#i always loved the diversity of the background characters

[magicalella]

Hi all!! For those of you who don’t know me, My name is Ella Griffin, I’m a 24 year old trans woman based in south florida. For the last four years, I’ve been working on a super special project that I’m beyond thrilled to share with you all: my debut novel, The White Liar. As a big fan of fantasy books, I’ve felt for a long time that there’s a serious lack of authentic trans representation in the genre. For years, I yearned for even just one iconic transfem hero in a high fantasy setting. The White Liar is my attempt to fill that gap in the literary canon.

As a bit of background, I am a massive fan of hard fantasy books with an epic scope and in-depth magic systems; such as Brandon Sanderson’s Cosmere books or Ursula Le Guin’s Earthsea series. I’m also a big fan of gothic literature and character-driven classics like Victor Hugo’s Les Miserables and Anna Karenina, all of which have played an influence on this book. The White Liar’s setting is heavily inspired by celtic folklore, mythology and history with a feminist twist.

It’s a world where fae creatures range from tiny glowing insectoids to massive flying mounts and even humanoid beings. Yet, even the tiniest of these has the potential to unlock unfathomable magical potential through the art of Serimancy! Serimancy, the primary magic system of the book, gives users the ability to transmute or ‘spin’ the silk made by fae creatures into supernatural strength, telekinetic threads, and twelve other distinctive powers. Think Rumplestiltskin spinning straw into gold, but more vaporwave.

Without giving too much away, the book features a diverse cast of characters from all different backgrounds, including transfem, transmasc, nonbinary, aspec and disabled characters, although those aspects don’t always define their motives or character arcs. Mainly, The White Liar is a book about the nature of truth and identity; the ways in which our environment affects how we perceive those things, and the friction that creates with our own perception.

I would also characterize the book as a gaslamp fantasy like the Mistborn series or the video game Lies of P, with a baroque/art nouveau-meets-Bridgerton 19th century aesthetic. I’m a 100% independent author with a summary $0 budget publishing through kindle direct, and flat broke, so I would highly appreciate any and all support with this project, be it word of mouth or otherwise. The cover art is a digital painting created entirely by me and is canon to the book!

Thank you so, so much for giving me your time and attention. This book is my love letter to the queer community and I truly hope someone somewhere finds it hopeful or inspiring like I’ve found with the works that inspire me.

The White Liar is available now on E-book here:

[sonicenvy]

one of my favorite library kid encounters this weekend was a with a little Greek three-year-old named Andromeda. She and her mom came up to get her beads for SRP, and, as is pretty common, they start telling me about what they've been reading. Friends, this child and her mother have been reading the Odyssey in Greek together. The mom and the kid chat back and forth in Greek together about the Odyssey while picking beads (and counting them in Greek), translating bits and pieces for me as they go along.

Apparently, Andromeda's favorite character in the Odyssey is Penelope, which, uh, girl I see u!!!!! Obsessed with the vibes of this toddler who read the Odyssey in Greek with her mom FIVE times this summer because that's her favorite book! GOOD! FOR! HER!

Additionally the mom was like, "yeah we also read the Iliad this summer."

no notes. impeccable. there are days when i love our kids so much y'all.

[violentdevotion]

wait do you have a fav boys character yet ?

i really like butcher but i feel like that's a basic answer and also the wrong answer. in another world id like frenchie but i can't get over how much i hate the actor. I love maeve theres never a moment she's on screen where im thinking get this woman outta here she's always entertaining to me. i like starlight but (and this is probably a bit nasty to say) there's smth a little uncanny valley about her sometimes where when she's talking im not listening but staring at her face trying to see what features throwing me off. I hate ashley but the actress played an insufferable character in jessica jones too and I really appreciate her ability to play The Most annoying woman you know.

centrist answer i like them all (except stormfront. hated her before i even knew she was a nazi. she was on insta live and i was waiting for her to explode and die) but my fave would have to be butcher bc i find im rooting for him the most and constantly justifying his actions. but sometimes karl urbans accent pisses me off. also black noir but he doesn't Do anything so it's hard to have him as a fave bc he's barely there.

[neil-gaiman]

I know it’s been months since Good Omens s2 came out, but I’m still so grateful for the disability rep with Saraqael and others in the background. it’s so rare to see disabled characters who are just living their life and are just there as a part of the story, not as a tragedy or a moral or an object of pity like in a lot of media. So the fact that Saraqael is a disabled character who uses a mobility aid (a badass celestial mobility aid!!) and their narrative had nothing to do with their disability…it just meant so much.

I use a cane a lot of the time, and honestly, I started crying the first time I saw them, because I got to see someone kinda like me onscreen like that. And as such an awesome character too!!

Thank you for that. I’ve always looked up to you as a writer, and you do such marvelous work with representation. I love seeing and relating to such awesome diverse characters onscreen, but that was something so, so special to me.

Anyway, I hope all is well for you and your family! Thank you for all you’ve shared with us over the years.

- Teal

I'm really glad. And I'll tell Liz Carr. It will mean a lot to her too.

[notherpuppet]

hazbin race talk (kinda uncomfy but said w/ love!)

When it comes to human iterations of the hazbin characters, my decision making when it comes to race is usually dependent on canon/semi-canon info and voice actors.

Many of the demons in the show can have pretty "race-blind" casting because their characters don't necessarily have racial ties to their background. There are some characters who do have clear ties to an ethnicity and/or viv has overtly stated so, such as Vaggie (Latina), Angel Dust (Italian), and Alastor (Creole). Some of these may no longer even be canon since the show started. As for their race, their skin tone is still pretty open interpretation for artists because canon reference just does not exist (yet? maybe ever?).

As for other characters, such as Husk, Niffty, Charlie, Sir Pentious, etc. I feel that those characters have a pretty ambiguous background, open to interpretation by artists who are depicting their human forms. I depict Husk as Black because I watch the American version where his voice actor is Black. I depict Niffty as Japanese (when I do draw her human form) because Niffty's voice actress is Japanese. The Hazbin pilot did not have the same voice actors as the ones for the show, and internationally, that's not the case either. And the voice actors are usually just one direction I might take, I don't hold myself to that option as a rule.

Like, idek if I would depict Sir Pentious as White because his voice actor is a White American, I may consider his British background and honestly the fact that he is dark demon into play. I think that's where "casting" the human forms can be very open to interpretation for certain characters.

I think something that is really cool about the show is that there are opportunities to cast a character as whomever. (I think of Little Mermaid 2023). There are times where a character's race is integral to their background, and other times where it is not so explicit. When it is not explicit, I think it's okay for an artist to interpret a different design. I don't think it should be assumed that it is erasure or tokenism (though I do empathize with that reaction as someone who craves certain representation).

I personally love seeing a diverse cast, so I like incorporating that in my design choices! But I don't think someone is 'wrong' for having a different interpretation of a character. It's okay to not like a direction someone may take, but I don't think that means they're wrong and if you don't like it, idk, you can always just close your eyes or scroll lol.

My two cents.

¯\_(ツ)_/¯

[momochanners]

After a good night's sleep, I think I can better solidify my thoughts in regards to the Dragon Age trailer.

