A picturesque white family who all love eachother very much. Not a touch of animousity between them, no scandal - just a great relationship across the board.
All of the children grow up to be successful and call their parents every three days, and are deeply Christian. They have beautiful get togethers and each generation has 5-8 kids, just because. Why not! They are the envy of the town, if not beloved by the community.
An angry, piss stench feminist sneers - but they all smile their big smiles and wave! AH but Billy's getting to be that age and develops a crush on the girl; and soon enough, she becomes one of the family and very happy. They later get married and have many children. All of her most self-aggrandizing anti-natalist feminist sentiments (and really, really study their ideas and get her to be the pinnacle of feminist rhetoric) get brushed under the rug as a phase. Make her a loving mother.
Set it in the 50s too. Hell maybe even do a reverse Pleasantville where the Current Year people go back and realize holy shit this is way better and people were legit happier when they were "oppressed".
Haha whistling that Andy Griffith Show tune and everything
I guess the moral would be that you can be happy anywhere and with anything, and that "liberation" doesn't liberate you from a whole hell of a lot - you can juxtapose all kinds of truthisms and sophistries around eachother as to why you're the most oppressed creature that ever was and why you should rule/henpeck everyone from the safety of your perch of entitlement, it doesn't liberate you from yourself. If she got what she initially wanted she'd be miserable and she'd live a life making everyone else miserable.
I think the main thing is consistency. If you know the way things are and can be reasonably certain they will stay that way you can find your niche and work to improve yourself within those constraints. When things keep changing that becomes very difficult.
No one alive in the West has seen anything resembling consistency. What they are taught as a child is "good" is fundamentally different to what is "good" 30, 60, and 90 years later. That is probably one of the very few common denominators all of us here have: we were taught certain values when we were children that today is a complete 180 (and if you're on the older side maybe you've experienced this more than once) to what are taught now, and we're all sitting here trying to make sense of how the hell that could have happened and why no one else seems to have a problem with that.
In that case, I'd go rape scene, then have the character start enjoying being raped, then portray the rape as having been a positive thing in the later half of the book.
It'd be tricky to do well, but it would certainly be offensive.
1, it has to be a woman being raped,
2, the rapist can't be a hot [vampire/millionaire/whatever]
You have Joe the alcoholic plumber rape her, then you have the gall to write Joe as a sympathetic character struggling with his own demons and not an irredeemable monster.
Remember, to a feminist, the difference between sexual assault (which is worse than literally killing someone in their minds) and flirting is how hot the guy doing it is.
You write your strong female protagonist as an actually strong character, who has mixed and complex feelings about being raped, and finds a serious disconnect between her own experiences and and those of "Rape Victims" who portray it as being an indescribable horror, and not rough sex and mild physical assault.
It's a balancing act for sure, but I think that if you can do it right it could work. A lot of it comes down to how well developed the characters are.
Space Marines raping and genociding "BlAcK-CoDeD" aliens isn't really that offensive if everyone involved is a cardboard cutout. But a well written sympathetic rapist and a similarly well written female character who is not traumatized by her rape but instead finds her perspective altered and opportunities for personal growth, provides opportunities for genuinely quality writing, and will make feminists seeth.
Of course you have to avoid making it erotic. 50-shades gets slagged on, but the fact that it turns women on protects it to a degree.
I don't know anything about your writing style, but it seems to me that the trick to make something offensive is to create something well written and enjoyable to a certain small segment of the audience for exposure, but to include ideas that are Heterodox on a fundamental level to the ideology of the people you are trying to offend.
Someone takes offense to a politically incorrect statement, and the person who said it decides to quadruple down on offending them. And isn't punished for it.
Not so much one scene as a sequence of events. First, you present Earth as a dystopian hellhole, on the verge of complete and utter collapse and have men flee this dying world that is beyond saving. Within the first few pages, it rapidly becomes apparent the reasons for its doomed and irredeemable state are incredibly familiar...
After witnessing the MC's escape plans play out, you see the struggles of someone heavily damaged by Clown World as he adapts to his new life in a normal, healthy world focused on meritocracy in which concepts such as culture and civilization both exist, and are things men would want a part of. In which proper traditional values, such as extended families and a near complete lack of Jewish influence in any form are exceptionally prevalent. In which defending yourself and your people is something you are praised instead of demonized for. In which the person beside you is more likely a friend or ally instead of an enemy. In which you aren't a fucking retard for giving a shit about anything or anyone, ever.
