#but this post is already long lol

[protect-namine]

mitsuki's role in weekend lesson is so interesting, because... there's no challenge for him? why doesn't the mean casting director in neji want to challenge him?

(disclaimer that I'm on suzu's route and have only done kisa's route before this)

like, okay, so neji finds out that amber isn't participating in univeil's summer performance. his strategy would be something like a mix of fall and winter: aim to win, but also use the opportunity to train your new actors. since there isn't a chui to beat in this scenario, he and fumi can relax and risk a bit of the performance to train the new guys. alright, makes sense, cool cool.

so neji writes the characters and assigns the roles, right. the third years have some inner conflicts to overcome, and the first years have some growing to do. we have fumi playing the talented genius who quit competitive dancing, and kai who plays as someone that limits himself or is otherwise unambitious for the sake of supporting others. okay, same conflicts, let's see if the character development transfers from role to actor.

we have suzu playing louis who has pages and pages of monologue specifically, because suzu is bad at memorizing lines unless it's built around a conversation with another person (opposite of sou, who can memorize lines on his own). and also he has to do it while dancing, which he also needs to improve on. sou plays a jeanne who is cheerful, sociable, literally acts as the glue that binds everyone together through instigating the competition -- a departure from sou's own personality (plus sou, at this point I think, still wanted to play jack roles, though idk if neji knew this, or if it mattered to him). kisa plays a jack role for the first time, while also dancing and singing, and had to deal with neji sending her off to spy/steal ideas from other classes for her own improvement (in the guise of letting other classes try to poach her from quartz). neji always pushes a little harder on kisa, because he's always amazed that kisa will just do any of his own unreasonable demands (he says something to this effect if you let kisa choose neji to help her during one of the rehearsals).

so, okay, we've got a training plan down for everyone... except mitsuki. mitsuki doesn't get a challenge. shiroma is a side character, a prize to be won, very flat compared to even mukai (who has more depth to his personality even without the last minute improv). neji even throws in the random jazz lounge singer just so mitsuki can sing, which ends up looking more like a favor to mitsuki (since he only likes singing) and a "might as well use your talents somewhere" scenario.

(lmao shut up mitsuki, you got an easy role. sou has to dance both the great galleon and the random social dance kanna does in the background in andou's studio, and the dance she does with louis. the only characters who don't dance as much are mukai and employees A and B).

neji seems to place mitsuki in the same category as otori and himself: reliable in the roles they're good at, with no need to push for improvement compared to the others. but that's so interesting to me because like... why wouldn't he push mitsuki more? why wait until late into the year during the winter performance? and even then, initially, he wanted mitsuki as al jeanne more so to train kisa and fumi, rather than mitsuki himself. like, this is the scriptwriter who has no problems using other people's own inner conflicts as inspiration for his writing. neji can be a mean casting director when he wants to be. there's no reason why mitsuki is an exception.

I guess shiroma being a prize to be won and nothing more does mimic how mitsuki is valued for being a tresor and nothing more. but there is no space in the play for shiroma or mitsuki to do anything about that, unlike fumi and kai whose characters (andou and hasekura) both change throughout the play. mitsuki himself realizes very late into rehearsals (like, around a week before the performance) how he can connect with shiroma

and I mean, sure, that sounds compelling, but I don't think that's what neji intended nor do I think mitsuki is just talking about shiroma at this point, but hey this is the "theater is a metaphor" game sooooooo

anyway. I just think it's so odd that neji doesn't push mitsuki that much... but then I think about otori. I'd bet if otori wasn't so hilariously antagonistic to suzukisasou, he would also get the mean director neji treatment. not because of otori himself but more like. neji writes around actor chemistry and otori's rapport with the other actors is just less inspiring for drama and more inspiring for comedy LMAO (sorry otori). chui himself had a missing takihime bc he didn't really vibe with anyone on the stage.

and maybe that's it? mitsuki is also a person who distances himself from other people, and doesn't really put in the effort until later in the game. and before he even makes the effort for quartz (that neji sees), he really only made an effort for kisa. (I still maintain that mitsuki cares a lot about quartz even from the beginning, but whatever, I guess early game mitsuki that wasn't compelling enough for neji)

and I think it makes more sense why neji couldn't write anything for mitsuki. early game mitsuki doesn't have interesting relationships that neji could see. neji could write fumi and kai together and let their own internal conflicts be reflected in their relationship onstage. hasekura lets andou shine. mary jane wanted an equal (some form of it, a "friend" in the play) and that's why she created jacob. neji sees suzu and sou fighting in the hallway and in the next play writes jire and fugio fighting over chicchi. neji sees otori... being otori, and either writes him as funny side character A or a small-time antagonist to kisa.

which makes it extra hilarious why neji didn't understand oh rama havenna. neji wanted to experiment with fumi as a jack and kisa as a lead role. and mitsuki finally, coincidentally slots in as someone who could fill in the gaps left by fumi not being the al jeanne, and as someone who has a good relationship with kisa. and yet. mitsuki excels above and beyond during oh rama havenna, precisely because he makes rukiora his own character (as opposed to how neji initially wrote rukiora based on a younger version of himself; hence rukiora's relationship with domina) and rukiora's chemistry with chicchi reflects mitsuki's own relationship with kisa.

idk, I think all of this is just neat. kinda wish neji pushed mitsuki a little bit earlier, but also I think it's cute that he kept giving mitsuki easy roles for a while. he can push and prod the other actors, but he's making sure the princess doesn't have too much to complain about.

