#jewish coding

[writingwithcolor]

The protagonist of my story is pressured into killing, should I refrain from making her Jewish to avoid stereotyping?

@run-remi-run asks:

Hello, I'm developing a teen character living in Michigan and have been considering making her/her family Jewish; however I'm worried they'll fall into the evil Jewish person stereotype. The teen is the protagonist of her story, but she is pressured into killing at least one person. I understand that villains in media being portrayed as Jewish or with Jewish features has furthered antisemitism, and I understand my character isn't exempt from this just because I see her in a positive light. Should I refrain from making her Jewish?

This doesn't fit the stereotype

If the whole idea is that she’s pressured into doing bad things, that doesn’t fit the stereotype or trope at all because the trope has us as evil masterminds but in your scenario she’s the one being manipulated. The negative trope isn’t just “Jewish person does something bad” it’s a lot more specific than that. -Shira

Any Michigan influences?

Commenting strictly as a Michigan resident: is there any reason why you included the character’s Michigander origins in your question? Is there something about Michigan that’s influencing how you think a Jewish character might be depicted or viewed by others in your story? I’m asking not to be interrogatory, but out of curiosity and need for clarification.

–Jess

Evil Jewish person stereotype

Shira’s answer speaks directly to this and a lot more concisely, but I wanted to take a minute and go deeper into the phrase “Evil Jewish person stereotype,” for the sake of helping break down what’s actually happening and why it works the ways that it does.

There are two forces at work here, not unrelated to each other but not identical either. One is the portrayal of evil characters using tropes that suggest Jewish coding, and the other is a cultural suspicion of Jewish people’s motives and actions. They’re two sides of the same coin, perhaps, but I’d like to look at them separately, since the difference--that one refers to fictional characters and the other to actual people--matters in the context of reading and writing fiction.

Jewish coding in Villain characters

There are aspects of a character’s physical appearance that can suggest Jewishness even as we acknowledge that Jewish individuals don’t necessarily match those looks. Those might include a hooked nose, hair that is curly or red, a sallow complexion, an angular face. These attributes are not inherently bad: a text portraying them is antisemitic when these attributes are a visual signal of bad motives or are only present in bad characters and not good ones. Although not at issue here, it’s worth noting that these attributes can also raise questions in settings where all Jewish characters have them, because the flip side of these attributes being used to denote Jewishness is the erasure of Jewish people who don’t have these looks. 

 There are also aspects of a character’s personality that are repetitions of historical accusations against Jews, justifications for violence or persecution rather than reflections of genuine events. These might include greed, arrogance, bloodthirstiness, and a willingness to hurt or kill children for personal gain. These tropes have accrued over centuries in spite of the fact that every single one of them runs counter to any genuine Jewish values because ultimately, they’re not based on real-world actions by real-life Jewish people, but a product of leader after leader over time riling up their followers into dehumanizing a minority population, for the usual reasons people have for dehumanizing minority populations. 

Jewish coding in villain characters is not necessarily the same as stereotyping Jewish people as being evil. It does however support and maintain unconscious antisemitic biases. That is to say, when you meet someone who is Jewish, you’re not necessarily thinking “Mother Gothel was coded with Jewish tropes so this Jewish person probably is evil,” but if someone shows you a picture of a person with a hooked nose and curly hair and says “this person is greedy and hurts children,” exposure to Mother Gothel and other fictional villains on the same model might make you less likely to say “That doesn’t sound right.” 

Meanwhile, back in Michigan

Like Shira said, your character is not the mastermind of the murder she’s being forced into. Rather, she’s a victim of whatever character or circumstance is forcing her into it. As long as that’s apparent in your narrative, you’re not supporting an existing harmful trope or stereotype. I would treat the concept differently if this were, for instance, a dark narrative of a remorseless killer. In the current climate I would also advise against any imagery of a Jewish person of any age or agency killing a child or person of color of any kind, as that is the latest iteration of the medieval blood libel in modern times.  I would even have pause in this situation, where she’s not the author of her own act but does commit it, if she does not experience remorse or if she enjoys doing it. What matters here is her motive. 

If this character is Jewish, then that’s going to affect her approach to the incident in certain ways. While Christian and Christian-influenced secular culture regard “good” and “bad” as the ultimate thing to worry about, even at the cost of martyrdom or murder, Judaism places life as the highest value. There are very few of the laws and customs of Jewish life that one is not expected to break in order to avoid death, but one of those is murder. Now, Jewish characters make choices that aren’t perfectly consistent with Jewish law all the time, so what I’m asking is not to not write this, but to write it on purpose.

What does it do to your character?

Who is she before and after?

How many of us could truly choose to die rather than kill in her situation?

Does she own perhaps a necklace or decor item with the word “חי” on it?

What does seeing it do to her?

In what other ways does her Jewishness make her interesting and relevant as a character?

If it’s just curly hair and matzah ball soup on an otherwise Christian character, why bother. But if you’re willing to put in the time to research Jewish attitudes toward life and death and how they differ--even and especially in a teenager’s schema--from the Christian and Christian-influenced majority conception, then there’s room for an interesting narrative here. 

-Meir 

[tzipporahs-well]

Why I see the Dark Kingdom, Quirin, and Varian as Jewish:

So I promised a post or so again to expand on my Jewish Varian headcanons, and I wanted to explain my rationale for my headcanon.

Names:

Adira’s name is Hebrew: אַדִּירָה. It means “strong” or “mighty.” Notably no one else in the series has a Hebrew name except Ruth, which is a common name used more widely. Adira however is a much rarer name and i have not seen it used beyond Star Trek and Hebrew. Given this is a world in the renaissance to the late 1700s (personally, I interpret it in the late 1700s), it also means that the modern state of Israel does not exist yet. Which leads me to my next point.

