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thelediz · 5 months

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Sonic Underground 05: Mobodoon

I’m watching Sonic Underground in search of inspiration to finish a fic I’ve been writing forever. It’s a sad state of affairs. See the recap of the first three episodes here, if you're interested!

This is episode 5: Mobodoon, which is supposedly telling you about how wonderful Mobius used to be, but is actually showcasing Manic’s emotional centre and how he Longs For A Home.

…Grown up LeDiz has so little patience for this episode, especially in a series that otherwise does a goddamn amazing display of a well thought-out post-monarchy dictatorship. It’s going to show you a perfect little commune and tell you this is how Aleena’s whole kingdom was and IT’S NONSENSE.

The plot (for want of a better word): On the search for their mother, the royal triplets uncover a magical portal that takes them to their birthplace: Mobodoon! In a peaceful sanctuary where everything is free and everyone is equal, Manic finally feels at home for the first time in his life. Will he abandon the fight against Robotnik—and his family—to stay where he feels he truly belongs?

Of course he won’t, that would require continuity. And I’m running out of wine.

Aleena… it’s episode five. Of forty. Don’t threaten me with the end of the Sonic Underground. Honestly.

Manic said something very quickly, too quickly for me to follow, but “second day of the third month” is their birthday, COMPLETELY OVERRIDING established Sonic canon on his birthday being in June. Yes I make too much of this.

Also, side note, there’s some actually not terrible animation in this opening sequence. Props where due.

Never mind, we’re at the two minute mark, the animators gave up again.

So, Mobodoon. It’s a little hidden portal to city/town/thing that connects to the normal world once every four years, where the royal children are all born. All greenery everywhere, no money, it’s a proper communist dream. Not bad world building for a magical monarchy’s private retreat, I’ll grant you.

And again, everyone knows and recognises the triplets, who I remind you, were removed from public life before they were one. (The world builder in me assumes this is because hedgehogs with their specific colouring went quickly extinct after Aleena put them into hiding. Sonia only survived because of Windemere’s protection and/or lies)(I am such a problem)

(Also, I’m doing the maths. The portal only opens once every four years. Say they were born and immediately left, because no way they were four when they were running from Robotnik. Power to Aleena for being able to make that trip right after giving birth to triplets. Anyway. Four, eight, twelve… they’re either thirteen or sixteen today and either way I’m not… asking any questions, why would I ask questions?)

Seriously, though, if you don’t just accept what she says because of the magic of Mobodoon, Mayor Winniham is creepy as hell.

Ah haha… the town is possible due to a chaos emerald Power Stone, which gives them power and life. Yes I absolutely make too much of that, too.

SERIOUSLY. If you don’t take her at her world, the MENTAL CONDITIONING THIS MAYOR IS PULLING ON MANIC.

Sonic “and his mondo world” (in his wooooooorld where one is all, in his world never fear the fall!). Not a reference, but appreciated as if it is one.

…Dingo, you’re supposed to be in love with Sonia, don’t give me this “I hate Hedgehogs” line. That’s your boss’s line. No stealing.

Seriously, this plays so much like Winniham is trying to take advantage of Manic. Animation errors even make her look super sinister in some shots. She’s not, though, she’s just creepy to an adult.

The SONG: I found my home. A rare Manic lead song. When I was a kid, I thought this was the best sound… amazing how your opinion changes, huh?

Ah, evil tax collector Sleet. As distinct from queen hunting Sleet or bounty hunter Sleet. As long as he’s Short Sighted Sleet.

Y’know Manic, in a better series, this whole realisation you have about “I finally found a place to call home and now it’s […] doomed” would lead you to realise you have to keep up the fight to protect it. Funny how you’re not actually going to come to that realisation.

Also, in a better series (though this is still sadly uncommon even in good shows), the fact this is a Manic-centred episode would allow him to take charge with how to protect the town. But no, of course Sonia has to do that, because Sonia is present.

And it’s ultimately Sonic’s plan to recharge the medallions and play roadrunner that saves the day. He's the hero and the drawcard for the Trashfire, so it's ALLOWED, but it's still frustrating. Why have the OC if you're not going to actually give them room to be used???

JEEZ, Sonia, what has Manic ever done to imply he would pawn off the magical medallions that give you all music and power? I know I give you a hard time, but that was so uncalled for! And yeah, he plays along, but jeez!

…and ultimately, Manic decides his home is with his siblings. Two seconds after he says goodbye to them. UGH. I know it’s a pacing thing, and it was common in 90s cartoons, but that does not stop it from being annoying.

