being attracted to another man. He’s bland, but likable.

If anything, Wolverine does everything he can to make himself the asshole you don’t want Jean to end up with. He steals Cyclops’ motorcycle. He steals Cyclops’ car. When he dies in the third X-men movie, he doesn’t give a second thought to making out with his girlfriend. He does this after he tells Cyclops earlier that she chose him at the end of the previous movie. He couldn’t come off as more of an asshole without pissing on Cyclops’ grave and stealing Jean Grey’s panties.

As bad as this is, it actually gets worse. At least in the comics, Wolverine actually knows Jean Grey as a person to some extent. He’s worked with her. He’s been on the same team as her. He’s lived under the same roof as her. Chances are he knows how she takes her coffee, what she watches on TV, and what her favorite brand of cereal is. In the movies, he knows none of this.

I’ve seen all these movies and based on the sequence of events and the time that passes between them, it’s clear that Wolverine didn’t know Jean Grey for more than a few days at most. He leaves at the end of the first movie. Jean Grey dies shortly after he returns in the second movie. There’s never any indication that they remained in contact. There’s no hint of tortured love letters, long phone calls, or dick pics being exchanged. They literally have no time to get to know one another.

That’s what makes the events of the third X-men movie all the more infuriating. Towards the end of the movie, Wolverine professes his love for Jean Grey before he kills her, at her request. Never mind the fact that this is the exact opposite of what happens in the comics. He proclaims her to be the love of his life despite the fact he doesn’t even know her. He doesn’t know her hopes, her dreams, or even her middle name. So how are we, the audience, supposed to believe that this love is genuine?

It ruins Jean Grey, as a character. It makes her nothing more than a prop for Wolverine. She’s not just the prize he pursues. She’s the only reason he has any emotional development. The fact that he barely knows her makes his affection for her all the more shallow. On top of that, it reduces Wolverine to this mopey pretty-boy instead of the bad-ass loner he’s supposed to be. He’s supposed to be Wolverine and not this guy.

The combined efforts of the movies and the comics ensure that the Cyclops/Jean Grey/Wolverine love triangle is the alpha and omega of terrible love triangles. It’s a horrendous plot that still plagues the characters to this day.

The biggest tragedy is that the Cyclops/Jean relationship has been shown to function well as a meaningful romance. Just this past month, there was an entire issue dedicated to showing how these two are a romance of equals who can make each other better, just like a good romance is supposed to. Good love stories don’t need a love triangle to develop, grow, and thrive. They just need some actual effort and a basic understanding of what makes a relationship work.

As an aspiring writer who hopes to encourage other aspiring writers, I would only cite the Cyclops/Jean Grey/Wolverine love triangle as a case study in what not to do. There are few ways in which a love triangle can actually work in a romance story. None of those ways are used in this case. In fact, some of those ways are turned upside down, inside out, and gutted.

Quality romance and quality characters, be they superheroes or ordinary people, deserve better. In the same way it’s almost impossible to make a quality meal with bad ingredients, it’s almost impossible to craft a quality love story around a love triangle. The convoluted, misguided clusterfuck that is Cyclops/Jean Grey/Wolverine is just a tragic testament to how bad it can get.

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Love Triangles and Why 95 Percent of them Suck

He loves her. She loves somebody else. That somebody else doesn’t love her back. Somebody’s heart gets broken. Somebody kisses somebody in some exceedingly overdue moment. We’re then left with an ending that satisfies some, outrages others, and confounds many.

I just described the most basic formula for a love triangle, also known as one of the oldest, most predictable tactics in all romantic narratives. It’s right up there with the classic will-they-or-won’t-they narrative that Ross and Rachel drew out for way too long over multiple seasons of Friends. As an aspiring writer who specializes in romance and erotica, I can’t ignore its presence so let’s talk about it.

First off, let me acknowledge that love triangles have their place in popular culture. I understand that they’re part of a tried and true formula in romance that goes back to a time when our ancestors were washing their hand in cow piss and calling it hygienic. They tap into a powerful set of emotions in all of us. Unless you’re born rich or have the body of Ryan Gosling, you know what it feels like to see someone you love choose someone else. That said, they can tap into more annoying emotions and that’s what I’m going to focus on.