[itsaprosthetic]

we are so back

We are so back

[lucabyte]

So does anybody else ever think about how Loop felt the need to demonstrate that the party's deaths wouldn't have any effect on the loops. I know I do but that's besides the point. Anyway I don't think Loop actually needs to bathe, they just like to feel included.

[oh-gh0st]

shadowpeach fans i hope this finds you well 😁

[teaboot]

if ur a murderbot nerd now do u have any fun opinions abt it yet?

Oh my goddd you have no idea

I really, really, really like Murderbot because it comes at life with this perspective we don't often see that is very real among people who have already been through traumatic experiences, who developed skills and abilities to suvive that were once useful but no longer have context- that search that traumatized people go through to recalibrate and reorient ourselves in a world where we no longer really need those things to survive.

A bit personal here, but my own issues personally involved a lot of psychological abuse that made it difficult to trust my own perceptions of reality, and as a result I found I was very easy to lie to and manipulate.

To handle this, I became obsessive over writing things down, cataloging details and making notes of things as they happened- I'd carry recording devices and make audio recordings and stay up late at night to transcribe what they'd picked up, read those over and over again to reassure myself of things I wasn't certain about.

While doing this, there were others close to me that I felt responsible for, who I had to protect from others and protect myself from at the same time. Life was about two things: Evidence, and defusing threats

Over time, I learned to trust myself as my memories matched what had been recorded where their narrative didn't, but I never really kicked the habit. Like Murderbot, I had added something to my own programming that reassured me I was safe, that I was in control of myself, that I couldn't be mistaken or crazy or broken or used.

I'm only on book two, but already I see myself in Murderbot again. No spoilers here, but when I left home- left that dangerous context- I didn't need to repeat these patterns to survive anymore, but I still did, because I didn't know anything else anymore. It felt safe, comfortable, knowing knowing that the past couldn't repeat itself, because I'd written that flaw- blind trust in myself-  out of my programming and replaced it with something else.

Still, though, I'd become something specially suited to thrive in a very specific environment. Nothing else felt right like followinghigh-risk situations, like witnessing and watching and recording and knowing I had proof of the truth where others might not.

People took notice. I wound up in security by accident, but's an environment that I thrive in due to the same patterns and behaviours I originally developed when I had no other choice. I climbed the ladder pretty quickly, once supervisors caught on that my reports were the most accurate, most objective, most factual, detail-oriented and timely. I keep others and myself safe and prioritize public safety above all else, and I perform well under pressure

Now I'm in a position where I often wonder, do I enjoy this job, or is it just what I'm good at? I have a set of skills now, but do I have the option of choosing not to use them? What would I be, if not this? Could I be anything else? Can Murderbot be anything else?

It has a set of skills that set it apart, make it different, special. It does what it knows best. But is it free? Does it want to be? What does it want? Does it have to do what it was built to do? What if it didn't?

I know what I'm good for. The idea of deliberately leaving what I'm good for for something uncertain, that I might hate, that I might be useless at- the choice to give up what was so important to me for so long and become deliberately obsolete?

Let go of my entire purpose? The only thing I know, that I fit so well into but don't actually know if I enjoy? Now that I can choose? Now that enjoyment is a luxury I can afford to consider?

Yeah, that resonates.

I like the Murderbot series so far because it feels the way I feel: Like the most significant and formative part of my story, the part where I became what I am, has already happened

And now I have to just. Keep going

Into... what?

It feels absurd. Like a microwave giving up on reheating food and deciding to start a life around abstract dance.

So, uh. Yeah. It's really very wild to see this same philosophical-ish dilemma I've been digging over in the back of my mind and in therapy for the last forever laid out so plainly in a genuinely exciting and enjoyable story like this. I feel much less alone, and I... kind of really need to see how it resolves, I think.

So, uh. Yeah. Read Murderbot, I guess

[ew-selfish-art]

Dp x Dc AU: Danny and Tim are twins- And Vlad is the first to figure this out in his attempts to get DavlCo a new investor.

---

Tim was getting the creeps from this guy. It was as if the room got colder, the seconds got longer and the room's shadows moved to their own volition. He stared Tim down less like 'You punk kid' and more like 'You'll be mine' in a way that Tim didn't appreciate. At all.