Though I will say his point about how the Sonic Underground needs a drummer is legit. It’s actually a thing: rock bands need a drum to keep time and without one will need to find a different way to remain in rhythm. I make too much of this. I really wish the show did too.

Look. LOOK.

This episode is…

I mean, look, the series as a whole is bad, but as I mention when doing the plot synopses, the ideas behind the episodes themselves are pretty sound. You can see how they got through a writing pitch. But what always frustrates me when I watch these bad shows that I love is how good they COULD be with just… minor changes. Like Manic coming up with the idea to save the day, or having a change of heart because of the danger, not his siblings. Also Winniham… you’re still creepy. There’s no getting away from how much you creep me out, I’m sorry.

The counters:

Sonic implying less than 100% American heterosexuality: 2

Sonia's super-strength: 1

Sonia's in love with Bartleby: 1/37

Come back tomorrow if you want to know more!

#sonic underground #lediz fics #sonic the hedgehog #sonia hedgehog #manic hedgehog #when i was a kid #I really liked this episode #now it annoys me SO MUCH #I mean it was always bad because of the animation #but THE PLOT #UGH

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pixelllls · 2 years

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Commission info!

Current commission status: Temporarily closed while I complete current batch! Should be open again in a few weeks (feel free to email me to go on a waitlist!)

Hi there!! I’ve updated my commission info! I’m currently offering 3/4 body (or waist-up) and bust style commissions! Please read all the info below the ‘read more’ before reaching out!

More detailed info under the cut! :)

About:

I’m currently offering two different types of commissions (a larger ¾ body version, or a smaller bust version) in two different rendering styles! Prices will depend on whether you’d like a partially rendered or a fully rendered piece.

Pricing:

All prices are in USD, payments made via PayPal.

* A 3/4 body/waist-up: ($60 for partial rendering, $70 for full rendering).

* A bust: ($30 for partial rendering, $40 for full rendering).

Additional characters may be added for half the price of the requested style/type (for example, an additional, fully-rendered, 3/4 character would cost an extra $35).

Please note:

All drawings will have very simple backgrounds (typically one to two colours at most). I will also send you a transparent version.

The partially rendered style may be a little more sketchy than a fully rendered piece! I would only recommend requesting this style if you’re okay with things being a little less polished! (I personally love scratchy art but totally respect if that’s not your thing haha)

Complicated detailing (such as ornate costuming/armour, weapons, animal companions, etc.) may increase pricing somewhat depending on complexity - but we can discuss this together before any payment is requested.

I’m happy to draw your OC if you only have a written description of them available! But please do provide me with visual references too (whether it’s a general mood board, costume idea or hairstyle/pose, etc!)

Things I don’t draw:

· excessive gore (a little bit of dramatic blood is okay!)

· nsfw material

· exact celebrity/photo likeness (I’m just not good at it lol. Please feel free to use them as references though for a general vibe/aesthetic!)

If there’s something I haven’t covered that you’re not sure about, please feel free to check with me!

How to request a commission?

If you’d like to commission me please contact me at [email protected]. In your email you should include:

1. The email address you’d like me to send the invoice to

2. What type of commission you’d like (i.e. ¾, or bust, and partial or full rendering)

3. A detailed description of what you’d like me to draw and/or visual references for your character/s or ideas

4. Whether you have a specific timeframe or deadline in mind!

What happens next?

I correspond through email! Once I accept your commission I’ll draw up a basic sketch and send it to you. If you’re satisfied with the sketch, I’ll send you an invoice for payment through PayPal and once payment is received, I’ll complete the full drawing! I’ll probably send you some colour samples to make sure the flats look okay too.

You can post the image/use it however you want!

How long will it take?

Unless a specific deadline is mentioned, I will typically aim to complete a commission within two weeks (maximum) from approval of the sketch. Please note It may take me up to two weeks to respond to your initial email too! Sometimes life happens and I just want to make sure I’m giving myself enough time to give your artwork the attention it deserves :)

I will let you know ASAP if there are any expected delays. If something comes up and I can’t finish the drawing or meet a deadline for whatever reason I’ll issue a refund!

If you’ve got any questions feel free to message me here or at my email address ([email protected]).

Thanks for reading! <3

#Commission Info #my art #reblogs appreciated!

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anxiouslyfred · 2 years

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Green

For @aro-sides-week day coming out / pride

Summary: Remus comes down ready to head to Pride but first he needs to come out to Roman and his friends.

Authors note: Sorry, brain tired so while I wanted this fic to be longer and actually include pride the words aren’t wording right.