The Dark Kingdom: Exile and Return

Within Tanakh, there is this major theme of exile (galut) and return as well as the “promised land.” The Latter Prophets (Isaiah, Jeremiah, and Ezekiel) expanded on this significantly. The Jewish people experienced two major exiles from the destruction of both of their Temples, something commemorated on Tisha B’av. These exiles were also preceded by environmental disasters because Hashem withdrew His protection. The land itself is described as a “land of milk and honey” and incredibly fruitful. However, in times of trouble, the land fails to yield to the Israelites and sees drought, famine, and fire.

The Dark Kingdom sees something similar. The land itself has become infested with near indestructible black rocks. Any attempt to destroy these black rocks has led to severe illness and death. Ultimately, all the kingdom’s inhabitants are forced away from their home to survive even as the black rocks spread from other people’s unwise actions (*cough* Fred *cough*). This leads to my next point.

The Parallel to Court Jews: Quirin

So Quirin’s role is very interesting. Reading between the lines, it seems that King Frederic swore Quirin to secrecy. Quirin has to communicate to the king in code when talking in front of other people about the black rocks. Even when it appears that he lied in front of his son. Quirin warns Varian to stop talking about what occurred (“That’s enough, Varian.”) which contrasts with his usual patient but exasperated behavior. This matter suggests a life or death matter and something that he could not even talk to his own family about.

There are parallels in Jewish history with this too: court Jews were a fixture in the Central Europe from the 16th century onwards (about the time period when Tangled the Series/Rapunzel’s Tangled Adventure takes place). They were in a precarious position often wearing multiple hats as banker and protector of the Jewish community. Court Jews got certain privileges in exchange for their services and wealth. Court Jews had personal relationships to the people in power usually a prince. this relationship proved very risky to many court Jews (see Joseph Suess Oppenheimer). One wrong move and the entire Jewish community could be forced to leave or less charitably, killed.

Now whether Rapunzel takes place in Central Europe is debatable. The location of the finale shot is somewhere in modern day France. However, certain parts of modern France (Alsace) were part of the Holy Roman Empire depending on the time period. A lot of names used are German/Central European or used frequently in the region: Rapunzel, Frederic, Quirin (which is only used as a Roman name otherwise according to behind the name), Mother Gothel, Edmund etc.

We see some evidence of wealth or at least past wealth in Varian’s household. First, the family lives in a castle rather than a shack or a cottage. Second, the amount of red clothing in Quirin’s household. Quirin wears a dark red shirt, Varian owns a red scarf, and his mother is seen wearing a lot of red. Red was one of the more expensive dyes with madder being the cheapest version. There is also use of furs in Varian’s coat and Quirin’s vest, which was not cheap either. However, Quirin and Varian also straddle the line with being commoners. We see Quirin farming pumpkins and they are clearly inferior to the king. In addition, Old Corona appears to be impoverished, which only worsened from the black rocks.

Jewish Values: Education and Promises

Education is a major Jewish value. We believe in questioning and wrestling with Hashem. Literacy was of major importance to us and Jewish communities often had high literacy rates often higher than the rest of the population. Part of the reason is because we’re people of the book. The other reason is because literacy and knowledge are mobile skills that can be taken with us when we got kicked out again. Varian owns many books, and we see him read and write on the regular. Books weren’t. Education expanded in Western and central Europe during the enlightenment but schooling as a system was still in its early stages. Books were expensive, yet it is likely that those who place a higher value on education would invest in such.

The idea of a promised land forms a major ideological core for Judaism because it provided hope. Hope allowed the long-suffering Jewish people as a whole to keep going even during Egyptian enslavement, massacres, and pogroms. There’s a reason Israel’s national anthem is named Hatikvah (“the hope”). Some of our biggest quarrels come from when covenants and promises are broken. Vows in the biblical era were taken extremely seriously.

Within the show, Varian emphasizes the promises that Rapunzel made but ultimately broke. It may not just “bad behavior” or massive hurt but a major breach in values. Rapunzel broke the agreement between subject and ruler: a ruler was to protect their subjects.

Appearances

Varian, Quirin, Hector, and Edmund all have dark hair. Both Quirin and Edmund have aquiline noses, which are common Mediterranean features. Corona is nowhere near the Mediterranean 🤨.

Varian’s mother also has red hair. Red hair is a polygenic trait that often occurs in a recessive fashion. That means two parents with other hair colors can carry red hair traits and pass them to their children. In the Middle Ages and the Renaissance, Jews were often believed to red hair. Judas and Shylock from the Merchant of Venice were often depicted with red hair. This stereotype has some grains of truth as certain Tanakh figures like Esau and David have red hair or are described as ruddy and red. Because most Jews especially in the premodern age married within the tribe, a lot of traits that are rarer among the general population have been seen more frequently in Jewish populations including red hair and genetic conditions.

The Ham Sandwich Paradox: Obscure Jewish Food History

But wait! What about Varian’s ham sandwiches? Ham is made of pig and pigs aren’t kosher. Therefore, they can’t be Jewish.

Ah, this is where I talk about Jewish ham. Ham made of pork is indeed not kosher at all. However, Sephardic Jews and the Jews of Italy have made “Jewish ham” and “Jewish prosciutto” since about the Renaissance era. It came from curing goose or duck, which were kosher birds. I have tasted cured duck at a restaurant, and it takes remarkably like pork. One could interpret Varian talking about pork ham but Varian doesn’t say what kind of ham and he could just as easily be referring to “Jewish ham.”

Why Jewish representation matters

Tangled the Series/Rapunzel’s Tangled Adventure is a piece of media that I wrestle with a lot. The series did a lot of great things but it and the original movie did a piss poor job at handling Jews (in the movie and series) and Romani (definitively in the series). Here I will discuss the Jewish aspect since I am Jewish, not Romani.

