#diversity in character designs is important too)

[bluejayblueskies]

someone: haha so cool that [xyz] fandom universally decided to--

me: *immediately breaks out in hives*

[inktoony]

Me when I love Hazbin hotel but hate Hazbin hotel but love Hazbin hotel but HATE Hazbin hotel but LOVE Hazbin hotel but h-

[creatingblackcharacters]

“The Ambiguously Brown Character™”- The Attachment to Eurocentric Beauty Standards

“maybe im petty but i wish people knew how to draw like different nose shapes. Sometimes I’ll see a character I like but im like that is not what their nose would look like.” @the-eldritch-it-gay

You’ve seen them before. The one character that has brown skin… And everything else about them is… an enigma. They’re not supposed to be white! You know that much… right? You can see what the designated white characters look like, so at least it’s not that. You could claim them as Black, if you want, and sometimes creators even demand that this character is Black. Depending on the quality, you’re either like “no, what the fuck is this” or you’re like “okay they’re cool, we’ll take them”. Representation is important. But… There’s a pit in your stomach that wonders… Are they really? Are they really supposed to be Black, is this really representation, or did the creators just toss a brown person in so all the Brown™ people could “have something”, so that they would look like they cared about “diversity” on their art resume?

Examples

Theseus, in my opinion, looks like a white man with a tan. Dionysus looks a little better with the similar skin tone, due to his purple hair coloration. Apparently people do think that at least Dionysus is a man of color. What’s interesting about both of these characters, is that they’re only about two desaturated browns lighter than Patroclus, a character in the game that we’re supposed to believe is Black (whom, in my opinion, also looks like a brown bucket tool character. I’m still claiming him, he’s my guy. But his design should have been more explicitly Black). Theseus and Patroclus are the two darkest-skinned dead humans in the first game. So… what was I supposed to think about these two? Was I supposed to think they are really dark white people, due to the thin textures of their hair? Are they men of color? Are Theseus and Patroclus supposed to be ashy because they’re dead, is Dionysus ashy because he’s dehydrated from wine? Why don’t the white dead people look off color? Hades was entirely too striking a game in use of color for the browns to look like… this.

Noe and Hibana are interesting. It was complete coincidence, the purple hair and eyes thing btw. Hibana is interesting because Ogun is an unambiguously Black character in Fire Force, and there are at least three other unambiguously Black characters in Soul Eater as well. So we know the mangaka knows how to draw Black people in their style! So… was this on purpose? Is this another of those ‘tanned anime girls with titties’ meant for shounen fan service? I’ve claimed Noe (Case Study of Vanitas) because Black French people exist and France has stolen so much from us already, but it is never actually specified what Noe is. He’s just the One Singular Brown Guy in this show, with regular, untextured anime hair. Are there more brown people in the manga? Is this explained? Because we know who is supposed to be white! If anyone else wants to claim Noe, they absolutely can, because we have no idea what he’s supposed to be. Hot Chocolate thinks he’s Indian, and I’m not going to argue that because… who knows! He very well could be!

My very first lesson addressed this, albeit lightly! There’s a reason that I said that if you gained nothing else from me, that’s what I want you to walk away with. Now that I’m on stronger footing with this blog, I can really get into the nitty gritty of what that really means.

Obligatory disclaimer: we are not a monolith!* As of 2015, it has been researched that African populations have the highest genetic variation on Earth*, with a lot of that genetic diversity in sub-Saharan Africa alone. This means that YES, there very well can and will be Black people with naturally thinner textures of hair, blonde, light brown, and red hair, straight, narrow noses, monotone lips, and lighter skin that comes more often with white people. There are enough genetic combinations within African peoples and of the African diaspora that I’m sure there are plenty of people that look the way people seem to want Black people in art to look, if those genes so express within them.

*as a scientist, I will say: while these papers seem fairly legit and I looked at many related articles and their sources, take Nature with a grain of salt. Though their vetting process has become much better, you can and should always do further reading on your own!

Here’s the thing: the possibility is not the issue here!

The first issue: I don’t have to teach anyone how to draw those features on Black people! It is evident, from the professional and fan art I’ve seen, y’all already know how to draw the features deemed highly by Eurocentric beauty standards. Those features are excessively focused on and promoted as part of “good art”.

The second issue here is that the average artist drawing a poorly done Black person is not considering things like genetic diversity when they draw them (and if they are, it’s usually as an excuse post-confrontation. Yes, I have seen it.) These creators are not designing these characters with the intent of them being Black with those features, they are designing “Black” people with features that they deem most aesthetic and are most comfortable with drawing.

And why do they deem those features most aesthetic? We’ve circled back to the point of this lesson!

Eurocentric Beauty Standards

Definition: beauty standards as defined through a white, western cultural lens, including but not limited to: straight, blonde hair, light eyes, pale skin, high cheekbones, narrow noses, thinness. It’s a way that white western people want other white western people to look to be considered classically attractive… and then enforced that on everyone else.

It affects people of color worldwide. Anyone that has ever had to deal with European colonization or imperialism has to deal with the interjection of Eurocentric beauty standards.

Examples

-Black women, standing at the intersection of Blackness and womanhood, especially deal with the constant pressure of Eurocentric beauty standards, being consistently told to hate ourselves due to our own ethnic features. It’s incredibly damaging to your self-esteem growing up; my mom told me that until I went natural at 17, I was determined to look ‘like a white girl’ because I thought it would make me beautiful, and it hurt her. And as for me, it was a stunning realization that at 17 that I had never really seen my own natural curl pattern before. My hair was in ponytails and such as a child, but as a teenager, growing into my identity, I had always wanted straight hair. I was in love with my coily texture, I couldn’t believe that I’d never seen it. An entire part of my own body, gone unknown, because I wanted to fit a beauty standard I would never reach.

-Kenneth and Mamie Clark: The “Doll” Studies: Black children- age 3-7 were shown white and Black doll babies, and were asked a series of ‘positive’ and ‘negative’ identification questions. Even by that young an age, most of the Black children associated things like beauty, kindness, and positivity… with the white dolls.

-“The Golden Ratio”: a survey was done in Britain (oh boy, here we go) to determine what people felt was the ‘most beautiful’ face, and apparently it all came down to “symmetry”. “International blueprints of beauty” they claimed, were applied, as humans “naturally seek symmetry”. In 2015, according to ye olde Daily Mail, this was the most beautiful woman. You'll never guess:

(It’s not even her natural hair color!)

-Another “research study” using E-FIT (Electronic Facial Identification Technique -- a facial recognition software used to create criminal profiles based on eyewitness descriptions; no WAY that THAT could get problematic!!) to determine what 100 people thought was the “most archetypal face of beauty”.

They came up with a figure similar to Kendall Jenner as the female option.

(Guys, we’re never getting out of here at this rate.)

-We’ve spoken about discrimination against Black hair before, and how natural hairstyles will be deemed less professional or appropriate for school, regardless of the brilliant mind that sits underneath it, and even the history of Black women having to cover their hair so as to “not steal the desire of white men” and ruin the status of white women.