The guy kept setting meetings up despite Tim's direct insistance that Wayne Enterprises would never touch DalvCo- not with a ten foot pole or for all the money in the world. Some how Tim's board of directors kept getting swindled by the guy and... therefore more meetings. More looks from this guy that made him want to crawl out of his skin.

Vlad asked him if he ever went by Timothy- Tim couldn't reply "that's not my name" fast enough. It apparently inspired the guy somehow. More meetings that Tim can't reject because of board members pop up.

It's been long determined that Jason doesn't get involved with Wayne Enterprises, but after the Uncle and a few other paid-actor solutions go up in flames- Tim decides to call up his older brother to act as a bodyguard and tell this guy to fuck off for the final time.

Jason apparently also gets the Heebee-jeebies from this asshole but his message is loud and clear to Vlad. There's a flash of green and then all of sudden it's just Tim and Jason in the room... Only Jason isn't acting like himself.

Putting it together- Tim reaches for his contingency F stash of Knock out gas and doses Jason. Vlad doesn't re-appear so Tim assumes that to mean that he'll be trapped in Jason's person until Jason wakes up.

Walking out of the meeting room with his bus of a brother over his shoulders- Tim quickly asks Tam to reach out to Vlad's Emergency contact. Surely there is someone in this man's company willing to explain what the fuck Vlad was trying to pull. Tim theoretically can keep Jason drugged asleep for a long time- surely that threat can get him somewhere.

The day drags on as Tim continues to keep Jason unconscious and eventually Tam lets him know that someone is here for Vlad. She says it with the addition of one of their codes- He mentally prepares himself for the worst and then... His doppleganger walks through the door? What the fuck?

Tim and Danny puzzle about one another for a little too long and Jason wakes up- Vlad pops out immediately. A shouting match between Danny and Vlad commences and...

"Man I knew our family had unresolved issues but seriously what the fuck has your clone dealing with?" Jason asks, as though he could watch this all day with pop corn.

"You made more clones?!" Danny screamed at Vlad who's only response is "Not this one! This one is actually polite!"

"Fuck you!" Tim and Danny reply in tandem.

[apparently-artless]

✵✺❂ JUJUTSU KAISEN S02 ◉ GOJO SATORU ❂✺✵

dedicated to Clu (@gojoed)

[sygneth]

game of deduction

[lemondoddle]

what happens when you type into the computer (BOOK OF BILL SPOILERS)

HELLO THE WEBSITE HAS UPDATED and different things happen when you type things into the computer on the screen. if a character/word isnt relevant the computer gives a red X. so far i've found:

stanley: takes you to an ebay search for brass knuckles, entering his name repeatedly will take you to various grunkle-related eBay searches until you get to bill's wheel of shame with much more to click

mabel: adds stickers to the set. you can keep hitting enter until the the room has been "fully mabelized"

ford/sixer: a case file on ford's extra digits

soos: a long set of notes about how soos is doing running the mystery shack

dipper: a note presumably from bill to dipper "informing" him that he can decode messages by staring into the sun. if you enter his name multiple times bill urges you to keep looking with words of encouragement as each note becomes progressively blurry and splotched with black until the entire notecard turns black

bill: this youtube video (and no it's not a rickroll)

gideon: an audio recording plays of gideon humming/scatting to the tune of "we'll meet again", ending with a whispered message of "i love you, mabel"

wendy: a note pranking you with the the 👌 emoji

mcgucket/fiddleford: the cotton eye joe music video

pacifica: a warning note about the book of bill mabel made her write

robbie: chat messages between him and thompson as they prepare to summon bill (as mentioned in tbob) with an image of their encounter

tad strange: the computer plays clips of bread being sliced set to jazzy instrumentals. this enables the glowing red button on the computer to turn green to switch the bread videos on and off at will

blendin: a message appears on the screen reading "time agent lost and presumed incompetent"

weirdmagedon: a newspaper page from the gravity fall's gossiper utilising the "nevermind-all-that-" act and stating "nothing happened" that day

axolotl: text onscreen appears: "you ask alotl questions"

T.J. eckleburg: text onscreen appears: "never mention that name again"

cipher: links to a wikipedia page about triangles

blanchin: pulls up a youtube tutorial on how to blanche vegetables

triangle: one half of a parenthesis appears on the computer ")", will also pop up with "tri harder"

dippy fresh: links to this image

mystery shack: links to a google search for confusion hill

gravity falls: text appears onscreen reading "never heard of it"

portal: text appears onscreen reading "portal.exe has been deleted. i bet you could build one"

theraprism: a notice sign appears- "in case of (coded words) do not use elevators" with a graphic of a person and a cthulu like monster on stairs

blind eye: an eye chart utilising the same string of letters- "WKHBOOVHH" that gets smaller each line, paired with blocks of color- the cursor turns into a "zoom in" tool that actually just makes the page blurrier with each click