Mother Gothel’s character resembles the very definition of old blood libels common in Europe that “Jews kidnap gentile children (especially blondes) and use them for ritualistic purposes.” Her design was changed from gothic romantic to something more “Jewish-coded” and thus more villainous. This is very much a problem especially as we consider the rise of antisemitism. It became worse in the series when we found out that Cass was Gothel’s daughter and that Cass was abandoned in favor of kidnapping Rapunzel. Cass then became a villain because of this. Media depictions like Gothel actively harm our community by reinforcing old dangerous stereotypes. Given these strong negative representations of Jews, I wanted to dilute the pool through making positive Jewish representation. I wanted to make space for myself and other Jews within this piece of media that has harmed our community.

These hints may simply be coincidental if taken in isolation. In stringing them together, we can construct a space where Jews can be represented positively and accurately in the tangled universe.

[spottheantisemitism]

Lizards and Goblins are not neccesarily antisemitic

Jewitches overview

Jewitches already provides examples of goblins and in Tolkien as being these villanious creatures with no Jewish coding and in Shakespeare Goblins are seen more like fairies and are shown positively so off to a good start for team “Goblins aren’t always antisemitic”

Goblins in Final Fantasy

Goblins are hit or miss in Final Fantasy at least according to this summary by a mutual

they have their own culture and focus on invention and hard work which aren’t negative (if arguably positive Jew coding) but they have a faction called the Illuminati (hello new world order conspiracy) which want to take over the world and worships a machine messiah named Alexander that when awakened tries to destroy the goblins that helped wake him to create a better world. Horrified the other goblins then helps the players fight this Alexander

“The Illuminati could be seen as Christians, with Quickthinx being Jesus. Shanoa could be seen as being akin to an angel, as could possibly Alexander Prime. You could be seen as having wrestled God/a God. Or I could be completely full of shit overthinking things.

I do think there's something to be said on how data gained from Alexander and later Omega, would be combined to send G'raha to the First from the Doomed Timeline, saving you and the future”

@arandomshotinthedark remarks in last paragraphs of the above link

while that’s a fascinating analysis, I find the focus on the development of Goblin Christianity out of Goblin Judaism a bit uncomfortable and supersessionist but fascinating plot point nonetheless

Goblins in Harry Potter

Harry Potter’s goblins are greedy bankers who care only for their in-group and their goods. No matter how charitably you slice it that Griphook is just reclaiming a sacred artifact and helps the heroes he still betrays them for the artifact and his hatred of wizards and muggles is treated as his problem and not trauma or paranoia. Rowling truly believes you should shrug off oppression as her essays on house elves show

The video game Hogwarts: Legacy that was written by a literal neo nazi goes further elaborates on this by having the plot center on quelling a goblin revolt. Regardless of your actions and the revelations that the goblins were merely pawns of an evil wizard, you cannot change the way people view goblins even in the more compassionate ending and it implies the only good goblins are two who don’t fight for their rights as those movements with inevitably be corrupted by bad actors. More subtly, goblins artifacts look like judaica, notably you can recover a ceremonial ram’s horn that’s oddly like a shofar. Why a race of beings that live underground and have never kept livestock use a ram’s horn and not the silver or gold they are famed for is never explained. The only explanation is the writer wanted to mock jews

I will disagree with a common criticism of the game being blood libel as there is no child kidnapping. The ‘child’ being kidnapped is the teenage player character and you very much foil the goblins attempt to kidnap you. The fact that the goblins are willing to kidnap a child to keep you from unraveling their plot is bad enough but it’s not blood libel

Goblincore

Goblincore is not antisemitic at all. It’s basically combining being a collector of shiny trinkets and not caring about appearance. Behind the fantasy name is a straight forward aesthetic that opens up “the hoodie and jeans, messy hair don’t care, I collect pop vinyls and old nintendos” aesthetic to people who aren’t cishet men.

I judge movements by their actions and not by what they claim to be hence gamergate is a hate movement, cottagecore is tradwifery for leftist women and goblincore is a -core for queer nerds who want to a less bigoted version of nerd culture or cottagecore without the misogyny. They’re linking goblins to jews they’re enbodying and empathizing with the goblins. If you movement is using the fantasy creature to promote empathy instead of xenophobia then more power to you

Lizards for David Icke

David Icke decided to use science fiction to stoke his antisemitism. Icke believes all major institutions are run by shapeshifting Lizards (aka reptilians) from the moon here to colonize humanity and enslave us. Icke also believed the all popes , all presidents and prime minister and every Zionist was actually a reptilian shapeshifter. Since the overlap between Zionist and jew is significant, Icke all but admitted he sees most jews as subhuman shapeshiftering lizards. Even the staunchest antizionists laugh this nonsense off (Alice Walker not included) and his theories are more popular with Nazis. Considering original Nazis stole from Blavatsky’s mysticism of the aryan descendants of the hypeborean race from antarctica that’s just tradition at this point

Lizards in Dracula

In Bram Stoker’s Dracula, Count Dracula is compared to lizard when he crawls up a wall that a human like the narrator Jonathan Harker cannot (until Jonathan manages to do just that rendering the point moot). This a non issue since it was written before the reptilian was a concept. It is however used to dehumanize the count as other not code him as specifically Jewish. It’s xenophobia, not antisemitism. So maybe the people in making lizard jokes and the people smugly accusing them of antisemitism should both cut that shit out

Lizards in she-ra

I was told Double Trouble was an antisemitic stereotype because they only care about money and being good at infiltration and lack morals (same could be said of Marc Spector and yet no one calls him an antisemitic stereotype). Oh and they’re a Lizard creature like the Reptilians in Icke’s screed.

this is so patently ludicrous to the point where I believe this was a psyop to push Jews out of the She-Ra fandom, because oh my G-D this could not be made in good faith.

TL;DR

Goblins often antisemitic but not necessarily, Lizards almost never antisemitic unless Reptilian is used

[rosetyler42]

I feel like part of it was also...I mean, they make the Drac fam pretty obviously Jewish coded and HT is made by Jewish creators. Namely, Genndy and Sandler. So ONTOP of the kid-friendly aspect AND the "don't judge a book by it's cover/anti-discrimination" bit there's the whole Blood libel thing where in our world even human Jews are thought by some to consume human, particularly Christian children's blood...and LIKE the HT vampires, this paranoia is used to justify hatred against them. This paranoia is a big part of WHY Dracula and family were targeted and why Martha was killed. Drac even specifically calls it "Classic human paranoia." Blood substitutes and animal blood get around the vampire need without invoking blood libel AND ALSO allow for the allegory to real world antisemitism.