Appropriation:

I try to have nuance on the Kardashians, but I have never liked Kylie, and it’s not because she’s not allowed to do what she wants with her body. I watched the world claim that she was so beautiful, that her kits were why her lips looked “so good”. Everyone wanted to have “full, plump lips” like the ones Kylie BOUGHT. But Black women’s full lips have been treated horrifically since racism was invented. In 2016 I watched racists dogpile and mock Ugandan model Aamito Lagum for her naturally full lips in her MAC campaign, after saying in just 2015 that Kylie’s lips were “top fashion and everyone wants them”. And she lied (not that we didn’t all know that)! She appropriated a look, and she lied about it to move product. And people who had no right to forgive her did so, and everyone moved on to make her a billionaire. Because full lips looked good… as long as they weren’t on a Black woman. I can’t even have my own lips, but she was rewarded with an industry for appropriation. No, I’m not getting over that.

I could go on, but I won’t. So what are some ways to address the existence of Eurocentric beauty standards potentially biasing our creation?

First thing: LET’S TRASH THE IDEA THAT BROWN SKIN AUTOMATICALLY MEANS BLACK.

Black people are not stupid, and we do have expectations. Splashing brown paint on your otherwise white character does not mean I’ll automatically think they’re Black. I’m going to look. When I see brown people in real life, I can usually tell when they don’t look like me. I don’t look at a South Asian similar to or darker than my shade and say “they’re Black”. Blackness is not just skin color, it’s an entire identity and sociological construct. Yes, you can tell us apart.

Acknowledge when you’re holding a bias:

For example: “Tall, dark, and handsome.” What did you picture? You must understand that different people had different ideas of what this meant, versus who it was actually meant to be. Because on its surface, that description includes tall Black men with dark brown eyes and dark hair! We’ve talked about this in lesson 3! Whoever came up with this phrase didn’t mean skin though, they meant hair and eyes- they meant white brunettes. Even in this, it was only meant to include whiteness. And we were all supposed to assume that, be damned anything else.

Part of that is knowing what things do and don’t fall under the category. They were listed off earlier: straight and wavy hair, blonde hair, colorful eyes, thin noses, high cheekbones, double eyelid with round eyes that “show youth and innocence”. People have been going the “aquiline nose” route lately to claim more diversity in nose shape but like… even that isn’t always going to be the case. Every Black person is not going to have an aquiline nose. It is not the “middle ground” of diversity. Draw us with some round noses. We look fine.

Often ignored (in depictions of Black people): afro/coily hair and natural styles, large, round noses, full faces, brown eyes, full figures that aren’t oversexualized, body fat. One of the characters from Craig of the Creek that makes me so happy is Nicole, Craig’s mother. When I look at her design, I see my own mother. I see a Black woman that… actually looks like Black mothers I know. It made me happy and comfortable.

White folk, you even do it to yourselves! I mentioned to a friend once that a good chunk of stories in our fandom with the blonde/brunette white character dynamic read like an Aryan fantasy: the blonde character will be treated like a god on high, the most beautiful of humanity, and then you’ll get to the brunette and it’s “my meek, mousy brown hair, my dull, brown eyes like dirt, and my tanned skin with freckles; no one would ever notice someone plain, nerdy, and unimportant like me until him” lmao like excuse me? Author, you okay there pal? Do you need a hug, lmao? I can’t take it seriously anymore. If y'all are being this mean to each OTHER about not hitting Eurocentric beauty standards, y'all are certainly not being nice or respectful about people of color- who never can- in your content! (and no, exoticizing Blackness is not respectful.) You should look out for how often this happens, and catch yourself when you’re doing it.

Creating with Intent (and the lack thereof!)

(This is so important I made the header larger)

You have to actually consider and reference REAL Black people when you’re drawing Black people. That seems like such an obvious thing, and yet it must not be, because these sorts of arts/the techniques used in them still happen.

For example:

credit to my friend @devilatelier; I asked for the worst Black art ever and he heeded the call!

I abhor art like this, and art that does varying versions of this. To the pit of my soul, hatred. I will not share your work if I catch even a whiff of it. Why? Because people know that this isn’t what we look like! If you get on the computer and type in “Black man with short hair”, option A is not even remotely on the first page. You’ll get nonblack men that show up, thanks to Google’s algorithm (another conversation), but the Black men don’t look like A. If you get on the computer and type “Black man with long hair”, you’ll even get Black men with all textures and styles of hair, including straight! And they still don’t look like B. Go ahead, I’ll pause- go type it in and see what you get. Have you ever seen a Black person that looks like these images? Be honest with yourself. Why do you let them slide, if you haven’t?

Why This Matters

So it’s not about the actual Black people in their lives that they’ve seen, that makes artists draw characters like this, nor a dedication to accuracy. Because if you were looking at us at all, you wouldn’t draw this. And yet, people draw it, and post it proudly. So there must not be any shame behind it, or they at least are comfortable enough with their target audience to think it’s presentable! That begs the question- who is your target audience, and do you include Black people in it?

It’s how people like Jen Zee can have a successful career at Supergiant despite drawing dark skinned people the way she does. It’s because studios recognize when their target audiences are not perturbed by, and therefore will still buy, their product. If poorly drawn Black people does not perturb audiences enough to affect the almighty dollar- or, in fanart situations, the value of popularity- then there’s no motivation to stop doing it! Who cares about the value and the demeaning of Black fans, right?

Think about it like this. You remember how everyone bullied the Sonic studio and they scrapped their entire reel? People do not get that much up in arms in solidarity about the antiblack treatment and depiction of Black characters. It’s how you end up with Wyll Ravengard on the drop of BG3. Because Larian could have stood on business, had some integrity, and said “this is a character we are going to develop, because there will be fans that look like Wyll, and deserve to receive our best efforts at inclusion.”

But instead, Larian said “this is what our majority fanbase wants, and apparently it is not a well-developed Black character” and released that game as it was. To rousing success. That was a choice. The antiblackness of both the fans and the studio, via their lack of concern about Black gamers, was involved in making that decision. We have to let go of the idea that antiblack racism is incidental, and not a part of the process- and that includes in character design.

I cannot tell you how much it shrivels my heart inside when I see a “Black” character with wavy hair. One, because I know the artist’s first thought was not to have a Black character with wavy hair, but because they draw white people with that hair and thought it was transferrable. Two, because if you wanted the aesthetic of hair down to the back… Locs could have worked! The same shape would be there! You can style locs in any way, and it would be fine! Even if you wanted them to have thinner hair, fine, but… I can see where the intent (and the lack thereof) is. We can see when you aren’t even trying for us!