/\/\

“Why can't I just wear all green? It's bright!” Remus moaned, as if he'd just been told to wear more colour the instant he'd come out, ready for the pride parade they'd be meeting their friends at.

Roman rolled his eyes, rifling through a box of pride pins. “I didn't say you couldn't. I asked if all the green is to match a specific identity or just because you like the colour?” He repeated, picking a couple out. Over the years they'd collected a lot of pins between them and the twins always used pride month to mix them up and swap any they'd like between them.

Remus leant over to nab a couple of the badges about Pride being a protest and a TERF repellent logo. “Would you actually know what labels would bring the green out if I said it is?”

“Can't say unless you tell me, but I also can't field questions for you without knowing.” Roman countered, smirking over his shoulder, “Are you waiting for me to guess?”

“Or make some Disney reference. It isn't like green is a good guy colour to that mega-corp you love so much.” Remus suggested, “Do you even know which flags have green as a main colour?”

Roman thought for a moment, “Agender or genderqueer are the ones that jump to mind first, sooo given your purple eyeshadow is this genderqueer colours for you, today?”

“Aromantic. Knew you wouldn't know it.” Roman cheered, throwing himself onto the sofa to cause the make Roman was now bringing out to scatter.

“REMUS! You're doing my eyeshadow for that! I want rainbows!” Roman scowled, scrambling to get them and shove Remus to sit properly. “So other than green, what does aromantic mean?”

“Ugh, fine.” Remus easily accepted the make up, tilting Roman's face to his to start after checking the colours around him. “I don't want romance, would rather just fuck or more often keep it as friendship. No attraction of the romantic sort.”

It's quiet for a moment as Roman takes in the information and keeps his eyes shut for the rainbow to be added. “That sounds good. Do the rest of our friends know or is this the first time you're telling any of us?”

“It's my coming out story! Hopefully I'll get to fight an a-phobe at pride and knock some sense into them!” Remus agreed.

“Let's try not to make the parade a riot today. Do you want the aro flag painted on your cheek?” Roman took the break with one of his eyes finished to look at Remus.

Remus wiggled in his seat, nodding, before bring the eyeshadow brush back to Roman's eyes. “Sure, Bright green, light green, white, grey, black. I'm hoping to get an aro flag while we're there, not sure if anywhere will have it though.”

“We'll go through every stall until we find one after the parade.” Roman promised.

/\/\

“Of course Remus found an identity that lets him be obnoxiously green.” Virgil groused, joining the twins at the meeting point they were going to join the parade at. “Are you picking one to match your favourite colour or is this a label you actually identify as?”

“I'm aro! The green is just a bonus.” Remus helpfully agreed, leaning over to swipe the rainbow facepaint marker over Virgil's cheek.

Virgil tried to dodge then grinned, “Do you mean aro like the romantic equivalent to ace?”

“Yep, and here come the last terrible trio.” He nodded, turning to wave at Logan, Patton and Janus who were all coming over.

None of them comments on Remus's outfit or the flag on his cheek, although Logan did raise an eyebrow after recognising it. They were all more excited for the parade than on commenting about Remus's identity given it would be starting soon.

#arosidesweek2022 #aro remus #remus sanders #roman sanders #creativitwins #virgil sanders #coming out #pride

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writingwithcolor · 3 years

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Jurassic period alien interacting with key cultures and historical figures in Middle East & Asia throughout history

@ketchupmaster400 said:

Hello, so my question is for a character I’ve been working on for quite a while but wasn’t sure about a few things. So basically at the beginning of the universe there was this for less being made up of dark matter and dark energy. Long story short it ends up on earth during the Jurassic Period. It has the ability to adapt and assimilate into other life animals except it’s hair is always black and it’s skin is always white and it’s eyes are always red. It lives like this going from animal to animal until it finally becomes human and gains true sentience and self awareness. As a human it lives within the Middle East and Asia wondering around trying to figure out its purpose and meaning. So what I initially wanted to do with it was have small interactions with the dark matter human and other native humans that kinda helped push humanity into the direction it is now. For example, Mehndhi came about when the dark matter human was drawing on their skin because it felt insecure about having such white skin compared to other people. And ancient Indians saw it and thought it was cool so they adopted it and developed it into Mehndi. Minor and small interactions though early history leading to grander events. Like they would be protecting Jerusalem and it’s people agains the Crusaders later on. I also had the idea of the the dark matter human later on interacting with the prophets Jesus Christ and Muhammad. With Jesus they couldn’t understand why he would sacrifice himself even though the people weren’t deserving. And then Jesus taught them that you have to put other before yourself and protecting people is life’s greatest reward. And then with the prophet Muhammad, I had the idea that their interaction was a simple conversation that mirrors the one he had with the angel Jibril, that lead to the principles of Islam. Now with these ideas I understand the great importance of how not to convey Islam and I’ve been doing reasearch, but I am white and I can understand how that may look trying to write about a different religion than my own. So I guess ultimate my question is, is this ok to do? Is it ok to have an alien creature interact with religious people and historical events as important as they were? Like I said I would try to be as accurate and as respectable as possible but I know that Islam can be a touchy subject and the last thing I would want is to disrespect anyone. The main reason I wanted the dark matter being in the Middle East was because I wanted to do something different because so much has been done with European and American stuff I wanted to explore the eastern side of the world because it’s very beau and very rich with so many cultures that I want to try and represent. I’m sorry for the long post but I wanted you guys to fully understand what my idea was. Thank you for your time and hope you stay safe.