As anyone who hasn’t slept through English class knows, love triangles have been part of some of the most iconic stories in history. The most famous is probably the one that plays out in the legends of King Arthur. That affair involved King Arthur, his wife Guenivere, and the perpetually friend-zoned Sir Lancelot. That love triangle is a small, but important component of that whole mythos and it did not take away from it in any way.

Flash forward 800 years, throw in reality TV and vampires, and the whole concept of the love triangle has been overdone, over-used, and twisted to a point where it’s more of an annoyance than a plot device. At its worst, it derails the larger story that’s supposed to be unfolding. We all know the kinds of stories I’m talking about here. Do I really need to remind anybody of this?

I’ll try to limit my references to vampires in this post, but they symbolize just how bad love triangles can get. From a writer’s perspective (and I am trying to be a writer, mind you), it often narrows the narrative considerably. It immediately ascribes roles to certain characters that limits their development. When a character’s sole purpose is defined by who they want to bone and who is standing in their way, that effectively overrides every other trait of that character.

It plays out in way too many ways in every kind of media. Characters like Spike in Buffy the Vampire Slayer dedicated 90 percent of their energy towards winning someone else’s heart. The same thing plays out in books like The Hunger Games, movies like Tron, and even video games like Final Fantasy. Think of any form of media, new or old. At some point in the past or at some point in the future, a love triangle will infect it and its characters.

This doesn’t even begin to touch on the extent to which love triangles permeate comic books. As some of you already know, I love comic books and I’ve crafted entire posts about them. If there’s one non-vampire medium that abuses love triangles more than most, it’s definitely comic books. I’d love to get into specifics, but rather than risk derailing this entire post into a personalized rant from a message board, I’ll save that for another discussion.

Why do these stories persist? Well, as I said earlier, they do tap into some very basic emotions that are fairly universal across cultures. With this appeal in mind, maybe we should ask another question. Why do these stories about love triangles have to be so god-awful?

The biggest problem, in my opinion, stems from another problem that seems to be ingrained in our culture to some extent. When we tell love stories, we have this ideal in mind. One person finds their absolute soul mate. That soul mate is 100 percent in love with them and returns 100 percent of their affections. That’s all well and good in terms of romance. I certainly have a soft spot for those kinds of fluffy romances. I think those of us without personality disorders all have some affinity for those kinds of stories.

It’s that same affinity, though, that makes love triangles so untenable. A love triangle is often used as an obstacle. It’s a wedge designed to prevent two lovers from coming together. It can make for a good story, but it also comes at the expense of another character along the way.

Sometimes that works because the character in question is a total asshole. There’s no effort to make Biff Tanner in Back to the Future on equal footing with George McFly. He’s supposed to be an asshole. The problem comes when we want that character to develop dimensions other than being an asshole and that can be a problem.

The way a love triangle works essentially makes it so there’s always one character that gets screwed over and not in a good way. Someone is going to have their heart broken. Someone is going to come off as the loser and the bad guy. In some cases, as we see in Back to the Future, it works out in a way that’s satisfying. In others, especially in vampire-themed stories, it turns the character in to a sacrificial lamb of sorts. It means they never get a chance to stand on their own and show that they have worth.

I find that kind of approach troubling because it throws away opportunities to create quality characters. It also ensures that the character that loses is going to be flat, boring, and dull. If it’s a male character, he’s some sort of bad boy, Dirty Harry wannabe who just needs the right nudge to being a full-blown asshole. If it’s a female character, she’s some sort of Mean Girls uber-bitch who generates as much sympathy as a hungry shark.

That makes the outcome of the love triangle fairly predictable. Before it even has a chance to get sexy, we already have a pretty good idea of how it’s going to play out. The nice guy/nice girl is going to win. That’s all well and good in that it plays into our innate sense of justice, but it doesn’t make for very good stories.

It’s for this reason that I’ve generally tried to avoid using love triangles in my books. The closest I ever came was “Skin Deep” and even in that, I made a concerted effort to give each side sufficient depth. I’ll let those who take the time to read the book to decide whether I did a good enough job, but I think love triangles in general need to be either retired or overhauled.

How do we go about that? Well, I have a few ideas. I’m not going to share them just yet because I want to turn them into books first. I believe this is an idea that can sell if done right. If I can’t sell it, then I hope others figure out a way as well. A bad love triangle is the easiest way to turn quality characters into trophies/obstacles. It turns women into prizes to be won, men into powerless tools of their passions, and everyone else into overly emotional vampires. I think we can do better.