Then again, they do talk about Vlad having eaten humans and Drac does threaten Johnny at one point, but neither of those are portrayed positively.

I figure Vampires CAN drink human blood, though Drac prefers blood beaters (as he says, human blood is fatty and you don't know where it's been. Plus, there's the whole having been persecuted for being a blood sucker thing. It's ALSO possible Martha was a big reason for this.) He only drinks human blood in either extreme anger/to protect his family or friends, possibly for health if injured bad enough, or essentially consensual Kink. (Ericka I figure wanted to try it to see if it was anything like the terrible deadly thing Great-Grandfather always said vampire bites were. And Drac of course was the only one she'd trust to do it. Drac was probably surprised and a little worried considering past experiences, the dislike if human sexualization of vampires, and his "It's not healthy" stance, but agreed to try it due to Ericka's curiosity and trust in him. They liked it, and it became a thing with them. It's fully consensual and as safe as possible, though I'm sure it took trial and error.) Johnavis would be similar, though Mavis probably takes alot MORE to drink human blood considering her friendly non-confrontational personality and Johnavis not being as kinky or Sexy (tm) as Drericka. Johnny's a guy who happened to fall for a vampire. ERICKA'S a repressed kinky pan disaster monsterfucker/monsterlover. XD

But yeah, they CAN drink human blood if they wanted. Drac very much PROVES that. They just choose not to outside of VERY special circumstances.

Are vampires able to live off blood substitute in your au? In m personal opinion the concept "defangs" vampires by taking away the element of danger and monstrosity. Sure it could work in a story that explores how synthetic blood affects the world, but in HT thats just an excuse to make it more kid-friendly.

I prefer the concept of accepting that all life feeds on life, thus vampires can remain moral even while drinking blood.

Yes they can, but not Properly.

An ancient vampire has a diet of more than a thousand souls With moderation and a large amount of blood, they can have their powers healthy and at their maximum capacity, having more powers than those mentioned in HT movies

On the other hand, a vampire from the dark modern ages doesn't consume as much blood due to all the diseases that arose, humans with more weapons are more difficult to hunt

And because of this uncontrolled routine, they develop an irrational desire for blood, although their hunger is already satisfied, they tend to become addicted, and due to the human diseases that exist, they become intoxicated.

But his powers can be either very strong or very weak imminently. And very dangerous for them.

For that reason, some vampires chose to create their own blood substitutes so as not to starve but not become intoxicated.

With blood substitutes, an average vampire can continue living, he gets out of the habit of drinking blood, but that doesn't mean he doesn't miss it.

Their killer instinct reduces, but the smell and a drop make hunting and murder tempting.

They have the necessary powers, but not what they should normally have and with the same intensity. (like freezing and hypnotizing other vamps)

It's like being rehabilitated and living as a vegetarian.

And finally...

A vampire living in the 21st century (with human-monster friendship) and not being raised without any influence of drinking blood, can live calmly, friendly and at peace with others.

They only have few powers and are very weak compared to ancient vampires and the modern dark ages.

Yes, they are very strong and resistant, but the killer instinct that was in their ancestors can return with a drink of blood.

But if someone suddenly weak has a lot of power, it can be lethal.

I hope you liked this 😄✨

[gunstreet]

sorry I'm not a photoshop master but would someone mind hanging this up in the SNW writers' room because I think we have all had enough

[mashbrainrot]

extremely loveable characters from 70s TV shows who are freakishly good at their jobs, have a strong sense of justice, enjoy being annoying, and fucking hate guns: lieutenant columbo 🤝 hawkeye pierce

[vigilskept]

Throwing my hat into the elves and culture discussion, I think one of the things that I find most... upsetting is _what_ Bioware took from Judaism to make their elves. Which is to say, not a lot. What they took was Jewish history - ghettos, diaspora, and blood libel. The bad parts. Stuff about our oppression. Not stuff from Judaism as a religion or Jews as a culture. We don't get to see elves celebrate any cognates to Jewish holidays. There's no equivalent of kashrut or Yiddish or Ladino (despite that not making sense with the Dales being around for four centuries). The two most defining features of Dragon Age elves, the vallaslin and the Evanuris, directly contradict Jewish teachings. Jews started writing down our history and laws as soon as we lost our homeland and independence to Babylon, but it's written into the fabric of Dragon Age that the elves didn't, and their story is one of obtaining a lost past, not preserving a remembered one. It's even indicated that the city elves largely worship the Maker.

In thoughtful hands this could be a story about how Jews are seen as a religion when it's convenient to oppress us one way and a race when it's convenient to oppress us another, but it's not. Instead the impression I am left with is that in the mind of Dragon Age, Jews are defined solely by our oppression.

thank you for sharing!!!!

this came up earlier when an anon asked about making an elven oc from a (marginalised) cultural context they themselves aren’t from and i think it always comes down to a question of whether oppression and suffering are the only things you’re interested in or whether you care enough to learn about community, family and joy. and bioware seems to fail to clear this bar every time it comes to the elves.

i truly think some of the most incredible work in this fandom has come from fans putting those things back into the setting.

[purpleenma]

When they do my boy wrong in SNW

[crimsonphantasmagoria]

I think they decided to quietly retcon the idea of vallaslin as slave markings in Veilguard. I don't think it gets mentioned even once. We never see any Dalish characters respond to that or grapple with what that might mean to them. This was revealed 10 years ago, the news should have spread by now! We also never see Solas depicted with vallaslin, despite the fact that Cole implies that he did have Mythal’s at one point. I feel like that would cast a very different light on their relationship if that was ever actually addressed...