creepypasta/horror: an entry on the urban legend "the always garden"- a liminal space/backrooms style restaurant anomaly

alex hirsch: links to a google search for flannels

toby determined: links to a google search for restraining order

dorito/chip: a dorito slowly enlarges on the computer screen and then becomes a jumpscare of a toothy bill, who periodically screams for a bit before the video finishes

love/boyfriend/romance: pulls up the parody romance novel, clicking starts an audio recording of the book

death: text appears onscreen: "life's goth cousin"

book of bill: text appears onscreen: "hide it under shirt during pledge of allegiance"

life: text appears onscreen: "life: 72% complete. now loading: death"

baby/lalala: an ultrasound of a baby bill in a womb and a message congratulating you

pines: text appears onscreen: "a good family tree"

weird: a video of weird al yankovich appears on the screen, he's confused and shouts for bill to get him out of there

waddles: links to a pig adoption website

mickey/disney: text appears onscreen: "rat.gif censored for your protection"

ducktective: text appears onscreen reading "ducktective stars in 'love, quacktually', coming to 'oi, it's the cockney channel innit?' this fall"

mason: a note from dipper about ford teaching him anagrams, plus a coded message with that technique

tyrone/clone: a picture of the janky dipper clone with a message that he's yours now

matpat/game theory: a video of matpat and a conspiracy board, he turns to say "hello internet, you're on... you're own... good luck" as he holds the book of bill

skeleton: text appears onscreen: "the one with the sword! he found you!"

scary: pulls up a parody goosebumps book "spookemups", clicking on it starts an audio recording of neil cicierega reading a section

divorce: pulls up a logo for "o'sadley's'"

music: enables you to click the dial, clicking the dial plays loud static

math: bill recounting an encounter he had with plato

conspiracy: a video of charlie day in a tin foil hat rambling about the website's previous state, holding the book of bill

okay that's enough from me, there's SO MUCH MORE that I just can't keep up with!! Happy searching!

[lambmotifz]

i ♡ metaphors

[thebramblewood]

The first meeting of the Vatore Book Club has commenced.

Previous / Next

Helena: Caleb, are you in here? [telepathically] Caleb?

[silence]

[under breath] Where are you? You promised you’d show me more today.

[picking up journal] Hmm. These definitely weren’t here before.

[begins reading]

May 25, 1918: Another night daymare. Same as all the others. Calloused hands squeezing my throat, phantom fists pummeling my stomach, shrill bursts of laughter assailing my ears, sky of taunting stars, blinding white moon, a monstrous form looming over me… Straud insists I should no longer be able to dream. One more bold-faced lie from a man who speaks arrogant, empty words just to hear his own voice - and endlessly, endlessly. I already tire of his dull speeches.

July 10, 1918: The days stretch eternal in this crumbling mansion. I am Straud’s prisoner, though he claims I am free to come and go as I please. Yet he prattles on with excuses as though he does me a favor by denying me. I’ll not be allowed off the grounds until I bend to his will, until I  have suitably mastered discipline. How I loathe that word! I’ll be sick if I hear it once more.

September 8th, 1918: Killed two men last night. Only meant to step out for fresh air but instead found drunken idiot humans stumbling unknowingly across town lines. Their thoughts came to me easily. (So the old man taught me something after all.) Vile and crude remarks on my body, naturally. My vision flashed white with rage, and my body convulsed as if to split in two. Their taste of their blood was exquisite. It’s a funny thing, though. I kept expecting the swell of remorse to arise, but it never did, even when my brother, drawn by the cacophony, flinched away at the sight of my monstrousness, truly frightened of me for the first time. Further reflection is required, but for now I must depart. Straud requires placating.

Helena: [thinking] This is Lilith’s diary?

[flips to final pages]

February 22, 1921: Caleb’s birthday tomorrow. If it passes, he will be 27. He will continue to outpace me in physical age. He will eventually die. I’ve promised it will not. All week, he has been nervously pacing and eerily silent, too afraid to ask the obvious question: Will I truly make him like me? I know how to do it, but thirst remains a constant presence in the back of my throat. I suppose I will take it up with Straud one last time, though he will respond as usual. He believes the gift should be offered only to those who have been deemed worthy. But he grows uncomfortable when I ask how he determined my worthiness. I know he saw me merely as an opportunity, a flimsy young girl in distress who could be easily remolded in his image. I disappoint him every day. We must be free of him soon.

-

Vlad, telepathically: I can still hear every thought that passes through your mind, girl. Your barricades are sloppily constructed. And, no, my position has not changed.

[puppyeared]

updated Sleight ref!!

[canon-gabriel-quotes]

Transcript:

I'd like to congratulate you on getting your CPR certification.

Now remember, when you’re going in for compressions, it should sound like somebody is standing behind you with the worlds largest Dorito and cracking it open!