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The Rise (and Necessary Fall) of the Beta Male

Over the course of the past couple decades, which are the primary decades in which I’ve lived my adult life, I’ve noticed a trend in popular culture. I think others have noticed it as well. I see it in novels, TV shows, cartoons, comics, and movies. It doesn’t matter if the themes are erotic or romantic. It shows up everywhere. More specifically, they show up everywhere. Who are they? I’m talking about beta males.

Let’s face it. Whether we admit it or not, we all know the traits of an alpha male. We know because those traits show up in pretty much every story that needs a villain. They’re aggressive, tough, angry, mean, self-centered, self-absorbed, and self-centered. They are bullies, plain and simple. Look at Biff Tanner from the “Back to the Future” movies. He’s basically the template of the alpha male.

Why is this an issue? It’s simple. We hate the alpha male. More often than not, he is the least likable character in a story. Never mind that these are traits associated only with men and never women. They are the enemies. They are the villains. They are the ones we’re supposed to root against, even if they’re the ones we turn to for protection and strength in the real world.

Enter the beta male, the lovable underdog who is everything the alpha male is not. He’s sweet, he’s sensitive, he’s caring, and above all, he’s emphatic. In other words, he’s basically a stereotypical woman.

In many respects, he’s an affront to both men and women. He is the antithesis of masculinity and symbolic of all the weaker traits we associate with women. It’s almost as if popular culture can’t stand the idea of men being tough without being assholes. It demeans both genders when you think about it.

So how did we get here? Well, that’s hard to say and probably something that requires multiple blog posts. I suspect it comes from our innate desire to root for the underdog or the unspoken acknowledgment that most men don’t possess the traits of an alpha male, which in turn makes us jealous. I can look into that later. For now, I’m talking about the beta male and why he matters.

There’s no dictionary definition for a beta male. We define him basically as what an alpha male is not. That’s not a good definition, defining something solely by what it isn’t. Urban Dictionary isn’t exactly a definitive site, but it does offer some interesting takes.

An unremarkable, careful man who avoids risk and confrontation. Beta males lack the physical presence, charisma and confidence of the Alpha male.

That’s a short and simple definition. Then, there are those favored by radical feminist and extremely liberal types.

A man who is content with nontraditional gender roles; i.e., he is not threatened by intelligent and/or powerful women, and he does not have to be in control of every situation to maintain his sense of self. (Frequently, he does manifest a quiet kind of confidence and control over his surroundings, but it’s not important to him that this is noticed by others.)

A beta male is often introverted, intelligent, and introspective. Though he may have been branded a “nerd” growing up, the adult beta is frequently a thoughtful, capable, and fascinating individual whom many women find appealing.

Then, there’s the opposite side of that coin.

To be a bitch like male.

In many respects, the beta male embodies the agenda of whatever someone or some line of thinking wants. If feminists want the beta male to be their ideal template for men, then that’s what he’ll be. If liberals want the beta male to be the superior, enlightened, understanding men who embody their ideals, that’s what he’ll be. The beta male is basically the universal tool for those looking to play into stereotypes for their protagonists.

There are already plenty of them. There’s Ross from “Friends.” There’s George from “Seinfeld.” There’s Peter Parker from “Spider-Man.” There’s the entire cast of “The Big Bang Theory.” There are even movies built entirely around this concept, my personal favorite being “She’s Out of My League.”

In every case, the story is the same. The weaker beta male is the underdog who never gets a break. Then, through some magical thinking and obscene luck, they win the day against the odds. It can be a good story and it makes for a nice fantasy, but that is what it is at the end of the day: a fantasy.

In real life, we don’t want beta males running everything. We don’t want beta males being our police officers, our fire fighters, or our star athletes. We want alpha males for those jobs.

When we look for a spouse or a lover, we tend not to favor those who we constantly have to coddle and protect. We want someone who will at least be our equal. We want someone who makes us stronger or at least can stand by our side on the same playing field.

So in a sense, our sentiment towards the beta male is downright schizophrenic. We love them in movie, but we discount them in real life. In real life, we see alpha males still dominating in terms of success. They get more attention, more sex, and more opportunity. Can this kind of discrepancy last? I say it can’t.

Reality, being the frustrating force that it is, tends to chip away at false fantasies in the long run. The cult of the beta male cannot last. There are only so many times we can watch Peter Parker get dumped or Ross from “Friends” get rejected. At some point, it stops being entertaining and we seek something else.