[liam-zor-el]

every time someone says something like this i become stronger

[writingwithcolor]

Characters reconnecting with their ancestral cultures in an interplanetary setting

@pixiedustandpetrichor asked:

Hi! I am writing a novel with three main female characters in an interplanetary setting. They grow up as orphans in an Irish-coded country and as children are mostly exposed to solely that culture, but they leave after becoming adults. Character A is Tuareg-coded, B Mongolian-coded, and C is Germanic-coded. It isn’t central to the story, but I would like them to get in touch with/learn more about their ancestral cultures, especially in terms of religion. A does this by actually visiting the planet her parents came from, but B and C do not. What can I do to depict their relationships with said cultures and their journey to reconnect with them? Would it be realistic for each of them to have different mixed feelings about participating in these cultures and for them to retain some sense of belonging to the culture they grew up in as well? Thank you for your time.

Hello, asker! WWC doesn’t have Tuareg or Mongol mods at the moment, so we're not able to speak to the specifics of cultural and religious reconnection for these particular groups. Still, I want to take this opportunity to provide some general context and elements to consider when writing Tuareg-coded characters, or other characters from groups that have experienced colonization in the real world. My fellow mods will then share thoughts about cultural reconnection in general and with respect to Germanic heritage in particular.

Drawing inspiration from groups that have experienced colonization

As you’re probably aware, the Tuareg are an ethnic group indigenous to North Africa. As with many indigenous groups, they have experienced colonization multiple times over the course of their history. Colonization often leads to the loss or erasure of certain aspects of culture as the colonized people are pressured to conform to the culture of the dominant group. In many cases, it’s near impossible to say what the ancestral culture of a colonized group was prior to colonization.

When coding a fictional culture based on a group that was colonized in the real world, it's important to ask questions about:

Which aspects of culture you're portraying

Where these aspects come from

Whether you're ready to tackle their implications for the world you're building

It’s not necessarily wrong to use elements of coding that draw from cultural aspects influenced by colonization. As I said, it can be very difficult, even impossible, to portray a “pure” culture as it would have been had colonization not occurred–because we simply can’t know what that alternate history would look like, and because so much has been lost or intentionally suppressed that the gaps in our knowledge are too wide to breach. But it’s important to be aware of where these cultural elements are coming from.

Where is your coding coming from and what are the implications?

For example, while the Tuareg today are majoritarily Muslim, this was not the case prior to the Arab conquest of North Africa. Some elements of Tuareg culture today, such as tea ceremonies, are derived from the influence of Arab and Muslim culture and likely did not exist prior to the 20th century. As you’re developing the culture of the Tuareg-coded group in your fictional setting, you have to decide whether to include these elements. There is no right answer–it will depend on what you’re trying to do and why.

Is your setting in our far future, in which case we can assume your Tuareg-coded group is distantly related to today’s Tuareg?

In that case, they will probably have kept many cultural aspects their ancestors acquired through their interactions with other cultures around them–including cultural groups that colonized them. They may–let’s build hopeful worlds!–have reclaimed aspects of their ancestral culture they’d been forced to abandon due to colonization. They may also have acquired new aspects of culture over time. This can be very fun to explore if you have the time and space to do so.

I would recommend speaking with Tuareg people to get a better grasp of how they see their culture evolving over the next however many centuries or millennia, what they wish to see and what seems realistic to them.

Alternatively, maybe your setting is a secondary world unrelated to ours and you only want to draw inspiration from the real-world Tuareg, not represent them exactly. In that case, you need to decide which period of history you’re drawing from, as Tuareg culture is different today from what it was 50 years ago, and different still from 200 years ago or 1000 years ago. You’ll need to research the historical period you’re choosing in order to figure out what was happening at that time and what the cultural influences were. If it’s pre-colonial, you’ll probably want to avoid including cultural elements influenced by colonization from groups that arrived later on.

Finally, if the time period you’re drawing from is post-colonial:

Are you planning to account for the effects of colonization on Tuareg culture?

Will you have an in-world equivalent for the colonization that occurred in real life?

For example, will the Tuareg-coded characters in your world be from a nomadic culture that was forced to become sedentary over the years and lost much of their traditions due to colonial pressure to conform?

Where did this pressure come from in your world–is it different from what happened in ours? If so, how different? And what are the consequences?

Writing about colonization can be quite the baggage to bring into a fictional setting. I’m not saying it can’t be done, but it will certainly require sensitivity and care in portraying it.

In summary: think it through

I’m not saying all this to discourage you, but to point out some of the considerations at play when drawing inspiration from a real-life culture that has experienced colonization. Similar challenges arise for coding based on any other indigenous group in the world.

My advice to you, then, is to first sit down and decide where and when in history your coding is coming from, and what you’re trying to achieve with it. This will help you figure out:

which elements of contemporary Tuareg culture are pertinent to include

How much your coding will be influenced by the Tuareg’s real-life history

To what extent that will inform the rest of the world you’re creating

This, in turn, may help in deciding how to portray your character’s reconnection journey.

Again, I am not Tuareg and this is by no means meant to be an exhaustive list of considerations for writing Tuareg-coded characters, only a few places to start.

If any Tuareg or Amazigh readers would like to chime in with suggestions of their own, please do. As always, please make sure your comments adhere to the WWC code of conduct.

- Niki

Pulling from diaspora and TRA narratives of cultural reconnection

Marika here: This ask plotline could also pull directly from diaspora and TRA narratives of cultural reconnection. Many diaspora and TRA cultural reconnection stories are, in effect, about navigating the difficult process of resuscitating, or renewing ties to culture using limited resources in environments that often lack necessary cultural infrastructure or scaffolding.

See this question here to the Japanese team for suggestions of how to handle such a storyline in a similar sci-fi setting.