Go in firm and hard and snap as many ribs as you can on the way down, that means you’re doing it right.

You save that life. Good luck.

Or... Or... Or kill them, I don’t fucking care.

Audio source

[fl00mie]

ERROR!INK (ASYNC SANS)

ok so, finally came with a full idea of this character:D an error version of ink. i'll be listing some facts and clarifications about him to prevent any kind of confusion, just under the cut!

i wanted to write his entire backstory on here but it ended up being a little too much longer than i expected so maybe i'll make a comic about it- or no (wheheh). but basically everything started when he also tore his soul but appeared in the anti-void instead of a normal void that would eventually become his doodle sphere

now, his design choices

he's wearing the first ever clothes he used in His Story comic

his eyes colors were chosen thanks to their inverts, those specific magenta and blue are the opposites of green and yellow, the first colors he experienced in his original story

the marks on his body are white to represent the meaning of the few white garments in his original design: "The white layer underneath says how he attempts to hide who he is, but his emptiness sometimes shines through."

his "tattoos" are no longer illegible when he turns into an error, they become common binary codes (the font used for these is Note This, ink's official font)

the red (magenta) eye is on the right side to somehow symbolize the blood his "scar" would cause

there is no yellow on his clothes to show how secretive he is, as he constantly hides half his face in his scarf

personality traits and extra facts!

as said before he is someone incredibly reserved, mostly because while being in his 5 senses he is afraid of his self without his doses of paints and tries to not attract attention

nonetheless, he likes being around people, he would probably travel across universes to hang out hidden in crowded places

the "specific situations" mentioned on the first part of the sheet refer, for the most part, to self-defense. but there may be other situations where he simply creates stuff that people ask for from time to time

compared to his original counterpart, he will take much longer to drain as he'll rarely use his powers

if he talks for too much time he'll glitch for an instant and forget everything he was saying. that is one of the reason he doesn't enjoy talking so much

when he's in the doodle sphere he often has momentary traumatic hallucinations, so he tries to leave that place as quickly as possible

these previously mentioned hallucinations also happen in panic situations or as a sign that the ingested paints are no longer effective

okie dokie i think that's all for now<3 if anything comes to my mind later or anytime i'll try to post it or smth! hope you like it🫶

ink sans by @/comyet

[cy-cyborg]

Disability Tropes: The Miracle Cure

The miracle cure is a trope with a pretty negative reputation in disability circles, especially online. It describes a scenario in which, a disabled character, through either magic, advanced technology, divine intervention or some combination of the three, has their disability cured throughout the course of the story. Sometimes this is literally, as in the disability is completely and entirely cured with no strings attached. Other times, it looks like giving an amputee character a prosthetic so advanced that it's basically the same as "the real thing" and that they never take off or have any issue with, or giving the character with a spinal injury an implant that bypasses the physical spine's break, or connects to an exoskeleton that allows them to walk again. Sometimes, it can even look like giving a character some kind of magic item or power that negates the effects of the disability, like what I talked about in my post about "the super-crip" trope. Either way though, the effect is the same: The disability is functionally cured and is no longer an "issue" the author or character has to worry about.

But why would this be a bad thing? In a world with magic or super-advanced tech, if you can cure a character's disability, why wouldn't you?

[ID: a screenshot of Roy mustang from Full metal alchemist Brotherhood, a white man with short black hair in a hospital gown. In the corner of the screen is the hand of another person holding a small red gemstone. /End ID]

Well there's a few reasons. First, lets talk about the purely writing related ones. If you've been around the writing or even media critique communities for a bit, you've likely heard people voicing their frustrations with tropes like "The fake-out death" where a character is either implied to have died, but comes back later, or is explicitly shown to be dead and then resurrected. Often when this happens in media, it leaves the audience feeling cheated and like a character's actions and choices don't really matter if even the worst mistakes and consequences can be undone. In the case of the latter situation, where they die and are brought back, it can make the stakes of the whole story feel a lot lower, since even something like death is shown to be reversible, so the audience doesn't really have to worry about anything bad happening to their favourite character, and once you've used this trope one time, people will constantly wonder why you wouldn't use it every time it comes up.

The same is true for "fixing" a character's disability. It sets a precedent that even things as big and life-changing as disability aren't permanent in this setting. We don't have to worry about anything major happening to the characters, there's no risks associated with their actions if it can all be undone, and it will lower the stakes of the story for your audience. Personally, I also feel like it's often used as a cop-out. Like writers wanted to include a major injury the leads to something big like disability for shock value, but weren't sure how to actually deal with it afterwards, so they just made it go away. Even in cases where the character start the story with a disability and are cured, this can still cause issues with your story's stakes, because again, once we've seen you do it once, we know its possible, so we won't feel the need to worry about anything being permanent.

Ok, so that's the purely writing related reasons, but what if that situation doesn't apply to the story you're writing? What if they're "fixed" right at the end, or the way they're cured is really rare, so it can't be used multiple times?