I say this as someone who has, to an extent, used beta male characteristics in my own stories. My book, “Skin Deep,” gives the main protagonist, Ben Prescott, a few beta male traits. It also gives his main rival, Zachery Crenshaw, a number of stereotypical alpha male traits. In this story, I stop short of making them too flat. I do make a conscious effort to balance them out. I like to think I succeed more than a typical episode of “The Big Bang Theory.” However, it’s a skill I’m still trying to refine.

In my other stories, I try to avoid too many beta males. I’ve actually noticed that erotic fiction in general tends to avoid beta males. Even in BDSM stories, they favor alpha male traits for both men and women alike. The success of “50 Shades of Grey” is a sign that there is a market for these kinds of characters. I hope to contribute to that market with future books, as well as my current books.

So for those who are as sick of beta males as me, check out my books or look back on the beta males in previous stories. Yes, that’s a shameless promotion of my own work. Yes, it’s entirely self-serving. However, it’s not something you’d expect of a beta male, would you? I rest my case.

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A Relationship of Equals: An Unexpected Example From An X-men Comic

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This past week, I’ve been writing my thoughts about strong female characters and evolving trends in our concept of romance. I think these are thoughts worth sharing because popular culture is always evolving. Our tastes in stories, characters, and romance changes from person to person, from generation to generation, and from culture to culture. I’ve already seen plenty of changes in my lifetime. I expect to see plenty more, especially as I work on my own love stories.

One of the points I made in my article about doomed romances involves the flaws in dynamics of such romances. When one person, be it male or female, is unequal in terms of sacrifice and input, then that’s typically an obstacle that’s difficult to overcome. When a relationship is between equals, then the romance between them makes both characters stronger. That’s the kind of romance I’m hoping to create with one of my future books. As such, it’s important to take note of promising examples. Low and behold, I found one yesterday.

As I’ve already stated before on this blog, I’m a huge comic book fans. Some of my early exposure to love stories came from famous comic book romances. Among those romances are Cyclops and Jean Grey, two of the most prominent members of the X-men. I always had a soft spot for them. Their love story is among one of the most epic (and convoluted) in the history of comics, stretching all the way back to 1963 and involving multiple deaths along the way (long story).

Like many romances that began in different eras, it didn’t always make both sides equal. However, I would argue that the relationship of Cyclops and Jean Grey was far more equal than those of classic superhero romances like Superman and Lois Lane or Spider-Man and Mary Jane. Unlike those romances, Cyclops and Jean Grey are both superheroes on the same team. They both have superpowers and a superhero identity. On paper, they should be equals. In practice, however, it often led to tiresome tropes. A lot of them centered around Jean Grey fainting and needing to be rescued a lot. Case and point, here’s a clip from the famous X-men animated cartoon in the 90s.

Make no mistake. That happened A LOT. Jean Grey seemed to faint way too often in this cartoon. Things got slightly better for her in the X-men movies, but until her role in this years X-men: Apocalypse, she was largely relegated to being a prize for Cyclops and Wolverine to fight over. It’s a major reason why this romance isn’t quite as celebrated as other major comic book romances and I say it’s a valid reason.

So imagine my surprise when I picked up my comics yesterday and came across X-men 92 #5. In this issue, we catch up with Cyclops and Jean Grey, who are now retired from the X-men and trying to build a life as two normal, healthy lovers. Despite terrible tastes in sweaters, their efforts yield mixed results as superheroes rarely stay retired.

However, it’s not that Cyclops and Jean Grey end up having to don their superhero costumes again that strikes me about this issue. It’s how utterly refined their relationship dynamics are here. Remember that clip I linked to earlier with Jean Grey fainting? That doesn’t happen here. Not once. Anyone who watched all 76 episodes of the X-men cartoon in the 90s can probably appreciate how big a deal that is.

Instead, the comic does something special with these two, something that I actually don’t see very often in comics these days. It shows Cyclops and Jean Grey as two lovers, being superheroes on an equal playing field. At no point do they end up having to save one another. At no point do they undermine or frustrate one another. Every step of the way, they support and complement each other.

That’s not to say there aren’t some disagreements. Cyclops is initially mistrustful of some of the allies they come across, which is perfectly in line with his character, but Jean Grey vouches for them and he trusts in her. He trusts her as anyone should trust their lover and it pays off. He supports her. She supports him. It’s a beautiful thing that shows a relationship actually functioning.