More reading: Japanese-coded girl from future

-Marika

Reconnecting with German heritage

Hi, it’s Shira. I’m not sure whether German-Jewish counts as Germanic for the purposes of your post but since German Jews were more assimilated than other Ashkies, Germanness does feel real and relevant to my life (especially because my father worked there for approximately the last decade of his life.) NOTE: when I see “Germanic” vs German I think of cultures from 1500 years ago, not 100-200 years ago, so I can’t help you there, but I’d be surprised as a reader if a character focused on that for reconnection to the exclusion of the 19th century etc.

People in the United States specifically, reconnecting with German heritage, often lean into Bayerischer/Bavarian kitsch, I’ve noticed. Personally, though, what I find most relevant is:

1. The food (although I’ve come to learn that what I grew up eating was closer to veal/chicken scallopini than actual schnitzel because it was drenched in lemon, but I do like the other foods like the potato salad and sweet and sour red cabbage etc.) Your character could try making one of these “ancestral” foods as a way to reconnect?

2. The classical music, because I’m a second generation professional musician – if character C plays an instrument, leaning into that might be meaningful (Beethoven, Bach, Brahms, Mendelssohn, Clara Schumann and her husband Robert, etc.)

3. The nature, especially specifics that I enjoyed during my time there – personally, I loved the bright pink flowers all over the chestnut trees, but there are a lot of choices especially because of the Alps. If C is an artist maybe they can sketch something Germany-related from old photographs they found on the Space Internet?

I think it is VERY realistic for the characters to remain connected to the culture in which they were raised, by the way, whether or not they have positive feelings about it. Culture isn’t an inherited trait. Sure, if they want to completely walk away, they can, but I bet there are still ways it will creep back in without them realizing it simply because it’s really hard to have universal knowledge of the origins of all our quirks. Plus, not everyone feels alienated from their raised-culture just because they’re genetically something else.

P.S. There is also Oktoberfest, which I don’t really get into but is a thing, and beer, which is another point of German cultural pride.

German gentiles, weigh in – y’all have your own stuff, I know! OH YEAH so for German Christians, Christmas “markets” are a whole thing. That’s worth looking up. 

–S

What do you mean by Germanic?

Hello it’s Sci! I had to study German history for my historical fantasy novel set in the late 18th century Holy Roman Empire. I am not sure what is meant by Germanic as that can encompass a variety of things.

Germanic people: from the Classical Period of Roman Empire and early Middle Ages. Similar to Mod Shira, I unfortunately can’t help very much here.

The Germanosphere: regions that spoke German, which includes modern day Germany, Austria/Hungary, Switzerland, Lichtenstein, Belgium, and Luxembourg. I generally define this as the regions captured in the Hapsburg Empire along with Switzerland usually encompassing “Central Europe.”

Modern German national identity (i.e. German): post Napoleon and the Congress of Vienna (> 1815) only including the territory of modern day Germany.*

I ask this because modern German national identity is surprisingly recent since Germany only popped up in 1871 under Otto von Bismarck. Previously, Germany was divided into smaller states and city states as a very decentralized region under the German Confederation and before that, the Holy Roman Empire. Depending on the era, you can see different conflicts and divides. During the early days of the Protestant Reformation started by Martin Luther, the northern and southern German territories generally split along Protestant-Catholic lines. The 18th century saw Austria and Prussia as the foci of global power who warred against each other even though both were part of the Holy Roman Empire.

Other states and city-states like Baden-Wurttemberg or Saxony sometimes had power but it was typically more localized compared to Austria. Post-WW2, you saw the split of Germany into West Germany run under capitalism and East Germany run under communism as a satellite Soviet state leading to more modern cultural divides. Due to heavy decentralization historically, each region had its own character with religious and cultural divides. 

Assuming that the Germanic character is not from the classical period or early Middle Ages but not from the 19th century either, you can include your character reconnecting to classical folklore like that of Krampus (if they’re Christian), German literature and music like the works of Johann Wolfgang von Goethe or Mozart, or German philosophy like Immanuel Kant.

*A major wrinkle: German royals and nobility married into other states and nations frequently with Britain and Russia being notable examples. In Britain, the House of Hanover took over after the Stuart House died without clear direct heirs. When Queen Victoria married the German prince Albert, they celebrated Christmas with a tree and brought the German tradition of a Christmas tree to Britain and the British Empire. Only during World War I did the royal family’s house of Hanover name change from House of Saxe-Coburg and Gotha to the more “English-sounding” Windsor. As a result, the German cultural influence may be even more widespread than we think.

However, without more specific descriptors of what Germanic means in the context of your story, it can be difficult to determine which aspects of German culture your character could reconnect to.

-Mod Sci

[syppys-den]

Senshi is best Bubbe

I unironically view him as Jewish coded, and I feel the only reasons why are because the cooking music kind of sounds Jewish and because Tolkien's Dwarves (which obviously are major influences on all other dwarves that came after) are themselves inspired by Jews (and in a way that's a lot more respectful than you'd think while still not fetishizing them)

[vigilskept]

gnashing my teeth thinking about how veilguard talks about the gods only as a joke when they could've gone somewhere truly crazy.... you're so right.

Yeah... you get it. It's just such a missed opportunity!

I don't even mind the jokey tone they use a lot of the time, because we all joke about things we struggle to understand/cope with.

Except Veilguard refuses to let you even try to broach the subject beyond that surface level. In fact, when it does let you engage with it at all, it manages to make things even less nuanced!

I'm just going to talk about Bellara's quest here since it's the most directly linked with the elven gods, and it's already a lot. Fundamentally, her companion quest is asking us two things:

Should elves be blamed for the actions of the Evanuris?

Should they preserve any of their past at all?

The first one is absurd to even begin with. It's not even a good or interesting take on the (very christian!) question: "Are we responsible for the sins of our ancestors?"

The Evanuris are not the ancestors of modern elves. Dalish religion implies that modern elves descend from those who the rebels never freed from slavery to the Evanuris.

This setup is already awful without looking at any of the parallels Bioware has (intentionally) drawn between the elves of Thedas and Jewish/Indigenous people. I have to put the rest of this under the cut because I genuinely don't think it can be shortened without making it sound flippant. In the context of the coding of the elves, the theological/social implications of all of this are so much worse.