I asked Angel how he felt about creating the “white man with the brown bucket” images, curious about how he felt given that he is more than capable of drawing Black people. His response was noteworthy, and consistent with my hypothesis:

“Thinking about it, these two drawings have been the most difficult thing I’ve had to draw, period. And it’s the first time I’ve actually felt nauseous during the drawing process from start to finish. I constantly felt like I was fighting off the part of myself that knew better, telling me that this is wrong. It felt like a betrayal, knowing what Black people actually look like and still choosing to be disrespectful. Especially because I worked on the first two and immersed myself in references and also Black youtubers, researching Black hairstyles. It felt like a betrayal to all of that to call these two (deliberately poorly drawn) characters Black, because they’re not. None of the Black people I found during my research (both photo references and videos) looked like these. at all. It felt cheap, it felt lazy. Creatively lazy in the way that you just take a white person and paint-bucket them brown and call it a day. In the way it makes you feel no pull to change what you do, or learn something new. Kinda like a thought terminating cliche. Unlike the first two, I used no references for them, but I mostly based them off of actual designs I’ve seen in fandoms, both fanmade and not.”

Conclusion

So what I want us to consider for now is: if we know that’s not what Black people look like, but so many people are willing to do and/or accept it without any mental dissonance… how much do they care? Why is this allowed to ‘pass’, if we recognize that it is not accurate, unless we think what we are being presented with is acceptable? Or at least, not worth fighting over? Why not? Why do you not think that this Black character deserves to be unambiguously Black? And why does that ‘better’ way to exist always come back to whiteness?

We’re going to get into this, as well as more into the other, more overt and equally harmful manifestation of these beliefs in the next lesson on Whitewashing! But I want you to simmer on this part, first.

When you draw a character that you want to be Black, not only should you keep in mind your intent of how you’re going to draw them, but it also means putting in the work to make sure you’re doing so. You do not put pen to paper and “accidentally” draw a white man lol, it came from somewhere- let’s shatter that connection that views white features as superior, as 'ideal for attention grabbing', so we can create better. Because remember, it is the thought that counts, but the action that delivers!

[pastel-charm-14]

how to start and maintain a successful girlblog

hey girlies!! here are a couple tips i wish i'd known when i was starting up my own girlblog :) enjoy!

FIND YOUR NICHE -

decide what you want your girlblog to focus on. it could be fashion, beauty, lifestyle, self-care, a combination of any of these, really anything that excites you!! having a clear niche will help you get a loyal audience.

CREATE A GOOD USERNAME -

your username should be memorable and reflect the vibe of your blog. try to keep it short and sweet, and personally try to avoid using too many numbers or special characters.

some username ideas

sugarplum

cupcake

glitter girl

dainty daisy

peachy

DESIGN A THEME -

choose a theme that matches your aesthetic/niche. spend some time customizing it with colors, fonts, and images that represent your style. a visually appealing blog will attract more followers and is just nice to look at :)

POST REGULARLY -

consistency is so important! try to post at least a few times a week to keep your audience engaged. i'm starting to use the scheduling tool to plan out my posts.

ENGAGE WITH YOUR FOLLOWERS -

respond to comments, messages, and reblogs. making a blog is about building a community, and your followers will appreciate the interaction!!

USE RELEVANT TAGS -

tag wisely to help people find your blog. research popular tags related to your niche and use them where relevant!

FEEL FREE TO REBLOG -

don't just post your own content – reblog posts from other girlblogs that inspire you. this helps you connect with other bloggers and keeps your blog diverse.

STAY INSPIRED -

follow other girlblogs, browse pinterest, and stay updated on the trends in your niche. keep yourself inspired!! it will reflect in your content and keep your blog fresh.

some of my favorites

@honeytonedhottie

@pinkpigtailsprincess

@girlbossagenda

@girljournal

@universalitgirlsblog2

DON'T BURN YOURSELF OUT -

if you feel burned out, please take a break!! i felt burnout for the last half of may, and it sucked because i felt like i couldn't produce any good content, and i was tired of posting!

[theplotmage]

How to Get Started with Worldbuilding for Fantasy Writers

Hey fellow writers!

Worldbuilding can feel like a Herculean task, but it’s one of the most rewarding parts of creating a fantasy novel. If you're getting stuck, Here are some tips that have helped me, and I hope they’ll help you too!

Start with the Basics

Geography

- Map out the physical layout of your world. Think about continents, countries, cities, and natural features like mountains, rivers, and forests.

Climate and Ecosystems

- What are the climate zones and ecosystems like? How do they shape the lives of your inhabitants?

Create a History

Origins

- Dive into how your world came into existence. Are there creation myths or ancient civilizations that set the stage?

Major Events

- Outline key historical events. Wars, alliances, discoveries, and disasters can add so much depth.

Develop Cultures and Societies

Cultures

- Craft diverse cultures with unique customs, traditions, and values. What do they wear? What do they eat? How do they express themselves through art?

Social Structure

- Define the social hierarchy. Who holds power? What are the roles of different classes or groups?

Establish Magic and Technology

Magic System

- Set the rules and limitations of magic. Who can use it? How does it work? What are its costs and consequences?

Technology

- Decide on the level of technological advancement. Is your world medieval with swords and castles, or does it have steampunk elements?

Design Political and Economic Systems

Governments

- Create various forms of government. Are there kingdoms, republics, or empires? How do they interact?

Economy

- Define the economic systems. What are the main industries and trade routes? How do people earn a living?

Build Religions and Beliefs

Religions

- Develop religions and belief systems. Who are the gods or deities? What are the rituals and holy sites?

Myths and Legends

- Craft myths and legends that influence the culture and behavior of your characters.

Craft Unique Flora and Fauna

Creatures

- Invent unique creatures that inhabit your world. Consider their habitats, behaviors, and interactions with humans.

Plants

- Design plants with special properties. Are there magical herbs or dangerous plants?

Incorporate Conflict and Tension

Internal Conflicts

- Think about internal conflicts within societies, such as class struggles, political intrigue, or religious disputes.

External Conflicts

- Consider external threats like invading armies, natural disasters, or magical catastrophes.

Use Maps and Visual Aids

Maps

- Create maps to visualize your world. This helps you keep track of locations and distances.

Visual References

- Use images or sketches to inspire and flesh out your world.

Stay Consistent

Consistency

- Keep track of the details to maintain consistency. Use a worldbuilding bible or document to record important information.

Feedback

- Share your world with others and get feedback. Sometimes fresh eyes can spot inconsistencies or offer new ideas.

Let Your Characters Explore

Character Perspective

- Develop your world through the eyes of your characters. How do they interact with their environment? What do they know or believe about their world?

Be Flexible

Adapt and Evolve

- Be open to changing aspects of your world as your story develops. Sometimes the best ideas come during the writing process.

Worldbuilding is an ongoing journey, and it’s okay to refine and expand your world as you go. If you’re stuck or need specific advice, drop a comment or message me. Happy worldbuilding! 🌍✨

Feel free to share your own tips and experiences below. Let’s build some amazing worlds together! 💫

By the way, if you’re looking for a tool to help you keep track of all your worldbuilding details, check out my worldbuilding bible on Etsy! It’s designed to help you organize every aspect of your world, from geography and cultures to magic systems and conflicts.