This is something that pop culture overlooks and for good reason. The narrative of how two people fall in love or how two people fall out of love is often more dramatic. However, it’s a story that gets told and retold too often and in too many different forms these days. Rarely do we get a story that shows two lovers actually functioning together on an equal playing field. That’s what makes X-men 92 #5 so astonishing. It uses the romance to complement the story rather than drive it.

This is an important insight and one that I definitely want to take note of for my own work. As I said before, I do have a few projects in mind that rely on relationships between equals. I want to use strong male and female characters who don’t have to rely too much on overplayed tropes because I want my work to stand out. I can’t do that if I tell the same kind of story that people have read a million times before in various forms. So comics like this are vital tools for writers like me.

For others seeking different kinds of love stories, I strongly recommend X-men 92 #5. It offers a different take on an under-appreciated, and often underrated, relationship between two iconic characters. I hope we see more stories like this in comics, as well as movies, books, and TV shows. I think the time is right for this kind of romance to take hold.

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Video Game Romances – Beyond Princesses and Pac-Man

There are a lot of mediums to tell stories these days. Sure, there will always be a place for books, but media is a lot more complex. I’m not just talking about TV and movies either. I’m sure that with the success of Pokemon GO, someone is trying to use AR and smartphones to make a love story. However, there is one medium that has influenced me more than most and it’s not one people usually associate with love stories. Yes, I’m talking about video games.

First off, I’m not just talking about Mario rescuing Princess Peach. That’s romance at its most basic, overly Disney-like levels. In Mario’s defense, there weren’t many ways to tell meaningful stories in the 8-bit days. That changed as gaming technology improved. Now, video games can tell stories every bit as intricate as any big budget movie. The difference here is that the audience can control the direction of that romance. That makes people more engaged in the development of this romance, as opposed to watching it unfold on a movie screen or seeing it unfold in the pages of a book. Make no mistake. That can be pretty powerful.

Having played a lot of video games as a kid, I can vividly remember the first video game romance that really struck me. It’s this one:

That’s Tidus and Yuna from a video game called Final Fantasy X. It’s a game I didn’t play for the romance. I played it because at the time, I was really into RPG style games. I knew this game had a story. I even knew it had some romantic elements to it, as plenty of other games had. What I didn’t know was how deeply the romance in this game would strike me.

Without getting into the long, convoluted story, which would take no fewer than 15 blog posts to do justice, I’ll just say that by playing this game, you put yourself in a position to grow attached to each character. You’re the one that helps them grow and moves them along in their story. You have a say in terms of the pace and efficiency with which they move. So when two characters develop a strong romance, it does have an emotional impact.

For me, the biggest impact came at the end of the game. Without throwing too many spoilers into the mix, I’ll just say that it’s the first time I ever got genuinely emotional at the end of a game. I remember feeling a lump in my throat when I watched the final cutscene. I just sat there holding my controller, my mouth hung open in amazement. Did it really happen? Did I really get this attached to these characters? Short answer: yes, I did.

Playing Final Fantasy X didn’t just influence my taste in video games. It helped shape my tastes in romance for years to come. Other games built on what Final Fantasy X established, at least for me. Games like Mass Effect and Dragon Age actually allow players to choose which romantic partner they want to pursue. It doesn’t even have to be male/female. It can be a same-sex romance as well. It can even be between a human an an alien. That’s how much video games have progressed these days.

It’s a level of engagement that cannot be matched in a book, but it does offer an important lesson. It shows that when there’s an emotional and personal investment in a romance, it has a much stronger impact. The strength of any love story, be it a Shakespearean play or a game of Super Mario Brothers, is the impact it has.

That’s the biggest challenge I have with my stories, creating a romance that has that impact. I like to think books like “Skin Deep” create an engaging romance that gets people worked up, but I know there’s room for improvement. My upcoming book, “Embers of Eros,” is my most ambitious effort at such a romance. However, it’s still at the mercy of Crimson Frost Publishing, who continue to delay its release.

I will continue to make more effort at these romances in future books. For now, there’s plenty of other romance to explore, including games. So while I wait to tell my story, here’s a nice article from Complex.com about realistic video game romances.

The 25 Most Realistic Video Game Romances

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