First, let's start with the positives:

- Companion diversity: This has always been part of the series' DNA that has been clearly depicted with every iteration, so those who cry foul over "Asian & Black elves", prosthethics, etc etc...I really don't get that, because values and sensibilities evolve over time. Even the series itself has course corrected when needed, eg. Player character creation influencing the family ethnicity of the Couslands in DA:O vs the Hawkes in DA2.

- Unlocked romances: Letting players choose whoever they want to romance regardless of their sexuality and race has always been a positive for me. Allowing everyone to enjoy the experience equally is great (and I'm sure the nuances of player race & gender will be addressed through dialogue and banter). Moreover, CRPGs are long and time-consuming, so to be locked out of character romances mid-way through is never going to be a good time (from personal experience and observing fandom in the past).

Now the negatives:

- Maybe it's me being on the older side of the Bioware fandom (15 years in Dragon Age, 20 years if you count older games like KotOR and Jade Empire), but I cringed very hard watching the trailer. If you followed the development of this game in the past decade, the cancelled live service element that was to be DA4 in one of its iterations was so all over the way the companions were introduced that it brought out a visceral reaction in me. The tonal whiplash from how foreboding Dreadwolf was presented in the past to the patronising happy quippy MEET OUR LITTLE GUYS YOU'RE SURE TO LOVE also did not help as a first concrete look of what to expect after all this time (also poor anachronistic choice of soundtrack when you already have Trevor Morris' compositions right there). I was so dismayed when they went with a looter-shooter-esque lighthearted vibe when they could've leaned hard on the foreboding established mood and momentum they've already got going with Dreadwolf. 

- The branding switch this late in the game that comes with it, especially one as drastic as this will always come with questions and ambivalence. I feel that mitigating uncertainty from announced changes (party number, combat mechanics, setting and environment, etc) should've have been prioritised to reassure existing and lapsed fans before appealing to new ones in such a jarring way.

-  I'm simply baffled at the marketing suit who signed off on whatever this is to be their "best foot forward" at reintroducing the final form of this game? If only there were confident with the world they've already built instead of relying on trendy gimmicks, the amount of damage control I'm seeing prior to the gameplay reveal tonight was so avoidable. Controlling the narrative from the get go is so very important especially now as opinions can easily snowball overnight into behemoth-like proportions especially from bad faith actors. You would think that lessons were learned from DA:O's "THIS IS THE NEW SHIT" and DA2's "Press a button, something AWESOME happens" debacles.

(The thing is, despite it being my least favourite DA out of the three, imho Inquisition has the best marketing campaign in the franchise despite the developmental troubles going on in the background. So it has been pulled off successfully before!)

- I think the Bioware layoffs, especially the recent extensive gutting of senior staff in September 2023, significantly depleted my goodwill as a fan. To see Varric being paraded as a mascot in the trailer, game promotion and supplementary media while having his creator unceremoniously let go after years of building the franchise we love left me so very cold. And it's a me problem, but seeing many other fans barely acknowledging that save for few hollow words before getting back into the fun frustrated me so much. I get being excited to finally get something solid after years of false starts, but with what was lost along the way...I personally don't feel right to approach this installment without cynicism.

Idk, I'm just a bundle of conflicted feelings over this series I guess? When it's so good, it's really good and stays with you as memorable gaming experiences that stays with you for life, but when it stumbles and fumbles the bag...it hurts to see.

[jesncin]

The Potential of Asian Lois Lane. Pt 1: Girl Taking Over and American Alien, a comparative analysis

Lois Lane has had many iterations over the years. But specifically in the last decade, Lois has been reimagined as an Asian American woman in both the comics and recently in the animated show My Adventures with Superman.

I believe making Lois Asian is a very inspired choice for the Superman mythos! I would like to take a moment to analyze these versions of Lois from an Asian perspective, seeing what works, what doesn't, and what I'd like to see more of. We'll start with the comics first, as MAWS is going to need its own post.

Usual disclaimers: I'm just one Asian perspective, I do not and never will claim to cover every Asian person's opinion on a thing ever. We're not a monolith, we come from a variety of backgrounds and experiences. I'm simply a fan who enjoys media analysis and believes it's valuable to have my perspective in this topic. Secondly, this discussion covers the comic run American Alien, which is written by Max Landis. He's an ultra creep and while I think the comic is worth a read for what it is, I leave it up to you whether you'd like to buy the comic. You can always arg-arg-ahoy otherwise.

I'd like to start with Girl Taking Over: A Lois Lane Story written by Sarah Kuhn with art by Arielle Jovellanos. This is a self contained YA graphic novel about a young Japanese American Lois dealing with the ups and downs of breaking into journalism as a career in National City. When her dream internship at Catco gets a corporate take over, Lois seizes an opportunity to write an exposé on a shady art director. But when her story is turned down, Lois does some out of the box things to get the story of marginalized performers shared with the world.

Girl Taking Over is a fantastic story and I happily recommend it to anyone looking for how an Asian American Lois could be reimagined (with fabulous art by Arielle! The fashion especially is on-point). This story isn't just a diverse coat of paint on a Lois Lane story, being Asian informs Lois' experiences and choices. Both she and her frenemy roommate Miki, are ambitious Asian women yet have hidden insecurities where they still made themselves small to their respective white male bosses. They played into model minority in different ways, and it's only by working together that they're able to foster a community for their stories to be told.

Lois and Miki don't just "have a diverse friend group", that friend group is actively being taken advantage of and suppressed by white gatekeepers. By extension, Lois' friends from work find solidarity in each other. Lois looks up to Cat Grant, a Filipina-American journalist, because seeing Cat succeed made Lois feel like her dream as a journalist is possible. I love how Lois' mom (a character so rarely expanded on in DC canon) acts as a voice of comfort for Lois in the story. All these characters feel holistic and whole, going through their own unique struggles.

It's clear from interviews with both the writer and artist that they care for the history of Lois, and saw an opportunity to reimagine her in a way that aligns with her character but also revitalizes her for new readers of color who aren't used to seeing themselves reflected in media. It's taking Lois' ambition and fearlessness and channeling them into the need to be a model minority, and the insecurities that can come from the desire to succeed constantly. It's taking a character historically frustrated by sexism and disrespected by her male peers- including Clark Kent (who got better treatment than her as a man), and expanding her to be a Lois that has to deal with both sexism and racism in the workplace. It's humanizing Lois' excellence into something painfully specific and relatable for many Asian women.

The only thing I feel I want from this version of Lois is... honestly more of her! I want to see what Japanese Lois does when she moves to Metropolis and works at the Daily Planet. I want to see how her experiences in National City informs her adulthood. Girl Taking Over sets up an incredible groundwork for stories to be told in the Superman mythos. How would Lois react to Superman, a fellow immigrant? Would Superman see himself in Lois? Since she's someone who, in the American context, is perceived as the perpetual foreigner? What would their relationship be like? Out of all the Asian Lois' in media we have so far, this Asian Lois' story has the most rich potential in my opinion.