I poured my heart into creating this, and I hope it inspires you as much as it has inspired me. Writing is such a beautiful journey, and having a structured way to keep your ideas organized can make all the difference. So go ahead, dive deep into your imagination, and let your creativity flow. You’ve got this! 💖📝

Happy writing, friends!

[dunmeshistash]

in regards to skin tone variation in DM, i do think a lot of it is colorism/racism too. theres a few characters of color, but not many (just like how theres some fatter characters, but none of them are main characters (even senshi & other dwarves arent really depicted as fat)).

ryoko kui has surface representation for these people, but it lacks much substance, and the brown characters she does draw arent given brown facial features, and are almost always colored with very ashy skin. a lot of them just look like a recolored white person (especially cithis, kaka, & kiki). her random portraits of characters who dont actually appear in the series otherwise tend to be much better about this, but the actual characters that show up and play a part all seem to suffer from this issue.

im not saying kui is like, super-duper racist and we all need to stop reading DM etc etc, but i think its important to recognize and point out everyday/usually-overlooked colorism & racism when we see it, and i know im not the first or only person to point this out about her character designs. if she can draw fat people and actual brown people as part of the portraits, why cant she or wont she do the same for any of the featured characters in the series?

(i know the orcs are fat, but its not a good thing the only consistently fat people are the ones who are a fantasy race based off of violent racial stereotypes, who are also pig people, while none of the main cast of "real" humans are fat except *maybe* the dwarves, who still have small waists and flat stomachs, and the lord of the island, who is depicted as corrupt & decadent)

Well yeah.

I'm just a lore blog so I don't like to get too into real life issues or make assumptions about how the author feels about these subjects. What I talked about on the skin tone post was assumptions as to why she thought it would be important to show skin tone variations on certain races as a character design choice. (In the sense that her character design is very purposeful)

I realize some people over praise Kui's designs when most of it is pretty safe for what it is, but even if it's just a step closer to better representation it's something that's rare to see in anime. So I understand why some people get so excited about it.

It is important to realize this isn't the ideal either (Dark skinned characters with the same features as the others, mostly well build characters on the thinner side) but I personally don't like to criticize these type of stories on what it "could/should have been".

As someone who is fat and not white, I'm happy we get some diversity in dungeon meshi. I hope this opens up the possibility of better character design in the future even if what we got now wasn't perfect.

It shouldn't be the case that this piece of art filled me with so much joy I teared up cause I had never seen someone with a similar body to mine drawn with so much respect and objectivity. But unfortunately that's the world we live in and I don't think it's wrong to be happy for what we get for now while acknowledging it's not perfect and that it should be better.

I'm also super happy the anime chose to make the dark characters even darker.

[cripplecharacters]

hello! feel free to ignore me if this is slightly outside the boundaries of this account, but i'm a tabletop roleplaying game (ttrpg) designer looking for opinions on mechanics for disability in games.

my game specifically covers a lot of themes that, while not about disability, would make me feel remiss to not include some explicit mention of how physically/mentally disabled characters fit into the greater picture of the game. it has a specific focus on telling stories of diverse characters, for one, and on fighting the unfair capitalist systems that harm these marginalized groups.

my issue lies in how, exactly, to both treat this topic respectfully and make the characters not feel out of place or unbalanced. i've considered several options, and was curious to hear from a physically disabled perspective how to proceed (i am mentally ill & neurodivergent, but to my knowledge not physically disabled).

option one: mention that disabled characters of all kinds are encouraged, and talk about roleplaying them or provide resources for how to handle them respectfully, but don't apply any specific rules with hard mechanics or numbers to them. this option is least likely to be inadvertently misconstrued or written poorly on my part, but may make disability feel like a "flavour" side note.

option two: provide examples for some common disabilities on the mechanical effects (such as a low vision character rolling less dice on rolls to notice visual details) without any "counteracting" mechanics. this one gives mechanical weight to disability, so it feels less like an afterthought, but may discourage people from playing disabled characters as they would be more likely to fail than other characters.

option three: the above, but with mechanical incentives for roleplaying in a way that acknowledges the character's disability. a "benefit", but less "giving a blind character echolocation" and more "gain XP for showing your characters disability and any aids they use" (similar mechanics exist for following your character's goals/personality traits). this would make disabled characters be more on par mechanically with other characters, but i fear it may come across as... viewing disabled characters as not worth it without some sort of benefit, i suppose?

apologies for the long rambling message, but i'd love to hear which of these options (or another suggestion) you'd be happiest to see in a game written by someone who isn't physically disabled! this is far from the focus of my game, but it's still an important part of the greater theme that i'd love to be able to get right. thanks! (similarly, if there are any groups not covered in the "underrepresented but common disabilities" post from your FAQ that you'd want to see in a game, i'd also be happy to hear those!)

Hello!

First things first, thank you so much for thinking about this! This isn't something that most TTRGs consider and, as a massive nerd who plays DND, Pathfinder, and other tabletop games, this has always been a big pet peeve of mine since making a disabled character is always unnecessarily hard to do with the game mechanics and rarely works out well.

Most of the time, I have to talk to my GM about how to make it work in their game and, unfortunately, I'm often told they won't allow it because it's "too much trouble".

This is all just to say, I really love the idea here and the fact that you're actually thinking about these things and wanting to do well by them is great!

Now, taking a look at the options:

Option One

One of the unfortunate things that I see a lot is people that are too scared to get something wrong with representation (Or social justice on a broader scale) that they don't try to do it at all. With this current era of cancel culture and people's reactions to what they deem 'offensive', it's understandable to be a bit apprehensive but if you're approaching the subject from a place of respect and you're receptive to learning and improving, most people will appreciate the effort.

While this option does sidestep the main issue you've identified, I do think it sidesteps the attempt at making disability part of your game as well. You can encourage people to make disabled characters all you want but without any real content for them in the game, it won't do much.

If you do go with this option, I'd strongly suggest including some information on the culture of your world and how it relates to disability, both to provide more substance to the content and to give players a bit to go off of when making a disabled character.

Option Two

I like this option much more than the first one, though I do agree that it may discourage people from choosing to play a disabled character.

Within the game mechanics, I think it makes a lot of sense to have these kinds of effects but I would encourage you to include more variety with it. Disability isn't 'one size fits all' and two disabled people can have different needs, strengths, and experiences -- even if they have the exact same disability. Instead, I'd suggest going for a slightly different model that includes more choices.

For example, a character with low vision may:

- Roll lower on perception checks involving vision

or

- Have disadvantage with ranged weapons/attacks

or

- Have lower rolls/less success in dim lighting

Do you see where I'm going with this?

Having more options for how the character's disability affects them allows players to make a choice for how they want to play the character while also encouraging them to think more about how their character's disability might affect them and impact their life.

The examples given are all reflections of how blindness can affect somebody. Blind spots or blurry vision can make it more difficult to notice certain visual changes, severe nearsightedness can make it difficult to aim/focus on things that are far away, night blindness can make it difficult to see in the dark or in dim lighting, etc. That being said, there are dozens of other ways to go about this (Though I'd advise sticking to five options per disability at most to avoid overwhelming people).