That's the men, for females you add even more triggering value by portraying them honestly - as subversive, deceptive, roastie whores unfit for even being sex objects. Meanwhile, the native women are simply respectable people and actually would be worthy wives and mothers. This provides some measure of motivation for the migration.
After establishing the male vs female power fantasy...
Then, after seeing a bit of pride taken in his new strength and confidence, you see a return of these subversive poisons as they begin threatening those he cares for and loves. And more than that, you see the battles against this invasive evil as this new world deals with both its own problems and Clown World shit invading. Now that he has a people, you see what he will do in defense of them.
Meanwhile, while all this is going on Earth's collapse rapidly accelerates without men supporting its dead weight. This makes absolutely every agent of gynocentrism seethe, as all view men as slaves and not humans. The end result is that NPCs of all variations are triggered as they are explicitly and repeatedly named as the Enemy. Meanwhile, actual humans with souls see what happens when a noble warrior sort is on the right world.
This is the most offensive just because it triggers almost everyone, despite giving them a good deal of what they want. Women have no strength penalty - they actually are capable, but don't engage in man hating bull dykery. Real traditions are preserved - fake traditionalists are triggered by the lack of broken nuclear families instead of the CHAD extended families. Almost every non trade city is an ethnostate - Nazi LARPers are triggered anyways, both because their true gods (White females from Earth) are unfit for purpose, and because they missed the part where Nazi - everyone among their own nations and people.
Except that it isn't. At all. Earth is cucked shit and beyond saving, he escapes Earth. The new world is based, but threatened by the Clown World shit that hasn't gotten established yet, and that a healthy society resists. So instead of it being one man fighting an entire world that doesn't even want saving, it becomes a Men vs Clown World story. The focus is fighting for that which is worth fighting for now that you have it instead of mindlessly consooming and watching the world burn which is all Earth offers men. It also shows what happens when no one considers a world worth fighting for because it offers nothing but slavery and corporate consoomer shit.
A white mom and dad with their their three kids and the family dog having a backyard bbq.
If you really want to push buttons, make it 4 kids
The truth.
A picturesque white family who all love eachother very much. Not a touch of animousity between them, no scandal - just a great relationship across the board.
All of the children grow up to be successful and call their parents every three days, and are deeply Christian. They have beautiful get togethers and each generation has 5-8 kids, just because. Why not! They are the envy of the town, if not beloved by the community.
An angry, piss stench feminist sneers - but they all smile their big smiles and wave! AH but Billy's getting to be that age and develops a crush on the girl; and soon enough, she becomes one of the family and very happy. They later get married and have many children. All of her most self-aggrandizing anti-natalist feminist sentiments (and really, really study their ideas and get her to be the pinnacle of feminist rhetoric) get brushed under the rug as a phase. Make her a loving mother.
The end.
Set it in the 50s too. Hell maybe even do a reverse Pleasantville where the Current Year people go back and realize holy shit this is way better and people were legit happier when they were "oppressed".
Haha whistling that Andy Griffith Show tune and everything
I guess the moral would be that you can be happy anywhere and with anything, and that "liberation" doesn't liberate you from a whole hell of a lot - you can juxtapose all kinds of truthisms and sophistries around eachother as to why you're the most oppressed creature that ever was and why you should rule/henpeck everyone from the safety of your perch of entitlement, it doesn't liberate you from yourself. If she got what she initially wanted she'd be miserable and she'd live a life making everyone else miserable.
I think the main thing is consistency. If you know the way things are and can be reasonably certain they will stay that way you can find your niche and work to improve yourself within those constraints. When things keep changing that becomes very difficult.
No one alive in the West has seen anything resembling consistency. What they are taught as a child is "good" is fundamentally different to what is "good" 30, 60, and 90 years later. That is probably one of the very few common denominators all of us here have: we were taught certain values when we were children that today is a complete 180 (and if you're on the older side maybe you've experienced this more than once) to what are taught now, and we're all sitting here trying to make sense of how the hell that could have happened and why no one else seems to have a problem with that.
Who do you want to offend?
The audience really does matter
In that case, I'd go rape scene, then have the character start enjoying being raped, then portray the rape as having been a positive thing in the later half of the book.
It'd be tricky to do well, but it would certainly be offensive.
1, it has to be a woman being raped, 2, the rapist can't be a hot [vampire/millionaire/whatever]
You have Joe the alcoholic plumber rape her, then you have the gall to write Joe as a sympathetic character struggling with his own demons and not an irredeemable monster.
