Over the past few months, someone called ThePlinKingFrog has been constantly harassing me and my work; i.e., a bad actor who, apart from the usual hate speech, constantly misrepresents my book series by citing its disclaimer in bad faith. They're effectively attacking my work and reputation, defaming me for reasons I can only infer are fascist in nature. I've therefore chosen to write a small article addressing their behavior (thus the larger cultural movement it belongs to). It's not about giving them attention, but reminding everyone how annoying and perfidious fascism really is: the attacking of trans people (and other marginalities) simply for existing. We're guilty until proven innocent, waylaid by hypocrites for whom the system automatically protects from exposure.
Note: This piece is identical to its 18+ website version (minus the uncensored images), which you can access by clicking on the hyperlink to my series disclaimer, above. —Perse
For the Visually Impaired: I read this post aloud on my YouTube channel.
CW: fascism, transphobia, stalking and harassment
Concerning My Work's Educational Role: Sex Educator versus Sex Pest, and Accusations of the Latter
With fascism on the rise, I want to defend my work (and its disclaimer) from bad actors; i.e., I am a sex worker and sex educator fighting to raise awareness about sex abuse, but state proponents will say otherwise. I wanted to address that larger phenomenon, here, doing so through PKF defaming me as "sex pest" and criminal, versus the sex educator I actually am. And before anyone states the obvious, I'm fully aware they're a loner largely acting in bad faith (effectively making any engagement with them a trap, but also seemingly a waste of time). All I can do is try to raise awareness about them, then carry on with my day. Such is the life of a trans woman sex worker living under fascism! We find joy however we can; I, while investigating fascism! Fascists operate through disguise to infiltrate our communities and harm us. So while it's not technically "safe" to demask them, letting them kettle us with impunity is even more dangerous!
Disclaimer Regarding This Section and Its Contents: All opinions are my own; i.e., as part of my research, conducted alongside my book series, Gothic Communism (2023). The material within is written/speaks about public figures and popular media for purposes of education, satire, transformation and critique, hence falls under Fair Use regarding copyright and free speech regarding defamation. That being said, this section specifically concerns an anonymous stalker who has been constantly harassing me for months; re: by defaming me as sex pest, while masquerading as "activist," themselves:
(source)
I've been getting harassed online for years (re: "Those Who Walk Away," 2025), but lately by a singularly driven weirdo; re: PKF. Said person has been following me around for months, accusing me of being a groomer on everything I produce, even YouTube comments! Ignoring the weird exceptions that fascism historically allows—i.e., on a modular gradient; re: Umberto Eco; e.g., PKF attacking open Nazis online (above), but attacking me for investigating Nazis, too—the broader fascist ideology relies on DARVO and obscurantism to defend capital. So despite their grievances (actual or performative), PKF is functionally a fascist who lies to misrepresent my work, but also summarize my disclaimer in bad faith—allegedly calling me the r-slur, a "fake trans" and various other things. I say "allegedly," in those cases, because I angrily deleted some of PKF's comments on my old blog yesterday without backing them up (a rookie mistake). I do, however, have images of them repeatedly accusing me of going after kids:
If someone is abusing you, don't keep quiet; speak out—i.e., false accusations are a form of abuse intended to cause harm, specifically defamation (which can lead to physical abuse, during moral panics). The rest of this section, then, is me defending myself from my bully and fascism at large. It was written in response to PKF accusing me of being a pedophile (a common transphobic tactic used by hate criminals); i.e., in a public forum—specifically in the comments section to a community post made originally by Hannah Hussein, where I was commenting in said section about Hannah's own statements on female bodybuilding.
Please note: Hannah is someone I greatly respect, one artist to another, and none of what I write here is an attack on her. The following details are given purely for historical accuracy and context; i.e., that I was responding to Hannah on YouTube (while working with her, elsewhere), only to have my stalker butt in to defame me in front of Hannah's audience.
I shared my thoughts initially in Hannah's post, then expounded on them in a separate community post—doing so to reflect on them, thus grant further clarity to my original statements (my usual approach):
Hannah writes, "Of course bodybuilding is controversial, but it is not automatically feminist or misogynistic," which I agree with. I also agree with her statement, "My reasons for bodybuilding was never to 'rise against the patriarchy' in fact my biggest supporters in the gym have been men." That's entirely valid. Allies exist in many different spaces.
But then Hannah says, "Wanting to be muscular is not a political statement." She goes onto add, "At least it never has been for me. [...] Not everything is a battle line. Sometimes, it’s just someone choosing to live fully in their own skin." And while the second part is entirely fair to include—meaning for her to treat bodybuilding as not being a political statement—I wanted to weigh in, critiquing the first sentence; re: "Wanting to be muscular is not a political statement." Simply put, it is political, and I wish to say why.