Up next, we have American Alien written by Max Landis. This 7 issue series swaps artists for each issue, as a means of reflecting different milestones in Clark's life. I will be focusing on issues #4, 5, and 7 since those have the most prominent Lois appearances. With that, I'd like to celebrate the artists for those issues: Jae Lee (issue 4), Francis Manapul (issue 5), and Jock (issue 7). All these artists did a fantastic job, their art styles are energetic and fun to look at. Lee and Manapul are both Asian artists (Korean and Filipino respectively) and I love how they draw Lois- who looks undeniably Asian in their art styles.

American Alien is a modern take on the Superman tale. It expands Clark's story to be connected to Batman, Green Lanterns, Green Arrow, and more. We see Clark grow from his days in Smallville to a city boy in Metropolis, coming into his own as Superman. It's a bold and pretty divisive take with some standout story moments. From what I know, this is likely the first time Lois has been reimagined as Asian- and continues to influence Superman media like MAWS (the producer specifically calls out this comic as inspiration).

In issue #4, Clark moves in to his Metropolis apartment and talks on the phone to his mom about "some bigshot guy named Louis Lane". The reader, likely familiar with the Superman mythos, knows Clark is coming in with biases and a preconceived notion of who he considers a promising student reporter. Once we meet Lois Lane however, the comic turns the reader's expectations on their head:

Lois Lane is an Asian American woman (it's not specified what her exact ethnicity is)! This is a fun moment where the comic metatextually challenged the reader's own biases, showing it's not just Clark who had a different idea of who Lois Lane could be.

Lois' introductory panel is my personal favorite part of her characterization in American Alien. Lois proudly stands as a wall of text behind her recounts how she was considered as a winner for the Daily Planet's Charlton Memorial Laureate Program. When asked why she deserves a place on the program, Lois snaps back that the very question itself is loaded. She's listed her credentials and looks professional- so she's either already been rejected and is just being made to "at least had my say" or she's been accepted and is "meant to garnish my success with eloquent affirmation" to which Lois refuses to do either.

This is a great defiant introduction to Lois, showcasing how jaded she is with the way the world perceives her- but is very confident in her self worth as a journalist. By the end of the issue she reaches out to Clark to combine their exclusive interviews into one story to make a big impression on the news. Her words inspire Clark to seize an opportunity to make a big change in the world as Superman.

Afterwards, the comic plays the classic Superman and Lois dynamic straight. Lois is initially suspicious of Superman, but eventually comes around and is inspired to hope through him. There's a great back and forth between the two where Lois' words initially inspire Clark to be Superman, then Clark assures Lois that Superman is probably just a good guy, and when Clark loses hope from a bad day of heroism, Lois gives him hope again. In the end, Lois realizes her love for Clark Kent over Superman and they share a passionate ending kiss.

Overall American Alien nails the Clark and Lois dynamic and understands their relationship. I consider this Asian Lois "just okay". I like that we get to see an adult jaded Asian Lois meet Clark Kent and Superman, and see them get together. Similarly to Girl Taking Over, I'd like to see how this Lois and Clark would play out. My only issue with American Alien's Lois is a sense of missed opportunities.

The writing overall leaves room for plausible deniability over Lois' Asian identity. The artists (particularly Lee and Manapul) are doing the heavy lifting delivering Asian Lois. If she was drawn as a white woman, none of the writing would need adjustment. Sure her introductory panel implies that people judge her based on her appearance- but that could be just sexism instead of the intersectional experience of Asian Lois going through racism and sexism. Clark did assume she was a man after all- it's never specified if he assumed she was a white man. The only thing you'd lose is the metatextual shock value of Lois Being Asian This Time. That's really what this Lois boils down to, initial shock value with no specific writing to follow through. Her marginalization and identity is written broadly enough that it could be attributed to general sexism and womanhood. It's not specific to being an Asian American woman.

However, because of its broadness, there's room for Lois' Asian identity to be built on in the world of American Alien. The story centers Clark's experiences, but I can easily imagine a continuation of the story expanding on Lois'. The basic groundwork is there. I think it's telling that in a comic called American Alien, we get a more diverse Superman cast system. Jimmy Olsen is Black, Lois Lane is Asian- when Clark moves to the city it feels expansive compared to Smallville. It's a world that feels ready to tackle themes of racism if it was ever to continue (and probably in the hands of a writer with that kind of life experience!). In the end, there's room for this Asian Lois to be something special. Clark isn't the only American Alien in American Alien, if you catch my drift.

You can see how Girl Taking Over has a huge piece of what American Alien is missing. The characters aren't just diverse for shock value, they're not an aesthetic change over historically white characters. They have a story to tell that is inseparable from their identities. Whereas in American Alien, the art is doing the heavy lifting with the reimagined diverse characters- Girl Taking Over has both the writing and art carry the representation. Lois can't be changed into being white in Girl Taking Over.

Both of these stories have potential- but if I had the choice to pick which story should continue, it would easily be Girl Taking Over. This graphic novel works for what it is: it makes sense that this is a younger and idealistic Lois that hasn't met Clark or Superman yet. It's a YA book and Lois can absolutely carry a story on her own. What I want as an Asian fan, is for the potential of Asian Lois Lane to be seen through to the point it's considered the definitive version. As of right now, Girl Taking Over is a fun twist on the Lois Lane story. Not something that is seen as inseparable from the Superman mythos. However! If those themes of marginalization and immigrant identity are tapped into for both Superman and Lois Lane? I feel that has the potential to radically strengthen the overall themes of Superman. It's certainly been touched on before.

(TW/CW: racial slur mention in below image)

Superman Smashes the Klan by Gene Yang with art by Gurihiru is a retelling of the Clan of the Fiery Cross arc in the classic radio show The Adventures of Superman where Superman faces off with the Klan who had been terrorizing a Chinese American family. The graphic novel adapts the story to center the Chinese American characters, and makes it a point to show that Superman relates to them. If that dynamic was applied to Asian Lois, that feels like a definitive love story waiting to happen.

The classic two person love triangle with Clark and Lois is that Lois loves Superman and is indifferent to Clark Kent. She thinks Superman is this ideal macho man and Clark is a cowardly fumbling guy at work who rivals her. What happens when you take that dynamic and made it so Lois identified with Superman- the more othering identity? How complicated would that make Clark Kent feel? How would he navigate that when his marginalization isn't always visible? That's a whole new depth to the love triangle we're not used to seeing. I feel so far, none of these versions of Lois have touched upon this potential dynamic. The perpetual foreigner, Lois Lane and the ultimate alien foreigner that is Superman. The jaded city girl meets the alien farm boy who gives her hope. They inspire each other to be more of themselves in a world not ready to accept either of them.

Up next, we'll be discussing My Adventures with Superman's Korean Lois Lane in pt 2. It's well. You can probably guess how I feel about it from what I wrote here but welp. We'll talk about it.

[demaparbat-hp]

In almost all of your artwork you transform Katara into a different person. You take away her hair loopies, give her short hair (knowing how much hair is important to her culture), take away all her heritage, and now you have her join Fire Nation military because of your AU, which can be misinterpreted if your art is reposted without context. You’re really talented but as a woc, why do you like removing all of Katara’s culture in your AUs?

Hi! I had never given this much thought because I honestly didn't think it would ever be a problem, but I guess I can see where you're coming from.