TLDR: the indigenous/jewish coding of the elves makes bioware's treatment of elven religion in veilguard thoughtless at best, cruel at worst. they did not have to write themselves into this corner. there was a way of handling this lore reveal without the implication of elven religion (again, jewish/indigenous coded) being obsolete

So, the religion of the Dalish was part of their enslavement. It's the belief they were forced into by the cruel gods they are still devoted to. That's already pretty bad. How could it get worse, you might wonder?

Whether Bioware deviated from their initial inspirations for the elves or not, the implications for these lore reveals in light of those parallels are particularly cruel. Those two core questions in Bellara's quest? Yeah. Those have both been levied against the oppressed groups that Bioware chose to draw inspiration from. Both historically and presently. To justify atrocities against them.

And to be clear, Bioware does not deviate from or subvert the usual indigeous and jewish-coding of the elves in their writing here. If anything, they end up actively endorsing a very significant element of antisemitic and anti-indigenous sentiment.

Indigenous-Coding

Advocates of colonisation have always justified it by arguing they were 'saving' groups of people who were stuck in the past. They had been ‘left in the dark’ through ignorance of Christianity. In the more secular sense, this was framed as Europeans having journeyed through history to reach enlightenment, while the rest of the world was still in an ‘uncivilized’ state.

Christianity and progress had to be brought to these people to save their souls and bring them into the future with everyone else. Their Gods? There were only two possible ways to frame those. Either they were not real at all, or they were evil. Either way, they were obsolete.

In the Americas, these arguments were still used when corralling indigenous children into residential schools or tearing them from communities through the adoption system. Governments pushed the idea that they had to be forced to assimilate because they were 'backward' in their practices and beliefs.

In the settler-colonial state Canada, where Bioware is based, it's still common enough to hear people justify all of this as having been done "for their own good." Even those who admit that the ways colonization was perpetuated were cruel will still try to defend it by telling you, "it was bad, but their ancestors weren't saints either."

Sounding painfully familiar yet? A little uncomfortable in the context of Bellara's questline?

Jewish-Coding

Since the dawn of Christian Church, Jewish people have had a very fraught place in Christian theology. Christianity claims that that the coming of the messiah in the person of Jesus Christ makes the religion of Judaism obsolete. Christians believed the obvious answer to this problem was that Jewish people should convert.

When many did not, they were labeled as ignorant, obstinate, stuck in the past. They were so focused on their history that they couldn't see the truth which had been revealed in the present. There’s a significant legacy of this idea in Christian artwork with depictions of Synagoga blindfolded next to the clear eyed Ecclesia. You still hear echoes of this sentiment in antisemitic language today.

As for the nature of the Jewish God... there is some deviation here. For some Christians, He is God the Father, and He is good. For others — and this idea has been around from early Christianity till now — He is the Creator of the material world, but He is evil.

There are innumerable variations of Christian gnosticism that probably wouldn't be productive to get into on a Dragon Age Blog. What I need to underline here though, is that the idea of the Old Testament God as the devil/the demiurge/fundamentally evil, has been used to justify atrocity towards Jewish people for over a thousand years.

Should elves be blamed then? For the sundering of the Titans? For the Veil? For the Blight? For the evils of this world, created by their Gods?

Implications for Veilguard

Not only is religion in Dragon Age: The Veilguard often devoid of nuance or ignored outright, when the game does engage with it at all, it does so in a way that quite literally draws on these incredibly harmful antisemitic and anti-indigenous sentiments that have been (and still are) used to perpetuate real harm.

To be clear, I don't think the writing here intends to endorse the idea that elves should be blamed for any of what's going on. Bellara's anxieties are being projected onto her people as a whole while she grapples with what this all means for her, I get that. In fact, you could be generous and read some of this as a critique of this particular kind of anti-indigenous/jewish bigotry.

However, I don't think that absolves the writers of any of the implications they've created by confirming that the elven pantheon did exist and was canonically evil.

Elements of Dalish/elven culture might be preserved after all this, but the conclusion the game railroads you into is that their religion is obsolete. Just like Judaism. Just like the many Indigenous religions around the world. Except in Dragon Age: The Veilguard, it’s no longer just the bigotry of outsiders claiming that to be the case. It’s now the objective truth of the setting.

Going forward, the elves of Thedas can keep their culture, but they can’t practice their religion. If they continued to practice, they would be framed the way the Venatori are: evil and stuck in the past. This really can’t be overstated: this is the exact rhetoric that has justified centuries of violence and oppression of Jewish and Indigenous people. This rhetoric is still around and still weaponized.

It’s so cruel to create an in world ‘lineage’ that draws so heavily from their cultures and histories, then validate the rhetoric that has been used to hurt them. At best, it’s thoughtless. But as a company based in a settler-colonial state, this is something they should’ve put thought into, given that they chose to code their elves and Jewish and Indigenous. That was their responsibility, actually.

What gets me about all this is that they actually didn't need to force that conclusion at all. They could have kept the Evanuris as cruel tyrants without demonising the Creators and their worship at the same time.

The Evanuris weren't always Gods. They weren't even always rulers.

In Trespasser, when asked how they became Gods, Solas tells Lavellan that they did so slowly. That it started with a war. That fear bred a desire for simplicity. For right and wrong. For chains of command. That generals became respected elders, then kings, and finally gods.

Veilguard confirms all of this. The addition it makes is that before all this, the first elves were spirits who made their bodies out of the Titans. This all occurred over the course of thousands of years.

None of this needs to be retconned in order to allow for a respectful yet nuanced portrayal of religion!

TLDR pt2: bioware, u could’ve avoided literally ALL of this by making the evanuris part of a priestly class who seized power after the war with the titans. it wouldn’t even have undermined ur lore! u could’ve kept dalish religion alive! u could’ve implied complex political dynamics for your ancient elves without even having to write it! why didn’t you even try?