Disclaimer:

The consensus from the moderators was that the proposed character and story is disrespectful from multiple cultural perspectives. However, we can’t ignore the reality that this is a commonly deployed trope in many popular science fiction/ thriller narratives. Stories that seek to take religious descriptions of events at face value from an areligious perspective particularly favor this approach. Thus, we have two responses:

Where we explain why we don’t believe this should be attempted.

Where we accept the possibility of our advice being ignored.

1) No - Why You Shouldn’t Do This:

Hi! I’ll give you the short answer first, and then the extended one.

Short answer: no, this is not okay.

Extended answer. I’ll divide it into three parts.

1) Prophet Muhammad as a character:

Almost every aspect of Islam, particularly Allah (and the Qur’an), the Prophet(s) and the companions at the time of Muhammad ﷺ, are strictly kept within the boundaries of real life/reality. I’ll assume this comes from a good place, and I can understand that from one side, but seriously, just avoid it. It is extremely disrespectful and something that is not even up to debate for Muslims to do, let alone for non-Muslims. Using Prophet Muhammad as a character will only bring you problems. There is no issue with mentioning the Prophet during his lifetime when talking about his attributes, personality, sayings or teachings, but in no way, we introduce fictional aspects in a domain that Muslims worked, and still work, hard to keep free from any doubtful event or incident. Let’s call it a closed period: we don’t add anything that was not actually there.

Reiterating then, don’t do this. There is a good reason why Muslims don’t have any pictures of Prophet Muhammad. We know nothing besides what history conveyed from him.

After this being said, there is another factor you missed – Jesus is also an important figure in Islam and his story from the Islamic perspective differs (a lot) from that of the Christian perspective. And given what you said in your ask, you would be taking the Christian narrative of Jesus. If it was okay to use Prophet Muhammad as a character (reminder: it’s not) and you have had your dark matter human interacting with the biblical Jesus, it will result in a complete mess; you would be conflating two religions.

2) Crusaders and Jerusalem:

You said this dark matter human will be defending Jerusalem against the Crusaders. At first, there is really no problem with this. However, ask yourself: is this interaction a result of your character meeting with both Jesus and Prophet Muhammed? If yes, please refer to the previous point. If not, or even if you just want to maintain this part of the story, your dark matter human can interact with the important historical figures of the time. For example, if you want a Muslim in your story, you can use Salah-Ad-Din Al-Ayoubi (Saladin in the latinized version) that took back Jerusalem during the Third Crusade. Particularly, this crusade has plenty of potential characters.

Also, featuring Muslim characters post Prophet Muhammad and his companions’ time, is completely fine, just do a thorough research.

3) Middle Eastern/South Asian settings and Orientalism:

The last point I want to remark is with the setting you chose for your story. Many times, when we explore the SWANA or South Asian regions it’s done through an orientalist lens. Nobody is really safe from falling into orientalism, not even the people from those regions. My suggestion is educating yourself in what orientalism is and how it’s still prevalent in today’s narrative. Research orientalism in entertainment, history... and every other area you can think of. Edward Said coined this term for the first time in history, so he is a good start. There are multiple articles online that touch this subject too. For further information, I defer to middle eastern mods.

- Asmaa

Racism and Pseudo-Archaeology:

A gigantic, unequivocal and absolute no to all of it, lmao.

I will stick to the bit about the proposed origin of mehendi in your WIP, it’s the arc I feel I’m qualified to speak on, Asmaa has pretty much touched upon the religious and orientalism complications.