Culture is something precious, and it's very, very important to me, as a creator, to get these character's cultures right. I've studied about cultural inspiration and lore in ATLA, especially their visual characteristics. They're so diverse, and I love exploring them. Especially through clothing and the characters' distinct features. Katara in particular is probably my favorite character to draw, and I always do my best to make it clear she's Water Tribe through visual representation.

That being said, I took the liberty of checking out the artworks I've posted to see things from your pov. And I guess you're right, to an extent. I can understand that, without context, it may seem as if I'm erasing Katara's culture.

Except that's not true. At all.

Even, as I already said, without context.

These are the only artworks I could find that fit your description. But I don't know if you've noticed, anon, the things they all have in common: each one of them is an AU, in which Katara is put in a position where she needs to hide her identity (the Hunters AU, as well as Lee and Kya) or has a different background all together (in the middle, the HalfBlood AU, where he's born in the Earth Kingdom as a water half-child); but even under these circumstances, I don't forget about her culture, and neither does she.

Instead of her hair loopies, she wears a Warrior's braids and beads, a waterskin, and a blue sash embroidered with silver waves; all of this while she's part of a Fire Nation crew that's trying to end the war from within.

The other AUs are like that, too. Katara finds ways to remember her culture, who she is, even if it's in the little details. A blue and silver sash in seas of green clothing, a betrothal necklace once belonging to her mother and grandmother. Her features.

I refuse to forget about Katara's culture and how it has shaped her, even if the AU demands it so. She is who she is, no matter what.

[moominpunx]

“why is doctor who so woke now it’s so forced” tell me you’re privileged enough to always see yourself in media without telling me

casual diversity and representation is SO important

and doctor who does this so well

sure, the whole assuming meaps pronouns thing was a little cringe, but they fucking did it and that is HUGE

they made a whole episode plot based around a amab non-binary black girl (YES, NOT GENDERLESS NONBINARY, IT WAS A GENDERED NONBINARY PERSON!! AHHHH!!!!!!)

multiple of the doctor’s companions have been queer, and the doctor 15th doctor is gender nonconforming and technically doesn’t have a gender!

plus, all of the characters that are canonically queer in the show are played by queer actors!!

the doctor is into guys now so HELL YEAH?!!!!

and one of the first scenes we get of the 15th doctor is him dancing in a club wearing a skirt. AND HES BLACK. AND THE ACTOR IS GAY. AND ITS NOT EVEN MENTIONED OR SHOVED IN YOUR FACE. ITS CASUAL, JUST LIKE REAL QUEER PEOPLE!!!!!!!!!

ruby sunday is a fostered girl who’s mother is a black lesbian!!!

the maestro is SO fucking queer and uses they/them pronouns without it even being mentioned!!! people just use they/them!!!!!

and a background character in 73 yards is a guy wearing eyeshadow and i LOVE HIM??!! and also they mention lesbians multiple times in the devils chord which i love

this show makes me feel so seen and safe. there are people like me out there!!! and it’s so amazing that they’re finally being shown on TV!!!!

[disappearinginq]

I feel like people are sleeping on the awesomeness that is Sister Boniface Mysteries. I think it's considered "cozy murder mysteries" which is just a weird genre to have, but it's a spinoff of Father Brown in the 60's in the Cotswolds of England. I'm not usually a murder mystery fan, they're mostly just 'eh' for me - neither good or bad, just there to have in the background. But I love Sister Boniface for several reasons (which I will admit bias to)

The police are actually happy to have her around. The main DI will find an excuse to pull her into any case they have, and the entire police force love her and will almost always follow her advice/lead, unlike 90% of other mystery shows where the police are always either one step off from bad guys or just can't be bothered.

It shows the wide diversity of women who find their way to a convent. The nuns make wine. They wind up on cooking shows. They host an episode of a really hokey Austin Powers type TV series. They guest star on a children's show being filmed at the church. They love being a part of the cases when they get roped in. The Mother Superior is a cranky Irish lady who is like a beleagured mom who has more luck herding cats than keeping the Sisters out of cases, but she also has a favorite fish in the pond that she feeds, and loves babies and new parents and bends over backwards to help people and lets Sister Boniface blow up the basement with her experiments on a regular basis.

Sister Boniface herself. She was a translator in WW2, she has the equivalent of a masters in chemistry and is the police department's Go To forensics. She has a vivid imagination that borders on cartoonish when imagining the crime and how it could've happened. She rides a motorcycle. She is like 5 feet tall and spicy. The basement of the church has been converted into her own laboratory where she tinkers and futzes at all hours as long as it doesn't interfere with her church duties.

THE SISTER AND THE INSPECTOR ARE BESTIES WHO CRACK TERRIBLE PUNS OVER CRIME SCENES. No, really, there's an entire youtube video of every scene where these two idiots (affectionate) are cracking the absolutely WORST puns related to the crime. Sam Gillespie is the DI and he doesn't seem to actually enjoy the police part of policing, but really likes the community outreach part. He's a WWII vet that was at the battle of Normandy, took heavy losses, got bayoneted (which is brought up in one episode), and as soon as a crime has been committed, he calls in Sister Boniface. There is zero romantic interest between them, she is like his actual sister, and they are absolute enablers for each other's shenanigans, and it is hilarious.

There are no bad characters.

[spacedace]

I know it was a prompt and u said you werent gonna do anything with it (and you so should) but i love ur two posts on the Queen of Clones Elle/Amnesiac Champion Kon AU (especially Kon's knight design (like ghost tattoos?!?!? so so cool) and Elle's relationship with him). Got anymore headcanons about this au? Who are the other clones you envisioned playing the background characters? Do Kon and Tim actually cuddle in the Only One Bed scenario? Does Elle get a cool princess/queen design(s) since Kon gets a knight one? Does Tim walk into Kon's knight practice and have a "oh no he's hot" moment? Just afagshjdksll this au is so cool please tell me all about it

The thing is, whenever I say "I'm going to put X idea here for someone else to grab since I'm never going to do anything with it" I'm lying. I'm a liar. It's still lives in my brain and is taking over all rational thought. I have at least 85% of a story written in my head when I say that, I just know that I'm never going to sit down and actually write it down lol

I have SO MANY thoughts about this AU, you have no idea what you've done asking me about it haha

(and seriously if anything at all in my ramblings here is of interest to anyone have at it, everything I post should always be considered free game to use as a writing prompt haha)

Like, between Elle getting snatched by the GIW & Kon ending up in custody with the Justice League for a bit, a lot of the clones that weren't involved in the rescue(s) who are out in the wider multiverse come pouring in to check on them and there's this huge impromptu "Congrats on Escaping a Government Agency" party for the two of them.

There are so many clones just everywhere, Tim is overwhelmed by them all (and hasn't actually realized that the whole deal of the place is that everyone there is a clone yet). But he's dealing. He's sticking close to Kon (because he's never letting Kon leave his sight again, especially since he's half convinced that Elle kidnapped & brainwashed Kon into being her loyal servant for evil purposes) and getting introduced to the most diverse group of entities he's ever seen before (humans aren't the only ones who get into cloning).