Trying to Fix This Mess

Say the elves took their bodies from the Titans and settled the lands of Thedas. Say the Titans even allowed this for a time. The dwarves were made from their own bodies after all.

Yet the elves didn't have the same connection with the Titans as the dwarves did. They had no stone-sense, so they couldn't understand the Titans' song.

Generations down the line, some of them took too much from the Titans. More than they were willing to give. That was when the Titans lashed out, making the earth tremble so that all the elves had built crumbled beneath them.

And what if the firstborn among the elves had taken up priesthood to guide the younger ones. They were closer to spirits than the elves that were born into this world, and so the younger ones looked to them for guidance. Maybe they were the ones who were trusted to reach out to the more powerful of the spirits who chosen stay in the Fade, their old kin who preferred to keep their distance from the physical world to preserve the essence of what they were. The spirits of Justice, of Benevolence, of Craft. Those who the elven people paid homage to, and trusted to preserve them in turn.

So when everything seemed to fall apart, the elves turned to their Keepers, their priests, and asked of them what they ought to do. How could they make the earth stop shaking? What would they have to do to be at peace again?

Whatever the spirits themselves may have responded, many of the Keepers (among them the Evanuris) took up arms and chose war. They saw it could be won so they fought, sundering Titans from their dreams and stilling the land.

And yet there was no peace.

Some Keepers sought to hold on to their power as generals, and wanted to wage war on new shores to keep it. Some Keepers thought they had already gone too far, claiming they had acted without the guidance of the spirits who hadn't wanted war.

These Keepers could've caused chaos and endless bloodshed, so the Evanuris formed their alliance to suppress the others. Likely, they thought they were doing so for the benefit of all the elven people. More war meant more death, and it was needless now that the land was still. And even if what they did to the Titans was wrong, it was done and they could not fix it. Better to silence those who meant to stir up fear among the people.

The Evanuris fought until they were the last faction left, naming the few holdouts the Forgotten Ones. They were praised for bringing peace to Elvhenan, and trusting in their guidance their people crowned them as rulers.

Yet some dissent always remained. None of them were infallible. They were no longer spirits, they hadn't been for thousands of years. They were now more accustomed to command than to priesthood after all that war. They had drawn on the power they had stolen from the Titans to gain the advantage over their enemies, and the corruption of the Blight was starting creep in, ever-so-slowly.

Maybe some of the people, unhappy with their rule, started to voice the thought that was expressed by their rival Keepers once more: that the Evanuris had grown distant from the spirits. That Elgar'nan didn't serve Justice anymore. That Mythal had strayed from Benevolence.

So Evanuris took the mantle of godhood for themselves. It was only for peace and stability.

It would be too dangerous if anyone could claim they were deviating from the will of the spirits, so they would claim they were those great spirits. Elgar'nan was Justice, Mythal was Benevolence. They would use their rule only for the benefit of the people, not abuse their power.

And there you go. None of what I've written above can't be neatly incorporated into the existing lore of Veilguard. It leaves the elves of Thedas precisely where they started in Dragon Age: Origins. Distant from their ancient Gods, trying to pick up the pieces of their forgotten past.

[nat-20s]

Favorite thing about Clark Kent, or alternatively, favorite Superman comic?

Favorite thing about Clark Kent can really be summed up with this comic page:

Like I know the joke is that People like Superman because he's nice but like. That so is the appeal to me is that Clark Kent possesses an unwavering, unflinching kindness and care for everyone. He believes, fundamentally, in the ability for people to grow, and change, and be better, even we he thinks an individual currently sucks ass. In his ideal world, people like Lex Luthor aren't taken down. They aren't defeated, they aren't killed, they're striving to be more. To give up the constant struggle for wealth and power in favor for struggling to help. To use their status and their riches and change the system they so long benefited from into something that makes it so everyone can live.

And the thing is, Clark Kent does this from such a fundamentally human place. He has love and kindness and is proud of you, not from the perspective of a god, but from the perspective of a guy who listened to his parents on how to be good. AND he's flawed! He can be bitchy and frustrated and petty and angry just like anyone AND he still guided by a fundamental principle of kindness. Not because he's immune to bad actions, not because of his powers, not because he can sit on a throne above the little people, but because he loves us, he loves people, he loves his friends and his family and strangers on the street and his enemies, even if they don't love him back.

(Side tangent: this is why i can't stand a cynical, bitter, borderline villain Superman. OR a boring personalityless Superman. Both of them miss the point of his character, that his humanity and complexity and moments of weakness and goodness are not all separate, disparate characteristics, but in fact all one in the same. [double side tangent: i should get to fight zack snyder in a denny's parking lot.)

I also like that he's funney sometimes.

Favorite Superman Comics:

Hmm. Well I'm far from super well versed in Superman comics, I know him overall from other media better, BUT I can recommend:

Superman: Birthright by Mark Waid

Superman VS The Klan by Gene Luen Yang

Superman: For All Seasons by Jeph Loeb

and especially people that want to get more to the core of the character without being bogged down with a shit ton of lore

Superman: Red & Blue by various authors.

(I've also been enjoying the Superman/Batman series by Mark Waid. Dude knows what I want in a comic lol)

[allmyfriendsaremurder]

to be honest i don’t really care for live action superhero stuff but the new james gunn superman may be the one film to change my opinion oh my god

[son-of-avraham]

Ugh, I got to talk with my rabbi again and getting to talk about Psalms and then g-d and why g-d decided to leave His nature open-ended and then about how I feel about am yisrael and how I now can't stop thinking, "these are my people" and why I have such a complex relationship with yisrael was honestly kind of healing. I also told him what my hebrew name will be and now two people in the world know it, and there's something special about that, too. There also isn't a word limit for the questions my beit din will ask because I was so scared that I would go over any word count tenfold (there's a questionnaire portion and I might have to write in some answers)

Give it up for my rabbi for being a champ for two hours straight while I was yapping away 😭