Option Three

Personally, I like this one and the second option the most. Although I understand where your concerns are coming from, it feels less like it's implying that disabled characters have to be 'worth it' and more like it's just balancing it out.

Like with the second option, I'd suggest going for more of a choice model here where the player can pick what 'benefit' (For lack of better word) that their character has -- or even to choose no benefit at all.

Many physically disabled people develop our own skills or tools to compensate for where we struggle, whether this is an intentional decision or just something that happens.

For example, my boyfriend is paralyzed from the waist down and uses a wheelchair full time. As a result, he has kick-ass upper body strength from it.

Similarly, many deaf and hard of hearing people are more observant when it comes to visual cues and many blind people are more sensitive to other senses (Though, of course, the whole 'super senses' thing is a myth).

While this isn't true of all disabilities or all disabled people in general, it is something worth considering.

That being said, if you do decide to implement this option, make sure that the benefit makes sense for the disability or is related in some way and isn't just something random being tacked on -- that would make it seem more like a 'disabled characters need to be worthwhile' thing.

As a few extra notes:

If you go with the second or third option, I'd suggest separating the different stat effects into different types of disabilities. You don't need to go too into specifics with it but something like 'low vision/blindness/vision loss', 'deafness/hearing loss', 'limited mobility', and 'chronic illness' would work. While disabilities are more nuanced than this in real life, setting it up this way would keep it pretty simple and allow players to tweak the mechanics slightly for their own characters.

If you go with the first option, I'd probably avoid discussing how to roleplay disabled characters. Because roleplay and character development is much more open than stats and game mechanics are, showing one or two 'proper' ways to play a disabled character is more likely to reinforce stereotypes, dismiss certain experiences that disabled people have, or just come across as more of a 'lecture' than anything. The same goes for including information on what to avoid. I'd stick to providing information about your world and how disabilities are seen in them instead of giving instructions here.

I'd suggest including ways for players to bypass the mechanics of disability if they'd like to, even if their character is disabled. That would allow for a bit more freedom with how they portray their character and would also ensure that they aren't being 'penalized' (For lack of a better term) with their stats for playing a disabled character. As a bit of an example of what I mean: A character in DND could have been a criminal growing up without necessarily taking the Criminal/Spy background.

In general, I think as long as you're approaching this respectfully (Which you are!) and reaching out to physically disabled people for their input (Which you are!), you don't have to worry too much about misrepresenting it.

Cheers,

~ Mod Icarus

[thunderstomm]

I was originally not going to make a post about this, but after seeing a few other posts about it, I wanted to make my own. I have a LOT to talk about.

TW: Transphobia, Homophobia, Ableism

If you don’t know what I’m taking about- there was a post made by a user, who’s name I will not disclose or share, who discussed how they would rewrite the new Monster High G3 Cartoon. While some of the points were mundane, or points of preference, others made me very uncomfortable, as they got rid of much of the diversity that G3 has brought into the Monster High Universe. I want to quickly go through three of the points that I felt were erasing these steps in diversity, and my thoughts on each one, and why I think that it’s iffy, to say the least.

First is the statement “all of the couples from G1 will stay together”. While this may read to some as a preference for the old couples, in the context of rewriting G3- it comes across as the erasure of both couples involving a neurodivergent character being the subject of a crush, and being seen as desirable and loved (Manny x Twyla), and what probably was the intended couples they wanted to seperate, the canonically queer ships. In particular, this is most likely against Clankie (and POSSIBLY an s2 ship which I won’t say by name because some people want to go in blind. Instead I will refer to it as 🧡💚.). In this rewrite context, wanting to take away queer relationships which many writers and designers for Monster High have fought for in many shapes and forms. G1 never had explicit queer characters, the closest things being a scrapped SDCC diary entry (Valentine x Spelldon), Post-Ending 3rd party statements (Clawdeen is a Lesbian, Rebecca x Venus, etc.) and implied characters (Kiyomi). While these are okay, they are NOT the same as explicit queer couples, which are arguably more important to push forward in the talk and scope of present and future representation.

While it is okay to prefer the G1 ships, in the context of bringing them back for G3, it erases these queer couples, and ignores the lore and universe of G3. In G3, Cleo and Deuce are exes. And if you don’t like that, you can still watch G1!! It’s not magically disappeared, the movies and shows and music is all still out there, and most of it is free! But, erasing Clankie, 🧡💚, and other potential queer ships in G3, for the preservation of a m/f ship isn’t okay.

On the subject of erasure, there is the statement “Frankie is still non-binary, but now uses she/they pronouns”. A character canonically using they/them in cartoons, especially ones made for kids, are uncommon. Honestly, I don’t even know if I could name 10, and that says more about the state of non-binary representation than it does about me. While changing the pronouns of a cisgender character to gender neutral ones is often done in fandom, and often not a point of issue, taking a character who is canonically non-binary and solely uses they/them and giving them typically gendered pronouns erases that under represented group, and allows for transphobes to ignore the “they” in “she/they”, and only use “she” for the character. This is an issue in real life too, for many who use multiple sets of pronouns, including myself (they (preferred) / he) ! We deserve both of their sets of pronouns to be used, and people who only use they/them deserve to be referred to by and as they/them. These changes hurt everyone.

Then, we come to the one I see the most talk about, and the one that made me audibly yell “what the f-?!”- taking away Twyla’s canon autism diagnosis, and symptoms & traits, and replacing it with autism coding, so that she is easier to identify with. First of all- easier for who??? Neurotypicals ?? It is incredibly rare to see a character on kids TV outright say “I am autistic”, and Twyla is wonderful as representation. Twyla will not resonate or be relatable to every person- but that is true for all characters, not just autistic ones. Autistic people are not a monolith, it is a spectrum, with many different ways to present itself. Also… taking away all of her traits and symptoms to make her more relatable? These traits and symptoms are what would have made her “autistic coded”, and without them, you have a character who is NT.

Autism isn’t a quirky word you can use to describe anyone, it is a disability, that myself and many others have, and see misrepresented time and time again. And to say that a good example of it is not good, and would be better off to be erased and replaced with coding is insane. Coding is okay, but that’s all it is. Real spoken representation matters so much to me, and so many other people, even if the characters we see are not identical to us in those symptoms and traits they exhibit. These characters should not be changed, but rather, more autistic characters, with different presenting symptoms and traits, should be introduced !

You can like G1, you can prefer G1, but that does not mean that you have to make a sanitised version of G3, that makes it identical to G1. In terms of representation, there is no arguing that G3 has G1 beat. The poster said on their post that “any new characters would be made more relatable”, but… to who? Because I relate to a lot of the G3 characters more than the G1 ones, and I grew up loving G1! It’s not been wiped, all of the media still exists for you to watch, and make headcanons for ! If you like G1- good for you! But please, stop trying to make G3 exactly like it. Because change is inevitable in these kinds of reboots, and it allows for the representation some want to take away.

Thank-You for those who read all the way!