And then there's an excited whoop as some kid comes flying out of a portal and launches himself at Kon, talking a thousand miles a second, just so happy Kon is back and okay and the boy is so chipper and happy and sweet that it takes Tim a second to realize holy shit is that Damian????

The kid is the Heretic, aged down and growing up again with a fresh slate after getting sent to Elle's Haunt post however he disappeared/died in DC canon (I'm a bit fuzzy on those details). Of course that information takes a bit for Tim to figure out, becuase the kid has no memories at all of being the Heretic or of Damian or Talia or Bruce or fighting his way out of a whale fully grown. As far as he's concerned he's Antonio, Paulina Sanchez' adopted son, and like sure he's somebody's clone but that really doesn't matter to him, he only comes to Elle's haunt to hang out and tag along behind Kon because he thinks Kon is the coolest. (Kon is explaining this to Tim as a bright, cheerful, normal kid version of Damian is sitting on his shoulders. Tim is losing his god damn mind).

And the Only One Bed Thing!! Okay, so like, Kon is Elle's Champion and basically her unofficial Heir. When Elle isn't around he's in charge of her Haunt and looking after all the other clones. And even when she is there he just goes full Big Brother mode on everyone. It doesn't matter if the clones that end up in the Haunt are actually older than him, he's their big brother now.

To that end, clones end up coming to Kon all the time in the middle of the night, unable to sleep because of nightmares and stuff. And Kon is the cuddliest motherfucker. He's all about platonic cuddles to help people sleep. Just about every clone that's ever spent any time at Elle's haunt has ended up curled up in a blanket fort in Kon's room getting cuddled into feeling safe and cared for.

So for Kon? Only One Bed is no issue at all.

Oh all the clones coming over for the party has taken up all the rooms and Elle is "too weak from recovering" for her Haunt to make more? Of course Red Robin can stay in his room! His bed is so comfy and there's more than enough room for both of them (and like, sure, he's kinda panicking a little because he's never cuddled with anyone he's sorta had a tiny bit of a crush on, but he cab be cool! Besides, its hard to fully commit to the crush one Red Robin when Mystery Boy is out there somewhere, oh maybe he can ask Red Robin about him! He seems to know so much about Kon he'll know who Kon is in love with back in his old life!)

Tim, on the other hand, is just fully:

Over the prospect of having to keep his shit together while sleeping in the same bed as Kon (who sleeps without a shirt, jesus fucking christ, Kon has tattoos now since when did that happen??? why is he somehow more attractive than when he disappeared??? oh god Tim is going to have a fucking heart attack) especially after Kon drops the bomb that the only thing he can remember from before is some guy that Kon was apparently totally in love with??? Like Tim is being thrown wildly between being a Bi Disaster to being totally devistated and back again.

He mostly manages to keep himself together, at least until it's actually time for bed and it turns out that Kon is a cuddler when he sleeps (Kon did warn him! "just shove me off if I end up trying to use you as a pillow it won't wake me up" he said, and Tim thought "well it can't be that bad" he was so fucking wrong) and Tim ends up wrapped up in a cocoon of muscled and tattooed Kryptonian arms with his face smushed into Kon's chest and Kon nuzzling into Tim's hair in his sleep and it's the most comfortable Tim's ever been in his life and Kon purrs in his sleep like how is that even fair??? (I love the Kyrptonian's purr headcanon so much it has to be in here lol)

By the end of the first week Tim's has slept more and better than he has in years. He's genuinely forgotten what it's like to have a normal sleep schedule. Even with all his panicking, Kon sleepily curling up around him and hugging him like a teddy bear just knocks him out. It's insane.

And Elle! I have so many thoughts about Elle in this AU!

I mentioned it in one of my other posts on this AU that Elle gives off Vibes based off her various Epitaphs that she's gained, and I think that she'd kinda push that to the max when it came to Tim for awhile when Kon first shows up with him.

Like, she takes one look at Tim and is like "ah, this is Mystery Boy my amnesiac bestie has been on about forever" while also realizing that Kon has no idea that he's just panic-kidnapped the one person he sorta remembers from his old life. Which is the oppurtunity of so much fun matchmaking chaos. And she loves Kon, she's planning on officially making him her Heir so that he becomes Prince of Clones as well as her Champion, she wants him to be happy.

But also she's protective over him, more even than a lot of the other clones that end up in her Haunt. Kon doesn't remember his old life and he was so badly injured when he ended up in Elle's haunt that Frostbite hadn't been sure he would survive. Add in the fact that Red Robin was clearly with the people that had captured Kon while he and the other clones were getting her out of the GIW facility (and that the Justice League is sort of a government agency in it's own right) and Elle isn't totally sold on Tim.

She goes out of her way to give off extra creepy vibes while around him. Making sure he understands that she's more than strong enough to destroy him if he even thinks about hurting Kon. At least in the early days of Tim being in her haunt. She does, eventually, lighten up - especially when Kon gives her the big eyes and asks her to trust him, that he knows that Red Robin is someone he believes is good and that won't ever hurt him. She's still keeps a close eye on Tim, but does chill out a little after that.

And she does have a Queen Form (and a princess form when she's doing her Crown Princess of the Infinite Realms thing). She has a couple different forms/designs depending on which Epitaph she's invoking (and of course a fun vaguely eldritch shadow form that scares the shit out of Tim haha).

Her Clone Queen design is BIG, not quite massive Eldritch Ghost King Danny big, but definitely big. Like 20-30 feet tall big, so she can pick up and carry/hold all her clone children like little babies (if any clones are from a race/species that's bigger than that her size adjusts so she's always big enough to carry them).

She has a crown made out of mirror shards that float around and move so that it's always changing shape (I've been feeling clones being called "Mirrorborn" in the Infinite Realms since there's kind of a naming convention already with "unborn" and clones could be seen as kind of like reflections in a way. Elle's official title is actually "Queen of the Mirrorborn" though sometimes is called "Mother of Mirrors" that's why Kon's sheild reflects things, since Elle made it for him out of a piece of her crown while naming him her Champion) and wears a dress that also looks like it's covered in mirrors. It's actually very soft and comfortable and it's super common for clones to climb around or curl up in her skirts and sleep in there.

Her dress does turn into armor though if she needs to fight. And while in Clone Queen mode it's actually super easy for her to duplicate herself a bunch of times.

Knight Training!

Once Elle chills out on Tim a little and is fully onboard the matchmaking train with the rest of the clones (all while absolutely none of them tell Kon that Red Robin is obviously his Mystery Boy) she has Fright Knight show up more often to train Kon specifically for the purpose of Tim walking in on shirtless Tim expertly going through sword forms and sparring with various other clones. And of course Tim and Kon have to have a sparring scene, where Tim is so distracted by Kon being so fucking attractive he ends up pinned against a wall with the flat of a sword under his chin and Kon giving him a cheeky wink and then it's on and there's a whole dramatic flirty fight scene as they make their way through half of Elle's Haunt while sword fighting.

Also! Since Elle's entire court is actually there for once, a bunch of different monarchs around the Infinite Realms decide to host a tournament, so Kon gets to do official knight stuff in his best armor. And Tim gets place of honor right next to Elle during all the jousting and fighting stuff so he gets the best view of Kon kicking ass.