Remember, to a feminist, the difference between sexual assault (which is worse than literally killing someone in their minds) and flirting is how hot the guy doing it is.
You write your strong female protagonist as an actually strong character, who has mixed and complex feelings about being raped, and finds a serious disconnect between her own experiences and and those of "Rape Victims" who portray it as being an indescribable horror, and not rough sex and mild physical assault.
It's a balancing act for sure, but I think that if you can do it right it could work. A lot of it comes down to how well developed the characters are.
Space Marines raping and genociding "BlAcK-CoDeD" aliens isn't really that offensive if everyone involved is a cardboard cutout. But a well written sympathetic rapist and a similarly well written female character who is not traumatized by her rape but instead finds her perspective altered and opportunities for personal growth, provides opportunities for genuinely quality writing, and will make feminists seeth.
Of course you have to avoid making it erotic. 50-shades gets slagged on, but the fact that it turns women on protects it to a degree.
I don't know anything about your writing style, but it seems to me that the trick to make something offensive is to create something well written and enjoyable to a certain small segment of the audience for exposure, but to include ideas that are Heterodox on a fundamental level to the ideology of the people you are trying to offend.
Making a trans character who is mentally unstable and became trans out of their pathetic inability to face reality.
Someone takes offense to a politically incorrect statement, and the person who said it decides to quadruple down on offending them. And isn't punished for it.
Just put a big centerfold photo of your balls
I actually didn't know you had a history of futa lol. We all have our various interests...
I just thought it would be funny if in the middle of your book for no reason, you turn the page and boom there's a big picture of your balls
A page that reads...
"This chapter is available as DLC on Amazon Prime."
Not so much one scene as a sequence of events. First, you present Earth as a dystopian hellhole, on the verge of complete and utter collapse and have men flee this dying world that is beyond saving. Within the first few pages, it rapidly becomes apparent the reasons for its doomed and irredeemable state are incredibly familiar...
After witnessing the MC's escape plans play out, you see the struggles of someone heavily damaged by Clown World as he adapts to his new life in a normal, healthy world focused on meritocracy in which concepts such as culture and civilization both exist, and are things men would want a part of. In which proper traditional values, such as extended families and a near complete lack of Jewish influence in any form are exceptionally prevalent. In which defending yourself and your people is something you are praised instead of demonized for. In which the person beside you is more likely a friend or ally instead of an enemy. In which you aren't a fucking retard for giving a shit about anything or anyone, ever.
That's the men, for females you add even more triggering value by portraying them honestly - as subversive, deceptive, roastie whores unfit for even being sex objects. Meanwhile, the native women are simply respectable people and actually would be worthy wives and mothers. This provides some measure of motivation for the migration.
After establishing the male vs female power fantasy...
Then, after seeing a bit of pride taken in his new strength and confidence, you see a return of these subversive poisons as they begin threatening those he cares for and loves. And more than that, you see the battles against this invasive evil as this new world deals with both its own problems and Clown World shit invading. Now that he has a people, you see what he will do in defense of them.
Meanwhile, while all this is going on Earth's collapse rapidly accelerates without men supporting its dead weight. This makes absolutely every agent of gynocentrism seethe, as all view men as slaves and not humans. The end result is that NPCs of all variations are triggered as they are explicitly and repeatedly named as the Enemy. Meanwhile, actual humans with souls see what happens when a noble warrior sort is on the right world.
This is the most offensive just because it triggers almost everyone, despite giving them a good deal of what they want. Women have no strength penalty - they actually are capable, but don't engage in man hating bull dykery. Real traditions are preserved - fake traditionalists are triggered by the lack of broken nuclear families instead of the CHAD extended families. Almost every non trade city is an ethnostate - Nazi LARPers are triggered anyways, both because their true gods (White females from Earth) are unfit for purpose, and because they missed the part where Nazi - everyone among their own nations and people.
Except that it isn't. At all. Earth is cucked shit and beyond saving, he escapes Earth. The new world is based, but threatened by the Clown World shit that hasn't gotten established yet, and that a healthy society resists. So instead of it being one man fighting an entire world that doesn't even want saving, it becomes a Men vs Clown World story. The focus is fighting for that which is worth fighting for now that you have it instead of mindlessly consooming and watching the world burn which is all Earth offers men. It also shows what happens when no one considers a world worth fighting for because it offers nothing but slavery and corporate consoomer shit.
The parts of American Psycho that didn't make it into the movie.