I'm glad you asked, because no, this is far from the only reason to avoid the trope! In my opinion, the more important reason to avoid it is because of how the a lot of the disabled community feels about the miracle cure trope, and the ideas about disability it can perpetuate if you're not very, very careful.

You might have noticed that throughout this post, I've put words like "cured" and "fixed" in quotes, and that's because not every disabled person wants a cure or feels like their ideal to strive for is able-bodied and neurotypical. For many of us, we have come to see our disabilities as part of us, as part of our identities and our sense of self, the same way I, as a queer person might see my queerness as a part of my identity. This is an especially common view among people who were born with their disability or who had them from a young age, since this is all they've ever really known, or who's disability impacts the way they think, perceive and process the world around them, how they communicate with people or in communities who have a long history of forced conformity and erasure such as the autism and deaf communities. Many disabilities have such massive impacts on our lives that we literally wouldn't be who we are today if they were taken away. So often though, when non-disabled people write disabled characters, they assume we'd all take a "cure" in a heart-beat. They assumed we all desire to be just like them again, and this simply isn't the case. Some people absolutely would, and there's nothing wrong with that, but it's not as universal as media representation makes it out to be.

Another reason it's so heavily disliked is because this trope is often used in conjunction with other ableist and harmful tropes or it's used in ways that perpetuate misinformation about living with a disability and it can have ableist implications, even if that's not what the author necessarily intended.

If the miracle cure is used right at the end of the story for example, as a way to give characters a happy ending it can imply that the only way for a disabled character to be happy in the long run, is for them to be "fixed", especially if they were miserable all the way up until that point. If it's used earlier in the story as a way to get said character back into the action, it can also be read as the author thinking that disabled people can't be of use to the plot, and so the only way to keep them around is to "fix" them.

Of course, there's also the fact that some authors and writers will also play up how bad being disabled is in order to show why a cure is justified, playing into the "sad disabled person" trope in the process, which is pretty much what it says on the tin. Don't get me wrong, this isn't to say that being disabled is all easy-breezy, there are never any hard days and you should never show your character struggling, not at all, the "sad disabled person" trope has it's place (even if I personally am not a fan on it), but when both the "sad disabled person" trope and the miracle cure trope are used together, it's not a great look.

This is especially bad when the very thing that cures the disability, or perhaps the quest the heroes need to go on to get it, is shown to be harmful to others or the disabled person themselves. Portraying living with a disability as something so bad that it justifies hurting others, putting others at risk, loosing yourself or killing yourself in order to achieve this cure perpetuates the already harmful idea that disability is a fate worse than death, and anything is justified to avoid it.

I've also noticed the reasons the authors and writers give for wanting to cure their characters are very frequently based on stereotypes, a lack of research in to the actual limits of a person's disability and a lack of understanding. One story I recall reading years ago made sure to tell you how miserable it's main character, a former cyclist, was because he'd been in a car accident where he'd lost his arm, and now couldn't ride bikes anymore, seemingly unaware of the fact arm amputees can, in fact, ride bikes. There are several whole sports centred around it, and even entire companies dedicated to making prosthetic hands specifically for riding bikes. but no, the only way for this to resolve and for him to be happy was to give him his arm back as a magical Christmas miracle! It would be one thing if the story had acknowledged that he'd tried cycling again but just had difficulties with it, or something was stopping him from being able to do it like not being able to wear the required prosthetic or something, but it really did seem as though the author was entirely unaware it was even possible, which is an issue when it's the whole point of your story existing. This happens a lot more often than you'd think, and it's very clear when an author hasn't even bothered to google search if their character would be able to do something before deciding the only solution is to take the disability away.

There's also the frustration that comes from being part of an underrepresented minority, finally seeing a character like you on screen or in a book, only for that representation to be taken away. Disabled people make up roughly 16% of the population (though many estimate these numbers are actually much higher), but only about 2.8% of American TV shows and 4.1% of Australian TV shows feature explicitly disabled characters. In 2019, around 2.3% of films featured disabled characters in a speaking roll, and while it's slowly getting better as time goes on, progress on that front is very slow, which is why its so frustrating when we do see characters like ourselves and so much of their stories focus on wishing to be, trying to become or actually being "cured".

An finally, there's the fact this is just a really common trope. Even if we ignore the issues it can cause with your story's tone and stakes, the harm it can do to the community when not handled with care, the negative perceptions it can perpetuate and everything else. It's just a plain-old overdone trope. It shows up so often that I, and a lot of disabled people, are just getting tired of seeing it. Despite everything I've said, there are valid reasons for people to not want to be disabled, and just like how I made sure to emphasise that not everyone wants a cure, it's important to recognise that not everyone would refuse it either. So long as it's not done in a way that implies it's universal, in theory, depicting someone who would want and accept a cure is totally fine. The issue is though that this trope is so common and so overdone that it's starting to feel like it's all we ever see, especially in genres like sci-fi and fantasy (and also Christmas movies for some reason).