Tim (still wearing his mask because even if he's pretty sure that no one here is evil or would use his secret identity against him - or even care that he has one) has been all dressed up in some gorgeous clothes fit for his status as "Companion" to a Queen's Champion/future Heir. Just something absolutely insanely georgous in the colors of his Red Robin suit, with a dramatic but entirely functionless cape and Kon's crest (not Elle's but Kon's) embroidered on it and it's Kon's turn to blue screen at seeing Tim for the first time all dressed up.

And Tim is maybe finally putting together from talking with Kon that he might be Mystery Boy that Kon remembers from before and that Kon is in love with. So just before Kon is going out to joust, Tim - taking Elle's advice that he should give Kon a favor before the tournament for good luck - and wanting it to be more meaningful than just a handkerchief or something, takes his mask of and gives it to Kon as his favor.

And Kon just loses his god damn mind because Mystery Boy and Red Robin are the same person and all he wants to do is kiss Tim stupid but Fright Knight Master of Chivalry is like "nope you gotta win this tournament and bring honor to your beloved and do this whole ridiculous song and dance about it, no kissing, get out there and smash some heads together - and keep your helmet on this time!" and just yeets a disgruntled Kon out into the field before he can do anything.

And of course with all this extra incentive - Fright is serious about that whole "prove your love through combat" thing he's not going to be allowed to even kiss Tim's hand unless he wins and is perfectly chivalous while doing it - Kon wins the Tournament and is given the flower crown he's supposed to give to the most beautiful of all the observers and of course he gives it to Tim and he doesn't care if there's a forty step courting process he's supposed to follow Fright, he's fucking kissing Tim and there's nothing you can do about it!

Literally seconds away from them finally kissing is when the Justice League kick down the door to get Tim back.

The ghosts aren't even the ones that wrecks the Justice League's shit for interuppting, it's just Tim screaming at them about being cock blocks for forty minutes while Kon screams into the void in the background.

(Kon does get his memories back eventually, and he and Tim do finally get that kiss and start dating. But at that point Kon has been named Elle's heir so Fright Knight is even more rediculous about Correct Courting Steps than before because Kon is a Prince now. Elle is just relieved that it turns out that the Justice League nuked the GIW while they were looking for Tim, because they were not okay with them or the Anti-Ecto Laws. Kon is mortified at having what is effectively his adoptive mother constantly popping in to dote on him while in the middle of fights, Elle is having a great time.)

[littlebugs]

lady ren

summary: you're kylo ren's wife. the resistance thinks he's taking advantage of you, but little do they know... warnings: reader goes by she/her pronouns, short reader, major character death, no y/n use, reader was a jedi, kylo ren is a warning himself.

(my works are diverse to all races and ethnic backgrounds, as a mixed race girlie i feel yall's pain my fellow poc's)

a/n: i've been gone far to long, but i've discovered the beauty called kylo ren. also he looks so hot in that gif.... love dat emo space daddy.

When Rey first saw you, you were on Jakku. Surrounded by The Knights of Ren, you looked tiny, your arm latched onto Kylo's waist as he towered over you, looking brooding in his mask. You had vanished shortly after, but Rey had gotten a glance at you. Beautiful. Shiny hair, glowing skin. But not...evil. You didn't look like you belonged with the First Order. In fact, you gave off an aura somewhat like a Jedi.

Little did they know... you had been. You and Kylo were both trained under Luke Skywalker to become Jedi, and had become close friends, although Skywalker had tried to split you up. The darkness in Ben had slowly grown into you, and the night that Luke tried to kill him was the breaking point. You had ran and joined the First Order. At first you kept mostly to yourself. Following Ben- now Kylo, wherever he went. As he slowly gained respect in the First Order, and caught attention of Supreme Leader Snoke, so did you. You were both praised for leaving the Jedi, and soon people became afraid of Kylo... but they might as well have been more scared of you.

You were quiet, but you were also funny, even in the gravest of situations, which was somewhat disconcerting. Although you usually listened, rather than talked, when you did have something to say, everyone listened. Not to mention the fact that you bested some of the First Order's most prized soldiers. You were Kylo's closest confidant, his only friend, and the only one who could calm him down (especially when he decided to wreak havoc on some poor lab tech's control panel.)

It was no surprise when he asked for your hand in marriage, and you got engaged. Kylo wanted the wedding to be perfect, waiting to become officially married until you could both return to his home planet, Chandrila. But there was much to do before that.

Rey told Leia and Han of their son's mysterious mistress. The beautiful woman, standing in the heat of Jakku. Of course, they were shocked, at the mere thought of their son having... anyone. But intead of elation, as a mother might usually feel for a son, General Organa felt worry. She had no idea who this woman was, if her son was using her, or if it could be the other way around.

Han had been worried too. But it was his nature to be more curious. So when he first saw you, watching from a bridge above, guarded by two of The Knights of Ren, he had to wave, and you waved right on back. You tapped the ring on your finger and smiled, doing a little dance. But wherever you were, Kylo was always nearby, and as you watched Kylo storm onto the bridge to see his father, you grimaced and pointed at the flurry of darkness.

Rey and Finn watched you, perplexed, as to how someone could take the entire situation so lightly. "Who does she think she is?" Finn had asked, slightly annoyed. "I don't know" Rey replied simply, watching intently as Kylo approached his father, and you leaned over the railing slightly smiling.

Kylo turned back to look up at you, just before approaching his Han, and you audibly giggled. Rey had scoffed. Rey and Finn's eyes bounced between the scene unfolding before them, with you, talking quietly to the two knights, Ushar and Vircrul, and Kylo and Han, seemingly... rekindling?

And finally... Kylo took his helmet off. It dropped to the ground. He quickly looked at you, and you winked, biting your lip. Vircrul probably snorted (but he would never admit it.) And just as Kylo was about to shockingly give his lightsaber to his father...

Rey and Finn watched in horror as the lightsaber went through Hans. They were both frozen in shock, and looking up, expecting you to see the same. But you weren't terrified. You weren't even shocked. You simply smiled down on Kylo, and made your way down to see him. As Han's body fell of the bridge, you squealed in delight. You picked up Kylo's mask, rose up on your tippy toes to give him a kiss on the nose, and simply placed his helmet on his head again.

As Rey rushed to escape, followed by Chewie and Finn, she thought she couldn't have been more wrong about the Lady Ren.

[curioscurio]

Where did you rp hetalia? just out of curiosity 👀

Chatzy! It was a site where you could make chat rooms from urls with passwords. I was Estonia most of the time because he was usually one of the only characters open in the big ones. As you can see, I have always gravitated towards the background characters in series lol. I did end up learning a bit about Estonian and Baltic culture though! I really loved reading about the Singing Revolution, and it stuck with me for all these years.

There's a lot of things wrong with Hetalia but as a middle schooler it honestly exposed me to far more cultures of the world than I had known before. This isn't a testament to how good the diverse representation is in Hetalia; rather it shows just how little the US teaches children about the rest of the world. Ignorance was the norm in the early 2010's, so me even knowing that Lichtenstein existed was considered obscure knowledge to my family lol

[yellowocaballero]

Omg hi Ms. Yellow Caballero big fan of your work <3 For real though, I'm really excited that your sharing the Weekenders, it was a joy to read and I'm bongocat-ing now that others also get the privilege to read it as well.