[jesncin]

Do you have a favorite character design from Lunar Boy?

Oh that's a tough one!! But if I had to pick my fav design in Lunar Boy, I think it would be Aminah!

She took a lot of re-designing, but at the heart of it we wanted a character who embodied cultural non-conformity as a trans girl in Indonesia, someone for Indu (the trans boy main character) to look up to! Her design is me expressing a bunch of my feelings about queer femininity and how it shouldn't be narrowed to traditional femininity for fear that they're not "girl-ing hard enough". I've always disliked the discourse that it's transphobic to show trans girls being any kind of masc or have a body type that's not petite because it sets a standard where only cis people get to dictate how far gender expression and body diversity representation can go.

Aminah is big, buff, butch and yes she's really hairy too, the narrative never questions her girlhood.

If anyone's read my big MAWS essay they'd know that queer reclamation of cultural wear is really important to me. So having Aminah, an Indo butch girl interpret the kebaya in her own way that lets the clothing proudly accentuate her non-conforming body meant the world to me. I find the kebaya very dysphoric and uncomfortable personally so this was like embracing it through art!

Aminah is one of those characters that felt really cathartic to bring to life. I hope people enjoy meeting her!

[fefairys]

"...trolls emerged in the story as an alien parody of real-life internet trolls, those who aggrieve and harass others online in many ways, in the form of many profiles, such as raging capslock shouters, argumentative jackasses, or disingenuous "pranksters" who casually toss around death threats. When expanding on the roster in Hivebent, the creative challenge became crafting a diverse range of such profiles. And a corollary to this challenge was imagining what profile would maximize the qualities that make someone a troll in this sense. In other words, who is the most trollish troll in this group, what are the traits that someone fitting that description has, and what form will they take in terms of personality and role in the story? Vriska is the result of this effort, and one way of looking at her arc in the story is as a simple exploration of what it means to draft a character designed to have the ultimate troll profile. Being the ultimate troll doesn't necessarily mean being the biggest asshole (though there are times when she gets that award too). It means being the most controversial. One designed to incite, to maximize drama and division, inside the story and out.

She's constantly used that way, as the number-one wedge character, dropped into situations to stir up controversy, get people arguing, and fuel noisy divisions in fandom leading to heated arguments about morality, the motivations behind her conduct, and the dispensation of justice. Since serving as the ultimate troll, fandom wedge, and escalator of drama is an inseparable part of her profile, by extension the narrative has a way of constantly dragging her back into the spotlight to keep stirring the pot, ratchet up controversy, and continue forcing the plot forward by dint of her overbearing personality and need to be important. Whether she's the one forcing her way back into the spotlight all the time due to ego, or it's actually the narrative always pulling her back in as a preferred tool of effective melodrama, thus giving her a reputation as someone favored by the author as a vehicle for mayhem and controversy, is left for readers to decide. It's also left for them to decide if there's even a difference between those things." - Andrew Hussie

[artist-issues]

Some Things I Believe About Stories

Stories should not be PRIMARILY created to entertain. They should be created to teach, or encourage, or inspire, USING entertaining qualities. The Romans used entertainment to distract the populace from corruption. J. R. R. Tolkien, on the other hand, described "escapism" as "a prisoner of war escaping from enemy camp to go back home." You're not running from reality to fantasy when a story does it's job. You're running from the dark, twisted side of the world to something that reminds you of the good, the true, the beautiful, the correct. You've been imprisoned by bad ideas and confusion and dark perspectives, and the story shows you how to escape and get back to true and beautiful reality. It's got a point, it's not just for diversion.

Stories should be made to serve others and leave the world better than they found it. Storytellers should not only tell a story to exorcize their personal demons or point to how clever and artistic they are. That can be a nice bonus. But the point should be to serve the audience. Think about it. When it's made, it's timeless; it will be read or watched or listened to by the next generation, or the next. What are the storytellers letting fall into the hands of the people who come after they're not around to explain or gain a profit?

The storyteller should be passionate about the story while they make it. This could look like a sense of duty, or fun, or just excitement. But those outward emotions usually signal an inward understanding of how important the story is, and therefore, a level of compassion and care for the eventual audience.

You can like a story or dislike a story. You can interpret a story or misinterpret a story. Those things are subjective. But whether or not a story is good is objective: it can be measured. Does the story say what it is trying to say in the clearest, most compelling way possible? If yes, it's a good story. If no, it might be great entertainment. It might be funny. It might be cool. It might be quotable or franchise-able or profitable or even memorable. But it's not a good story if it does not say something in the clearest, most compelling way possible.

A story's main point, or theme, is the most important thing about it. The characters, the set design, the pacing, the soundtrack, the language, the use of color or lighting or blocking etc.; all of those pieces work best when they are unified in the goal of communicating that main point or theme.

Death of the author = death of the story. It's point is to say something. If you claim the speaker's intent is meaningless, so are the words spoken. If you claim it can mean anything, your words are meaningless too. We all might as well tell no stories and blabber gibberish instead. It’s one thing to say you understand what the author intended, and you like to think of it in/wish it were another way. But it’s quite another to say that what the author intended is unknowable or doesn’t matter. You’re either calling the author a bad storyteller or, again, recommending we all speak gibberish.

Both form (the quality of the story and it's elements) and content (the main point or lessons) matter. Without one you have a lecture, not a story. Without the other you have entertainment, but no valuable, timeless, beautiful truth to make it a “story.”

[theanxiousghostartist]

TMAGP 28 Spoilers

Reaction and Theories

Literally screaming with this one/pos

The Minister's Visit:

Trevor is the Minister? It's very interesting given his character in TMA was a vampire-killer, homeless outlaw, and a great father figure for Julia. I wonder if this means his first experience with a vampire went differently than in TMA. Maybe his brother survived, or maybe someone came to help?

His diversity comment with Sam??? It is reminiscent of TMA!Trevor but still, it was very unexpected for me.

He seems to be in a similar situation to Lena, having to keep his bosses happy. He mentions that the ONS has been "sniffing around" and that Gorman-Smith is on top of him. From what I can see, the ONS is the Office for National Statistics, but it could mean something else in TMAGP. Otherwise, the language Trevor uses reminds me of the Hunt a lot - "sniffing around," "someone's head to roll," "come back to bite me," ect. I know that these are common phrases, but Trevor seems to be similar to his TMA counterpart, so I've been vigilant, trying to pick up on any settle details about his relationship with the Fears.

Lena and the Minister:

So, Lena's running the OIAR without much oversight, interesting...

A reliable source? Who Trevor??

Ahh, Ink5oul is still committing crimes. Good for them. It makes sense too, with them Becoming, they need to feed.

Daniel "Danny" Turner is the Commissioner, so I assume he's been involved in the investigation of Ink5oul to some extent.

Trevor wants someone punished for Ink5oul, someone in the OIAR. What will Lena do? Maybe she'll fire Colin, since he knows too much already and tried to destroy the computers.

It seems like Trevor is giving Lena permission to kill or fire whoever is a liability.