[ID: A Gif of a white man in a top hat nodding his head with the caption "Merry Christmas" down the bottom. /end ID]

Personally, because it's so common, I find even the few examples of the trope used well frustrating, and I honestly feel that it's at the point where it should be avoided entirely where possible.

Ok but Cy, you mentioned there are ways to use this trope well, what are they?

So, like I said, I'm of the opinion that this trope is better off not being in your work at all, but if, for whatever reason, you can't avoid it, or it's use is really that important to the story you want to tell, there are less harmful ways to implement it.

Don't have your only disabled character take the cure

If you really must cure your disabled character's disability, don't make them the only disabled person in the story. Show us another character who, when offered the same cure, chooses not to take it. This at least helps push back a little against the assumption of "of course everyone would want this" that these kinds of stories often imply and doesn't contribute (as much) to disability erasure in the media.

Don't make it a total cure

In real life, there are cures for some disabilities, but they rarely leave no trace. For example, an amputee's limb can sometimes be reattached if it was severed and they received medical treatment fast enough, but it usually results in at least a little nerve damage and difficulties with muscle strength, blood flow or co-ordination in that limb. Often times, these "cures" will fix one issue, but create another. You might not be an amputee anymore, but you're still disabled, just in a different way. You can reflect this in your fictional cures to avoid it feeling like you just wanted to avoid doing the work to write good disabled representation.

Do something interesting with it

I got a comment on my old tumblr or possibly Tik Tok account ages ago talking about their planned use for the miracle cure trope, where their character accepts the cure at the cost of the things that made her life enjoyable post-disability. Prior to accepting the cure, she had found other ways to be independent to some extent and her community and friends helped her bridge the gaps, but they were all taken from her when she was "cured" forcing her into isolation. Kind of like a "be careful what you wish for" sort of thing. The story was meant to be a critique on how society ignores alternative ways of getting the same result and how conforming to other people's ideas of "normal" isn't always what you need to bring you happiness. This was a genuinely interesting way to use the trope I think, and it's a perfect example of taking this trope and twisting it to make an interesting point. If you must use a trope like this, at least use it to say something other than "disability makes me sad so I don't want to think about it too much". Alternatively, on a less serious note, I'm also not entirely opposed to the miracle cure being used for comedy if it fits the tone. The Orville has some issues with it's use of the Miracle Cure trope, but I'd be lying if I said Isaac amputating Gordan's leg as a prank, knowing it could be reversed in a few hours did get a chuckle out of me.

If your villain's motivation is finding a cure for themselves, don't use it as justification for hurting people

Disabled villains need a post all their own honestly, but when a villain's motivation for doing all the terrible things they do is so they don't have to be disabled anymore, it's especially frustrating. Doubly so if the writer's are implying that they're justified in their actions, or at least that their actions are understandable because "who would want to live like that?" Honestly, as a general rule of thumb, avoid making your villains disabled if you aren't disabled yourself (especially if they're your only disabled character), but if they are disabled, don't use the disability as a justification for them hurting people while finding a cure.

So are there any examples currently out there to look at where the trope is used, if not well, at least tolerably?

Yeah, I'd say so, but they're few and far between. Two examples come to mind for me though.

The Dragon Prince:

[ID: A Gif of Ava the Wolf from the Dragon Prince, a light brown, fluffy wolf who is missing her front right leg. /End ID]

The Dragon Prince on Netflix uses the miracle cure twice, but I still really enjoyed the show (at least I did, up until my Netflix subscription ran out, so I've only seen up to season 4). The first time the trope is used in the series, it's actually a fake-out. Two of the main characters, while looking for someone to help them heal the dragon egg they're carrying, encounter a young girl named Ellis and her pet wolf Ava. The two explain their egg is not looking good and they need to find someone to help it, but no one they've found had the knowledge or ability to do anything to help. Ellis says she knows a healer who can help them, and tells them that this healer even restored Ava's amputated leg when she was a pup. When we actually reach this "miracle healer" however, she is revealed to be simply an illusionist. She explains that Ava is still missing her leg, she simply made it look as though she had restored it because Ellis's parents were planning to throw the puppy out, believing it would not survive with its disability and would only be a drain on supplies. This was not actually true and Ava adapted to her amputation very well, she simply needed more time, and hiding her disability and making her appear abled gave her the time she needed to fully recover and adjust. When they return to the healer with the main characters, she removes the illusion and explains why she did it, emphasising that the real problem was never with Ava, but with how people made assumptions about her.

While I do feel it was drawn out a bit too long, I do appreciate the use of the trope as the set up to an overall positive twist. Disability does come with down-sides, it's part of the deal and it would have been nice to see a bit more of that, but for disabilities like amputation in particular, the worst of our problems often come from a lack of adequate support and people's pre-conceived ideas about us, and it was nice to see this reflected, even if it is a little overly simplified.