Please note, I write about this material constantly and Hannah is someone whose work I respect. I just wanted to weigh in and provide food for thought more than anything. This is what I wrote:
Amazon/art nerd, here. I wanted to weigh in, if I might (and in good faith, of course):
As someone who studies artistic expression through the human body (especially said body as monstrous-feminine), muscularity is an extension of the self meant to elicit joy in spite of gender trouble (re: Judith Butler). Joy, in turn, is political to a performative degree; e.g., the state and its defenders will automatically want me—a trans woman—not to resist my own holocaust, but also to be miserable/constantly afraid because of what I am; i.e., as much how I perform, exist and/or create versus anything deemed "natural" by state powers. So I exist, anyways—doing so to find joy, thus spite those who want me to unironically vanish (note: fascists). "Haters gonna hate," in other words.
I think the same rebellious ontology applies to any marginalized group, including cis women historically wanting to be buff (subverting the classical Amazonian function: as masculine-feminine beings to police by patriarchal forces, male or otherwise†). As workers, our bodies serve as socio-political extensions of ourselves, including artistic expression. Art is—by its very nature—a political statement, one that comments about the speaker in relation to their environment under dialectical-material force. And while I think bodybuilders constitute literal embodiments of strength personified—of sex and force, in particular, and often with a classically warrior/militant flavor (re: Amazons)—art doesn't have to be the loudspeaker, iconoclastic kind. But in times of crisis, state proponents won't discriminate; they'll also scapegoat gentler (read: non-violent, passive) forms of political action, therefore expression (re: the Amazon being a scapegoat of the classical world, from Athens to America).
†The Amazon being a cautionary tale told to Ancient Athenian women: to avoid being like their Spartan counterparts (who weren't second-class citizens); i.e., "obey men, because fighting back is doomed to fail" (or so the argument goes).
Not to needle your argument or anything. Just that "choosing to live fully in their own skin" is, unto itself, a choice; i.e., one historically made against state forces punching down (stochastic or otherwise). To that, I suppose I'd argue how "wanting to be muscular" is an artistic statement, which has political elements to it: by virtue of simply existing under capital, such things will draw attention from defenders of the status quo. Anything challenging said quo takes on a satirical element, hence becomes a thing police forces will historically politicize to destroy (e.g., the Nazis wanting housewives to be barefoot and pregnant—a regressive, misogynistic quality shared by American reactionaries afraid of strong women, cis or otherwise).
The whole point, in me doing so, was to discuss things in good faith, and with an industry pro who makes art with her body similar to how my friends and I make art with our bodies; i.e., of an Amazonian sort, which is to say "with little or no clothes on, but plenty of cultural character that can be misogynistic or feminist." Specializing in Amazonian art and its scholarly critique, I wanted to share that knowledge with a practitioner thereof, but also her audience; i.e., that some artists use the Amazon aesthetic to help workers, while others do not. I approached Hannah while recognizing her being of the former type—someone I first encountered through her desire to discuss the value in being open about steroid use (re: "What STEROIDS Did to My Body| My real Story as a Female Bodybuilder," 2025), and whose respect for only grew when seeing her put her money where her mouth is; re: while living in her own skin: proudly sharing her Instagram on her YouTube page. Mad respect, girl!
(artist: Hannah Hussein 13)
But after I weighed in, PKF automatically and very publicly branded me a pedophile in Hannah's post; re: defaming me by accusing me of criminal behavior they know is false with the intent to harm my reputation and lessen my work (for anyone curious about the nitty-gritty of defamation, refer to my 2025 essay, "White Moderates Don't Challenge Fascism"):
(source)
Again, PKF has already been doing this for months—actually returning from harassing me repeatedly on my old blog the night before, which pushed me to finally disable comments on said blog (the vast majority having either historically been hate speech or spam; re: "Reading My Transphobic Hate Comments," 2025). At first, I thought about simply ignoring their behavior on YouTube, but that's not really my style. Instead, I have chosen to write a small response concerning their behavior—one that speaks to fascism as a whole. Here's what I wrote (originally for a YouTube community post, though I've decided to post it here, instead, because YouTube arbitrarily censors comments):
PKF: "this commenter is an actual pdf fill [sic] btw"
Me: Actually, I'm not; I'm a trans sex worker, educator and illustrator who, alongside other sex workers and educators, interrogates fascism in the media. This weirdo, ThePlinKingFrog, has been tailing me since June, leaving the same basic comment on everything I produce: that I'm a groomer. They're effectively scapegoating me for investigating fascism in, among other things, gamer culture (re: "Hot Karl," June 2025). It's DARVO argumentation, PKF defending the status quo through stochastic terrorism while discrediting the whistleblower as "terrorist."
In my opinion, PKF is a rape apologist witch hunter who simps for fascism—one who will accuse me of being a sex pest, yet falls curiously silent regarding the people and movements I'm critiquing: those who actually abuse workers (minors or otherwise); i.e., people in power who lower age of consent laws, while simultaneously attacking trans people (and other minorities) through censorship laws that "protect women and children." This is hardly a new talking point; e.g., John Jonik's political cartoon about media censorship through state mechanisms, from the early 2000s:
(source)
Beyond early-Internet media, the idea goes back to at least Mussolini, in the 1930s; re: "Fascism should more properly be called corporatism because it is the merger of state and corporate power" (source: "Mussolini on the Corporate State," 2005). Apart from official police agents, capital relies on bad-faith ground-level workers to enforce their territories; i.e., de facto cops/functional vigilantes like PKF playing witch hunter. A class traitor is a class traitor, paid or otherwise (PKF something of a toadie).