Referencing your tags, would you please elaborate of ableism in fandom and, like you said, how fandom treats characters with unpalatable disabilities?

Hi Ms. Bud Lite I'm a big fan of you <3

TL;DR A fear of writing characters of highly marginalized identities shields you from criticism and discomfort, but it's actively stigmatizing to people of these identities and as a writer you really need to get over yourself and write The Icky People.

I guess I'll come out swinging on this one and say that fandom doesn't like severe mental illness. (As a note, when I say severe mental illness (SMI) I mean illnesses such as psychotic disorders, bipolar disorder, substance use disorders, personality disorders, etc)

Obviously, nobody likes people w/SMI. It's just insanely egregious in fandom to me, since fanfic writers absolutely love writing characters or HC characters with depression, anxiety, or a specific variety of PTSD That Isn't Scary. People actively reject any character HCs for a SMI. When people write a character with SMI, they nicely downplay it, ignore it, substitute it for a disorder they like better, or rewrite it. It's completely untolerated, in both headcanons and in fanfiction, and every time I bring it up I always get the most interesting reasons why somebody couldn't possibly acknowledge a character's SMI in their writing. I've heard all of these:

"I don't know enough about the disorder to write it accurately." Do research.

"I'm not X, so I can't really depict it." You probably aren't a cis white man, but you depict those guys just fine.

"It feels insulting to the character." There is no shame in having a SMI.

"I can't understand what it's like, so it's better to be cautious and avoid giving characters stigmatized identities." There are LOTS of experiences that you'll never understand because you've never had them - you just don't want to write anything you're uncomfortable with. People with SMI make you uncomfortable, and you don't want to write anything that makes you feel uncomfortable, or think of a comfort character in an uncomfortable way. SMIs are marginalized differently than solely depression/anxiety/The Nice PTSD, and by refusing to write them you're actively contributing to the stigma.

I think (?) I've spoken in the past about how I believe that the rigorous external and internal policing of writing people of marginalized identities is actively harmful towards efforts to increase diversity of experience and background in fiction. A lot of fanfiction writers are just terrified to write people who they can't directly relate with, because they're worried 'they'll get it wrong' and be Big Cancelled. I think this is negative enough when it prevents people from going outside of their comfort zone, but on a macro level I think this results in people refusing to write characters of marginalized identities as all. It's an insidious thought process, and it's reflected in people's unwillingness to diversity their writing or acknowledge canon diversity.

'Well, I don't understand what it's like to be Black, so I don't want to write Black people'. 'I want to project on this character, so I only want to write them with mental illnesses and identities I have'. 'If I write a marginalized character incorrectly people will yell at me, so I won't write a marginalized character who's marginalized differently than me at all'. Can you imagine writing a lesbian character with a boyfriend because 'you feel uncomfortable writing lesbian experiences'? It's blatantly homophobic. But people do that with disability and race/ethnicity ALL THE TIME.

People with SMI notice that you feel uncomfortable with them. It's obvious. They notice when a character has a SMI + anxiety, and you only write their anxiety. They notice when a character displays symptoms of a SMI in canon, but you write it out. And POC notice when the characters of color are written out. I know we all like to project on the blorbos and relate to them, and in the joys of your own head do whatever, but as a writer if you only stick to identities you're comfortable with you are actively being a worse writer. Which to me is the REAL sin lmfao.

[replaycamera2]

Flowers I Associate With Redacted Characters

Davey - Honeysuckle The canon choice. His mom’s honeysuckle are a core memory for him. They mean “devoted affection” for the person you love. In addition, honeysuckle flowers are commonly planted near the home to evoke feelings of nostalgia and honor those who have gone before you, and draw happiness and positive energy into your life.

Ash - Daffodil Sunflower is a little too big for Asher’s character. Daffodils are smaller, but no less energetic with their bright orange and yellow colours. They symbolize hope, joy, good luck, and new beginnings. Daffodils are the March birth flower and are associated with the coming of spring, thus optimism, positivity, and vibrancy.

Milo - Rose I toyed with the idea of something more representative of self-sacrifice like poppies but they didn’t feel like they represented Milo’s entire character, that’s just one tiny facet of him. I went with rose because that’s absolutely how Casanova sees himself. Deep red roses in particular represent not only love and passion, but also deeply held commitment to a romantic partner.

Sam - Blue Hydrangea Blue hydrangeas specifically symbolize feelings of remorse and apologies. I thought that was fitting given Sam’s role in Frederick’s turning having not been paying attention that night. But they also signify feelings of deep understanding, gratitude, and sincere emotion which he’s found in Darlin’ in that they both have similar backgrounds of abusive partners and understand one another deeply on that level.

Vincent - Rain Lily These tiny, delicate flowers only bloom in the rain. Contrary to what one might expect, they can also survive periods of drought, though they won’t bloom until it rains. They represent the cycle of life, death, and rebirth: they bloom, die, then come back with the rain. They also remind us that even in a storm, growth is possible.

Gavin - Iris In Greek, the word Iris means Rainbow. This has come to represent diversity, acceptance, tolerance, and inclusivity in modern times. Traditionally, the Iris also represents courage and faith.

Damien - Ixora A lesser known tropical flower with many tiny red flowers making a larger head, these flowers hold a meaning of burning passion (and that includes the bedroom). They’re also known as “the flame of the woods”.

Hux - Sunflower Tall and huge, these well-known flowers not only represent happiness, but red sunflowers specifically represent strength and positivity. Sunflowers are known to always look at the sun as it crosses the sky throughout the day.

Lasko - Pansy Ignoring the negative connotations of the word, pansies represent love, both romantic and platonic. The French word “pensee” means “to think” which Lasko does a lot of (a little too much at lighting speeds lol) and so pansies are also associated with thoughtfulness, consideration, and free-thinking. They are also linked to feelings of nostalgia and remembrance. Blue pansies specifically symbolize devotion, honesty and loyalty.

[artist-issues]

Hi! I've seen you comment a bit here and there about Pocahontas. This movie has had this quite messy reputation attached to it since it came out and hasn't been able to escape from it since then. Personally, I've always liked Pocahontas, but I do acknowledge that it has its glaring issues, especially when it comes to the context of what actually went down and Pocahontas's true story. I'm interested in reading your thoughts on the movie and what Disney could have done better regarding the whole "diversity" and historical accuracy thing. I genuinely believe Disney had the best of intentions when it came to the themes, message and depiction of Native American culture, but the execution unfortunately did not seem the most appropriate at times. What do you think?

I don’t know. I don’t have a settled opinion on Pocahontas. I will say I really enjoy it, and I think maybe the aesthetics of the movie are what appeal to me the most because it’s the one I want to have on in the background most often.

When you say “what Disney could’ve done better regarding the whole ‘diversity’ and historical accuracy thing” and “did not seem the most appropriate at times,” I don’t know if I understand what you mean. I don’t know if I understand what anyone means when they say that.