In this interaction between Lena, Trevor, and Gwen, it seemed to me that Lena was trying to protect Gwen from Trevor. Like she made sure that Gwen didn't reveal herself as contracting externals and made tried to keep Gwen away from the conversation entirely, perhaps so she wouldn't know too much about the way the OIAR is run by the higher-ups. While Lena was firm, she seemed scared as well, showing more anger than usual. Her character is similar to Daisy in TMA, so I'm using her as a basis, as they both seem to get angrier and more defensive when they are scared. Especially since my theory is that Lena is Hunt and Web aligned, it would make sense that they would show these emotions similarly.

Alice, Celia, and Sam:

So Trevor knows nothing. I wonder if it is because information is given on a "need-to-know basis" according to Lena. She and the higher ups would have to know, as she runs the place and the higher ups have power over her, but Trevor seems more like a middleman than anything. "Pan?" Is Celia pan??!! Yippee!!!

OoooOOO, Alice is having drinks with Teddy, I hope we get to hear about it next episode. Also, he's having insomnia. I wonder if it is because he's away from the OIAR?

I appreciate Sam respect Celia's boundaries but also acknowledging that her "mysterious origins" (TMA-verse), are going to have to be revealed in order to get closer to Sam.

Alice wins the bet ^_^

Gwen and the Minister:

Wilson is Trevor's driver; I wonder if they'll be important...

Gwen nooo!!! Please don't get Lena killed ))):

Jeremy Bouchard?????

Nooo Gwen don't please ))):

She has a flashdrive full of 20 years of "incompetence" of Lena as the head of the OIAR. Ok, so she is older, that's good to know for my design lol.

A concerned 3rd party sent this information to Gwen... It's from the email isn't it? I'm pretty sure it's Jonah. Since Jonah took over Elias, he had to have access to his memories. If they were related, it makes sense that Jonah would know about Gwen, and if they are the same person, we know Jonah is a master manipulator and has manipulated Elias before. Maybe he's trying to claw to the top via Gwen in order to free himself?

How does Trevor know Jeremy? Maybe he is the reason Gwen got the job? Ah, so Gwen is a spy now.

The Archivist and Sam:

So Sam is locked out of the OIAR?

Archivist!!!! They found the OIAR!!! Oh, I wonder if they are going to serve a Jane-Prentiss-esc role for the OIAR crew.

Sam is able to resist, for a little bit, at least? That may be because of his connection with the Eye.

Sam's Statement: So, we finally get more information on the Gifted Children Program! Gilbert wore a fake smile. All I can think of is the Stranger's Dolls and Distortion, maybe he was marked by the Stranger or Spiral? Two stern-looking older women... I wonder if one of those women was Gertrude.

"Was I happy at home?" "What do I do when I feel angry or upset?" "When is it okay to lie?" The Institute was most definitely looking for someone to mark or who was already marked...

Oh, so Sam was marked at the Institute, while they were trying to do a ritual. Very interesting.

Dr. F. Welling's skeleton ripped out of his skin after a yellow light went into him? I wonder if he was doing a body transfer and that word he messed up when Sam interrupted him caused it to go haywire. It definitely feels like the Flesh, especially since Sam mentioned near the end that he was unnerved by the sight of seeing a bit of the form of the skull "smiling" underneath the skin when he looked at his parents Maybe the Stranger was mixed in a bit as well? IDK, it reminds me of the coral case.

The development of Sam through his statement is great. I loved being able to see his fear of being a disappointment shine through, even as a child, and this statement definitely helps show us why he makes some choices today (like seeking out the Institute, valuing the Institute more than Alice at times, ect)

So, the Archivist (not necessarily OUR archivist, Jonathan Sims), left Sam on the floor, and leaves the tape recorder with Sam. Maybe this is how they establish a connection with their victim and slowly feed off of them, even after death, like the drowning victim Alice saw? The transcript also says that "The archivist steps forward to takes one last breath of Sam's memory..." so I wonder if they are not only feeding off of the fear but damaging the memory as well. Or maybe they take the memory and force it into the tape recorder, hence why when it turns on, even after death, the person starts speaking again, sort of like Gertrude's skin in the Unknowing - it holds a bit of the essence of the person.

Great episode! I was screaming the entire time/pos

[s0kkix]

Would it be too much to ask, how do you draw your faces? / avoid same face syndrome ?

etc etc

not too much at all, thanks for the ask !

the way i think about faces is like a puzzle - the eyes, nose, lips, ears, chin, etc. being the puzzle pieces. it's a sort of "mix and match" game.

for example, these three characters all have a similar, strong nose and droopy eyes with puffed eyebags (except for azariel in the last pic), but thanks to different face shapes, body builds (how a character is built also reflects in their face) ears, hair and other details the characters can be told apart.

incorporating your character's personality into the face design is a great idea. perhaps the way they express a certain emotion is different to the way other characters do. maybe their resting face is happier-looking than another character's. the face is a big element of character design, because it's a tool of storytelling on its own.

take a look at my lucifer, for example. woah ! what the hell happened to them ? (he's still pretty though)

the face should entice, force the beholder to ask questions about the character and be curious about their story. i'm not saying every face you draw should suggest the oddest of backstories and personalities, but give each of your characters something unique to their face that would spark someone's interest.

now, i haven't exactly checked how well they stand out amongst eachother by removing the hair and the rest of the body, but i did draw a bunch of my characters together without colour on one paper.

my biggest tip is - exaggerate ! find a feature you want to stick out in your character's face and construct the rest of the face to compliment it. matching a face with the character's personality is also something you should know how to do, so i suggest doing research on shape and colour language.

it's important to take note of how faces look as people (or humanoid characters) age and grow older. wrinkles are one of the main ways i add character to ... well, my characters.

as much as i enjoy drawing wrinkles, i usually save them for "wise old" or nurturing characters. but of course, wrinkles appear on all sorts of people, especially if they have a fuller face.

(i am speaking specifically for my stylization which often strives to be somewhat anatomically realistic)

another tip is to reference life when you study ! human people have such a wide array of features you can utilize, it's amazing and beautiful ! just make sure you do research on ethnic features and when they appear on which face (unless you're going for something supernatural/humanoid, then the nose gallery is all yours /j).

also, don't drastically diversify faces all the time. siblings and family members often have similar features and it's okay to repeat them in these cases.

(this artwork is pretty old)

if your character and costume design is good, "same face syndrome" shouldn't worry you at all. avoiding this art community boogeyman is just one way of diversifying your art and adding spice to it. lacking this diversity really is no sin.

at worst, it's just going to look odd. for example, if you're so used to drawing young, wrinkle-less characters and attempt to draw an older character without any exercise prior to that, chances are this character is going to look oddly youthful, resulting in a sort of silly outcome.

but just like with everything, take your time ! changes and improvements don't happen overnight, and it takes time for you to get used to new things. with all that said, i'm wishing you the best of luck and happy drawing !