PKF's favorite talking point is that I market "one of my books towards children," thereby making me a "groomer":
Said message is from June 2025—with PKF having defamed me by saying my book is meant for readers as young as thirteen, and me having corrected them, at the time (also explaining how there has never been a "text-only" version of said book, above). Yet, they're still accusing me of pedophilia through my work, continuously misrepresenting this quote from my series disclaimer to defame me:
Note, 8/17/2025: Again, the above image is from June. Today, however, I chose to update the series disclaimer, including what I felt to be a good example of a 10-and-up sex ed book; i.e., one I've specifically written about before (re: "Artistic Nudity and Asexual Bodies," 2025).
The point of this book isn't to be obscene for its own sake, but to educate the broader public (including teenagers†) about sex-positive artwork and labor historically treated as obscene by the state [...]
†While this book was written for adults—provided to them through my age-gated website—I don't think it should be denied from curious teenagers through a supervising adult. The primary reason I say this (apart from the trauma-writing sections, which are suitably intense and grave) is that the academic material can only be simplified so far and teenagers probably won’t understand it entirely (which is fine; plenty of books are like that—take years to understand more completely). As for sexually-developing readers younger than 16 (ages 10-15), I honestly think there are far more accessible books that tackle the same basic subject matter more quickly at their reading level (e.g., It's Perfectly Normal from 1994 meant for ages 10+, above) (source).
PKF's screed is standard-issue DARVO—with book burnings and fascism going back to 1933 (for our purposes; e.g., Hammer of Witches going further back, to the late 1400s); i.e., where Nazi brownshirts burned down Magnus Hirschfeld's Institute of Sexology for "corrupting the youth." Such claims are false, but made to incite violence against education as both media and people going hand-in-hand; re: a witch hunt: "And where they burn books, they will also burn people" (source). German-Jewish writer, Heinrich Heine, wrote that statement in 1821. Over two centuries later (and nearly a century after the Holocaust), fascist apologia attacks enemies of the state in equal bad-faith; re: PKF attacking me, a trans woman—but specifically a trans educator—who writes and illustrates books about sex education, which likewise warn about fascism and police abuse harming sex workers (ergo all workers).
To conclude, the state controls sex by making people scared and ignorant of it, thus its educators; i.e., as beings to abject, pimp/whore-style. Book banning and anti-education are fascism 101—with PKF calling me pedophile while ignoring the fact that Donald Trump was good friends with convicted pedophile, Jeffery Epstein (along with various members of the ruling class). "Fascism is a false revolution," Michael Parenti argued, in Blackshirts and Reds (1997). Seemingly eager to prove this, PKF prefers punching down at me in bad faith, versus ending systemic abuse by punching up in good faith. Doing so makes PKF the very abuser they wrongfully accuse me of. We need only consider their actions; i.e., in my opinion, they are a fascist, ipso facto. They and people like them cry wolf, only to pounce on vulnerable parties like a wolf among sheep (the chosen "invader" colonizing home for the elite; e.g., bullying young women like Usagi Tsukino, whose character is saved from bullies by the Amazonian Makoto Kino, below). Do not be gentle when discrediting them; hit 'em where it hurts (their pride):
PKF and people like them act in bad faith, meaning they want to defame me on purpose while playing the victim, themselves (capital, through fascism, relies on stupid people to defend state power against worker aims and interests). There's nothing I can do to convince them otherwise. All I can do is remind good actors of the work my friends and I do (e.g., "Hailing Hellions," 2025), but also what kind of person PKF is; re: "When the Man comes around, show him your Aegis." Fascists like PFK are bad actors, hence deserve nothing more than exclusion and exposure for what they are: abusers, through and through! Silence is genocide, so speak out using what you got; i.e., show them your Aegis and watch them drop their own mask in rage (every statement they make a confession)!
(artist: Persephone van der Waard)
About the Author
Persephone van der Waard is the author of the multi-volume, non-profit book series, Sex Positivity—its art director, sole invigilator, illustrator and primary editor (the other co-writer/co-editor being Bay Ryan). Persephone has her independent PhD in Gothic poetics and ludo-Gothic BDSM (focusing partially on Metroidvania), and is a MtF trans woman, Tolkien and Amazon enthusiast, anti-fascist, atheist/Satanist, poly/pan kinkster, erotic artist/pornographer and anarcho-Communist with multiple partners. Including multiple playmates/friends and collaborators, Persephone and her many muses work/play together on Sex Positivity and on her artwork at large as a sex-positive force. That being said, she still occasionally writes reviews, Gothic analyses, and interviews for fun on her old blog (and makes YouTube videos talking about politics). To learn more about Persephone's academic/activist work and larger portfolio, go to her About the Author page. Any money Persephone earns through commissions or donations goes towards helping sex workers through the Sex Positivity project; i.e., by paying costs and funding shoots, therefore raising awareness. She takes payment on PayPal, Patreon, and CashApp, etc; all links are available on her Linktr.ee. Every bit helps!
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