There are almost zero cold hard facts about the historical Pocahontas that EXPERTS agree on. Almost zero. So when people say “oh no, it wasn’t historically accurate,” it’s like, “no, of course it’s not. It’s a fairy tale based on a historical person that we know very little about to begin with.” Seems like what they’re mainly mad about is that Historical John Smith’s version of Historical Pocahontas saving him is the framework for the animated film, and we all generally agree that his version was fake. And people are mad about that?

But…why? If it’s already supposed to be a fairy tale loosely inspired by a historical person we know very little about…I mean, nobody is furious with the Robin Hood stories and going “how dare you misrepresent Robin of Lockersley, 1160, and King Richard I!!” Because we all know that they’re stories loosely based on—anyway. You get my point. Why would you have beef about a fairy tale being based loosely? Moving on.

You can say “because now generations of kids are growing up thinking that’s the real story of Pocahontas!! What an outrage!”

…All right, well, then you’re doing a terrible job teaching your kids discernment as a parent. When kids I’m responsible for watch a movie, I tell them “it’s a movie. It’s not real.” If it’s a movie about historical events, I tell them, “If you want to know more about the real story, let’s learn about the real story.” It’s not on Disney to teach your kids that a fairy tale is a fairy tale, it’s on you.

Anyway, you get it. Moving on.

Thing is, the Pocahontas movie’s message is “Love tries to understand, not to possess.” Great message. Especially good when applied to the problem of prejudice.

So then, they just shift the events, the character motivations, and the depictions around as needed, like they would any fairy tale in order to send that message in the best way. And because it is a fairy tale, not a documentary, great. Do it.

If Historical John Smith’s fake story makes that message more compelling, great. Use pieces of it. Why not? After all, they never claimed that this was the true, accurate history of colonization, the Anglo-Powhatan war, or John Smith’s interactions with Pocahontas. If they had made that claim, sure, let’s talk about historical accuracy. But they didn’t, so let’s not.

That’s all I had to say about the “historical inaccuracies” thing. Now let’s talk about “representation.”

What is it that people have an issue with here? Did they really want Disney to animate hundreds of Powhatan’s people dying of disease? Did they want Disney to animate heads getting chopped off and women getting raped? What’s the argument? That Disney should’ve made the colonists the clear and undeniable villains, the monsters of history, and the Native Americans 100% pure and innocent, wronged victims?

They’re not mad that Disney did a bad job representing Native Americans in a movie that was supposed to be a fairy tale. They’re mad that Disney didn’t represent Native Americans the way they would’ve.

Far as my eyes can see, people who call Pocahontas racist or misrepresentative just don’t want the story to be “Love tries to understand, not to possess.” They want the story to be “White colonists were unredeemable racist monsters and sub-human tyrants who deserved to rot in hell, while the Native American people were entirely innocent victims who did nothing wrong.’

The problem is that’s just not a true, or even helpful message for any movie to have. Sorry. The statement I just typed out up there in bold is not a true or helpful statement. And thank God the Pocahontas movie didn’t make it.

There’s nothing racist being said in the Pocahontas movie. There are depictions of the sin of racism in the Pocahontas movie. There is a difference. Characters in the Pocahontas movie talk and sing about each other as if the other people group is sub-human. That is a depiction of racism. But the message of the movie, and the way it treats Native Americans, is to treat them like human beings. Therefore, the message is not racist.

In terms of who is good and who is bad, who is right and who is wrong, the movie very clearly shows that the Native American characters did not start the violence. The Native American characters did not want war. The Native American characters were willing to be friendly and willing to defend their land and each other. The Native American characters were the first to try and make peace with the colonist characters. And they were all (Kocoum included) entirely human characters. They were even the good-guy-coded characters, in the movie’s conflict. All of the Native American side characters are noticeably smarter, kinder, drawn more carefully, and are more heroic than the white characters. (When Thomas is thrown overboard the other white side characters leave him behind. In contrast, when Namonteck is shot the other Native American side characters rescue him immediately and fall back.) And, not a caricature among them. Meanwhile, Wiggins, Ben, and Lion are all drawn with exaggerated characteristics. The heroine is Pocahontas the Character, not John Smith the Character. So what is the issue you have?

What people think is racist is the “idealization” of a Native American woman falling in love—or, as they like to say now—“committing herself to a white colonist.” But that’s like…a gross oversimplification of the movie. John Smith (the character) committed himself right back to her, nobody wants to talk about that? Also, they low key didn’t commit themselves to each other at all costs—he tries to, at the end of the movie, stay with her or have her come with him, and she won’t leave her home and her people?? So what’s the argument?

Not to mention, why is anyone even upset that the character Pocahontas falls in love with a white colonist character? Are you saying that this sort of thing would never happen? That a young woman who’s people are embattled with and mistreated by invaders would never find one invader who comes to an understanding with her, and then they fall in love? You’re mad because that would never happen? Incorrect. It happened all the time in history. It happens all the time in other stories you love, like West Side Story.

Who the heck cares if it didn’t happen exactly that way (even though maybe it did) with the historical Pocahontas? We already established that this wasn’t supposed to be a historically accurate retelling, it was supposed to be a loosely-based fairy tale. And the message “Love tries to understand, not to possess,” works perfectly with a fairy tale where the girl from one side of a racially-charged hate war understands and falls in love with a guy from the other side.

I mean people who talk about Pocahontas, the historical figure, with reverence and respect, all usually agree on one thing: she did help maintain some kind of peace between colonists and Native Americans. Whether or not you think the colonists should’ve even been there in the first place is beside the point—sorry, but it is; they were there, now let’s deal with the reality.

So when Disney makes a movie where the goal is to tell the message “Love tries to understand, not to possess,” and they have to be true to the universally-agreed-upon “Pocahontas probably helped bring some peace…” in their fairy tale…why on earth do you have a problem with Pocahontas the Character falling in love as a reason for bringing about that peace?

It’s because you don’t find “falling in love” to be anything other than demeaning for a woman. And it’s because you don’t want John Smith, or any white colonist character, to be depicted as human. You want them all to be unredeemable racist monsters.

The goal is no longer to have movies that say what Pocahontas said. We don’t want movies where there’s messy racism, but then it ends with attempts at peace and understanding. We want movies where there’s entirely one-sided racism, and then revenge for that racism. That’s what we want. We want endless apologies and zero forgiveness.

And for better or worse, Pocahontas is not a movie about endless apologies and zero forgiveness.

IN CONCLUSION: 1. None of the “you” statements were directed at you, idiosyncraticrednebula. 🫡

2. Anyone who wants to teach me where I’m wrong is welcome to, but you have to show your work, and you have to be consistent, you can’t just say “lol imagine thinking Pocahontas isn’t racist. You are the problem.” and then block me. 🙄 all right, well, you can, but all you’ll get out of it is an echo chamber.

3. If you want me to talk about the art, the storytelling, the quality of the movie outside of all this (and it should be outside of all this, because this was a fairy tale, not a historically accurate documentary) it’ll have to be in a different ask, and I’m happy to.

4. Should Disney have made it more clear that this was a fairy tale, a stylized story based only loosely on historical events? …Yeah. Definitely should’ve done a Prince of Egypt-style title card or something. But they didn’t—so now show me why it’s racist or misrepresentative.