[mcytblrconfessions]

a lot of hermitcraft fan-designs and mcyt fan-designs and art in general have such a bias towards skinny bodies it’s crazy. like i guess most people just don’t think to learn or imagine their faves as any different from skinny but i really want people to learn because it’s yaknow not only important in a social justice perspective to learn how to draw differing body types but it makes for better lineups and more interesting designs!

c!grian is fat and you can fight me about it

its not just an mcyt issue if a character hasnt been given a specific body-type, skin tone, hell even hair type, the fandom defaults to skinny, white, hairless except for the always straight hair on their head and its frustrating!

BUT we are an mcyt blog so imma focus on us.

i do think that compared to other fandoms we do a good job with diversity of character design, however, we can do better. art is a powerful tool which informs how we see ourselves and all artist in this fandom can help normalize what has otherwise been labeled as "unattractive" by conventional standards. if you are an artist please explore different bodytypes, and hair texture, even different levels of body hair! because when you draw a character fat, with curly hair, with more body hair you get someone like me! i see those drawings and i appreciate and cherish that i can relate to the subject more and other people in the fandom do too.

and if you cannot draw thats okay, reblogging can be as equally as powerful as it helps spread art displaying diversity (: peace and love on planet minecraft and beyond ✌️

[porcelaintoybox23]

Vivziepop’s and Adam’s childish responses have made me lose respect for them and the shows. An important rule to all creatives, refrain from responding to criticism. Maybe even avoid it, but definitely do not respond. Their “defense” against poor writing reveals they are hurt and can’t handle criticism. You are creators, you will be criticized. That’s the risk we all take. Audiences aren’t required to coddle your feelings and give their feedback in kind words and affirmations.

You’re allowed to be hurt. No one likes criticism, especially of something near and dear to their hearts. That thread on Millie was an immature fishing attempt at praise and adoration from her fans. She set up strawmen for them to mock and smack down all while throwing shade at her critics. Adam retweets an article about how most criticism these days are from people too dense to understand media. Sir, fuck you. People disliking your writing doesn’t make them stupid or wrong. Even if they are, shut up. You look pathetic. Belittling your audience is foolish.

I waited years for Hazbin Hotel. I liked the beginning of Helluva Boss. I’m allowed to critique things. I’m allowed to have “wrong” opinions though we can literally see that Millie has had no significant development in comparison to her male counterparts. Moxxie has 3 episodes dedicated to this, including the one where me go to Millie’s hometown. If her development is coming, fine. It says something that you have to make a thread saying you will because, clearly, you haven’t.

I’m still holding out hope for Hazbin. I’ve been waiting since high school and I liked the pilot.

Finally,

The writing of Helluva Boss is atrocious. Stolas is annoying. Blitzo is inconsistent. Moxxie is fucking pathetic and I can’t believe they wasted Zim’s VA on him. Grow a spine. Millie is adorable but is only Moxxie’s wife. Loona is there…Octavia is also there. Stella is so overkill it’s stupid. The character designs are not diverse. I will watch the next episode and how many episodes after, if I want. I’ll shit on them, if I want. The show has drastically dropped views and you can see it. There are also too many fucking merch sales. They’re acting like Poppy’s Playtime.

Edit: apparently Viv decided to cry about a new video, which was very polite, and tweeted about it. I can’t muster up anything beyond “yikes.”

[svsss-fanon-exposed]

I find it interesting that the most controversial/widespread posts have been those relating to physical appearance/visual medium. Lbh's hair and body type and sqq's eyes. I wonder what's the underlying cause for this. Maybe because people get attached to designs they feel more protective of them? Just a thought.

Oh, I would say this is absolutely the case. Visual design choices are, after all, often symbolic reflections of parts of individuals' own selves in some way, or of other things that are important to them. Artists will also spend a lot of time and thought on creating their designs-- and in some ways, visual media and written media are also quite different. You don't need the visual contrast so much in a book, but you do need it more when it's pictures, because characters with good contrasts are pleasant to look at together.

I actually think the donghua designs create a sort of contrast too-- both by SQQ's lighter eyes to LBH's, but as well as with the broader silhouettes, where SQQ has flowing robes and hair and LBH's silhouette is tighter. Also in general, the black robes of adult LBH vs the teal & white. Western stylization just focuses more on body type+hair texture silhouette diversity, while eastern stylization is more about the clothing and hair-styling silhouette, in a broad generalization, so it's only natural that when people create their designs, especially for a media that is only written, like SVSSS before the donghua or official cover art came out, that they will draw influence from the background of their own culture in creating these designs, in addition to their own experiences.

It's difficult too in my position, because while I genuinely want to take a neutral look at trends and history and patterns and cultural influence as a scientific sort of examination, there are so many instances of attacks on character designs, which make both the artists and designers and the people who like those designs feel bad and just isn't productive, even if criticisms are genuine. Things should be talked over civily, without bashing, because a space where people are belittled and attacked is not a space where people can learn.

Anyway, everyone has reasons for their designs. Sometimes these may be rooted in stereotyping or westernization, but other times, they're based on personal reasons and don't actually have those roots. It's not my or anyone's place to declare, definitively, that someone is stereotyping (of course, there are some instances when things are very very obvious and that's a different story), I only try to explain what things i can so that people are then able to examine things for themselves. I do think it's everyone's own responsibility to look at their own biases and think about where their portrayal choices are sourced from, especially when engaging with a culture that isn't one's own. But I don't want people to get into a justification loop, because that's not going to help anyone-- just to honestly take a look at the why of things. Sometimes there's subconscious biases, sometimes it isn't about that. I don't know peoples' own experiences, so I'm not going to say what it is or isn't.

In the end, accountability is something that is definitely needed in sensitive areas like westernization or stereotyping. However, accountability is not dogpiling on someone. Instead, it's personally being open to consideration, to change, and to growth-- and we'll never have that in a hostile environment. People need to focus more on holding themselves accountable, and less on holding others accountable-- we all have unconscious biases. It's part of existing in any culture or environment, and it's a life-long process of examining them and growing in experience and knowledge. And I hope to contribute that knowledge wherever I can, and use what platform I have to foster that sort of gentler environment, where it's not about making people who genuinely didn't know things feel bad, but where it's okay to be wrong, and to learn and grow.

It's up to an individual to examine themselves when they hear new information. That doesn't mean everyone needs to change their designs to conform with Chinese beauty standards-- which have plenty of issues of their own, and shouldn't be taken as more "morally correct!" It's just so that as many people as possible can have as much information as possible, so they can make the best and most informed judgments and decisions they can about their own viewpoints and thought processes.

But yes, even saying all this, I can perfectly acknowledge that fan-designs of beloved characters hold a bit of their creator's heart. While creators can be imperfect, the experiences and emotions and care that these designs stem from is still genuine, and should be treated with gentleness and understanding.

No matter if someone's viewpoint is erroneous or just different from yours, it's important to remember that every person on the internet is a real, human person. Fandom culture can be so notoriously toxic-- and it's high time that people remember each other's humanity, and treat one another with compassion and understanding. That's the only way to create a better fandom space-- and ultimately, a better world.