The second time this trope comes up in the series is when one of the antagonists, Soren, is injured during a fight with a dragon, becoming paralysed from the neck down. His sister, Claudia is absolutely beside herself, believing it was her fault this even happened in the first place, but Soren actually takes his new disability very, very well, explaining that he understands there are things he can't do now, but that there's a lot of things he can still try, that his previous job as a soldier just didn't allow time for. It's possible this reaction was him being in denial but it came across to me as genuine acceptance. He is adamant that he doesn't want a cure right from the beginning because he knows that a cure would come at a cost that he doesn't want his sister to pay, and that he is content and happy with this new direction his life will be going in. Claudia, however, is not content. It had been shown that she was already using dark magic, but this event is what starts her down the path of using it in earnest, disregarding the harm it will cause to those around her. She ignores Soren's wishes, kills several animals in order to fuel the healing spell that will "fix" him, and Soren is pretty clearly shown to be horrified by her actions. What I like about this use of the miracle cure trope is that it touches on something I've seen happen a lot to disabled people in real-life, but that rarely shows up in media - the fact that just because we accept ourselves, our disabilities and our new limits, doesn't mean our friends and family will, unfortunately. In my own life, my mum and dad were always accepting of my disability when I was younger, but as I got older and my support needs changed, my body took longer to heal and I stopped being able to do a lot of things I could when I was little, they had a very hard time coming to terms with it and accepting it. I'm not alone in this either, a lot of disabled people end up cutting contact with friends and family members who refuse to accept the reality of our situations and insist "if we just try harder maybe we won't be so disabled" or "Maybe you will get better if you just do [xyz]". Unfortunately however, some disable people's wishes are ignored completely, like Soren's were. You see this a lot in autistic children who's parents are so desperate to find a cure that they hurt their kids through toxic and dangerous "treatments" or by putting them through abusive therapies that do more harm than good. Claudia has good intentions, but her complete disregard for Soren's decision still harm them both in the long run, leading to the deterioration of their relationship and causing her to spiral down a very dark path.

Full Metal Alchemist: Brotherhood

[ID: A Gif of Ed from full metal alchemist, a white boy with blond hair, staring angrily at a jar of milk on the table. His brother Al, a sentiant suit of armour, is in the background looking directly at the camera. The caption, spoken by Ed, says "So we meet again you little bastard" /end ID.]

The show does begin with Ed and Al looking for a way to cure their disabilities (which they gave themselves when trying to resurrect their mother as children went horribly wrong). However, when the boys discover that the object needed to do that - a philosopher's stone, can only by made through absolutely abhorrent and despicable means, and using one, likewise, comes at the cost of potentially hundreds or thousands of people's souls, they immediately stop, and shift their focus on finding the stones that had already been made so it can't fall into the wrong hands, and preventing the creation of new ones. The core theme of the show is that everything has a cost, and sometimes the cost is simply too great.

However, right at the end of the show, several characters are healed in a variety of ways. Ed gives up his ability to do alchemy to get his brother's body back, as well as his arm so he can save his friends in the final battle, but neither of the boys come away from this completely "healed". Al's body has not been used since he was a child, and so it is shown he has experienced severe muscular atrophy that will take a long time and a lot of work to recover from, acknowledging that he has a pretty tough road ahead of him. When we see him in the epilogue, he is still on crutches despite this being several months after getting his body back. Likewise Ed is not fully healed, and is still missing one of his legs even if he got his arm back.

The more... interesting use of the trope, however, is in the form of Colonel Mustang who was blinded in the final season. Mustang is shown to take to his blindness pretty well given the circumstances, finding a variety of ways to continue doing his job and reaching his goals. When other characters offer to let him use the philosopher's stone to heal himself however, he takes it, acknowledging that this is a horrible thing to do and that Ed and Al would be extremely disappointed in him if they ever found out. He uses it both to cure his own disability, and to cure another character who was injured earlier in the show. While I'll admit, I did not like this ending, I can at least appreciate that the show made sure to emphasis that a) Mustang was doing fine without the cure, and b) that this was not morally justified. The show spent a very long time drilling into the viewer how morally reprehensible using the stone was, and it didn't try to make an exception for Mustang - you weren't supposed to like that he did that.

When I talk about these tropes, I do try to give them a fair chance and discuss the ways it can potentially work, but I really do want to reiterate that this particular trope really is best avoided. There are ways to make it work, but they will still leave a bad taste in many of your viewer's or reader's mouths and you have to be exceptionally careful with your wording and framing, not just in the scenes where this trope is used, but in the lead up. If you really must use it, I highly recommend getting a few disability sensitivity readers and/or consultants (yes, even if you are disabled yourself) to help you avoid some of the often overlooked pitfalls.

[front-facing-pokemon]