Let me throw out one more word: pseudoarchaeology. That is, taking the cultural/spiritual/historical legacies of ancient civilizations, primarily when it involves people of colour, and crediting said legacies to be the handiwork of not just your average Outsider/White Saviour but aliens. I’ll need you to think carefully about this: why is it that in so much of media and literature pertaining to the so-called “conspiracy theories” dealing with any kind of extraterrestrial life, it’s always Non-Western civilizations like the Aztec, the ancient Egyptians, the Harappans etc who are targeted? Why is it that the achievements of the non West are so unbelievable that it’s more feasible to construct an idea of non-human, magical beings from another planet who just conveniently swooped in to build our monuments and teach us how to dress and what to believe in? If the answer makes you uncomfortable, it’s because it should: denying the Non-West agency of their own feats is not an innocent exercise in sci-fi worldbuilding, it comes loaded with implications of racial superiority and condescension towards the intellect and prowess of Non-European cultures.

Now, turning to specifics:

Contrary to what Sarah J. Maas might believe- mehendi designs are neither mundane, purely aesthetic tattoos nor can they be co-opted by random Western fantasy characters. While henna has existed as an art form in various cultures, I’m limiting my answer to the Indian context, (specifying since you mention ancient India). Mehendi is considered one of the tenets of the Solah Shringar- sixteen ceremonial adornments for Hindu brides, one for each phase of the moon, as sanctioned by the Vedic texts. The shade of the mehendi is a signifier for the strength of the matrimonial bond: the darker the former, the stronger the latter. Each of the adornments carries significant cosmological/religious symbolism for Hindus. To put it bluntly, when you claim this to be an invention of the aliens, you are basically taking a very sacred cultural and artistic motif of our religion and going “Well actually….extraterrestrials taught them all this.”

In terms of Ayurveda (Traditional holistic South Asian medicine) , mehendi was used for its medicinal properties. It works as a cooling agent on the skin and helps to alleviate stress, particularly for the bride-to-be. Not really nice to think that aliens lent us the secrets of Ayurvedic science (pseudoarchaeology all over again).

I’m just not feeling this arc at all. The closest possible alternative I could see to this is the ancient Indian characters incorporating some specific stylistic motifs in their mehendi in acknowledgement to this entity, in the same vein of characters incorporating motifs of tribute into their armour or house insignia, but even so, I’m not sure how well that would play out. If you do go ahead with this idea, I cannot affirm that it will not receive backlash.

-Mimi

These articles might help:

Pseudoarchaeology and the Racism Behind Ancient Aliens

A History of Indian Henna (this studies mehendi origins mostly with reference to Mughal history)

Solah Shringar

2) Not Yes, But If Ignoring the Above:

I will be the dissenting voice of “Not No, But Here Are The Big Caveats.” Given that there is no way to make the story you want to tell palatable to certain interpretations of Islam and Christianity, here is my advice if the above arguments did not sufficiently deter you.

1. Admiration ≠ Research: It is not enough to just admire cultures for their richness and beauty. You need to actually do the research and learn about them to determine if the story you want to tell is a good fit for the values and principles these cultures prioritize. You need to understand the significance of historical figures and events to understand the issues with attributing the genesis of certain cultural accomplishments to an otherworldly influence. 1.

2. Give Less Offense When Possible and Think Empathetically: You should try to imagine the mindsets of those you will offend and think about to what degree you can soften or ameliorate certain aspects of your plot, the creature’s characteristics, and the creature’s interactions with historical figures to make your narrative more compatible. There is no point pretending that much of areligious science fiction is incompatible with monotheist, particularly non-henotheistic, religious interpretations as well as the cultural items and rituals derived from those religious interpretations. One can’t take “There is no god, just a lonely alien” and make that compatible with “There is god, and only in this particular circumstance.” Thus:

As stated above by Asmaa and Mimi, there is no escaping the reality the story you propose is offensive to some. Expect their outcry to be directed towards you. Can you tolerate that?

Think about how you would feel if someone made a story where key components of your interpretation of reality are singled out as false. How does this make you feel? Are you comfortable doing that to others?

3. Is Pseudoarchaeology Appropriate Here?: Mimi makes a good point about the racial biases of pseudoarchaeology. Pseudoarchaeology is a particular weakness of Western-centric atheist sci-fi. Your proposed story is the equivalent of a vaguely non-descript Maya/Aztec/Egyptian pyramid or Hindu/ Buddhist-esque statue being the source for a Resident Evil bio weapon/ Predator nest/ Assassin’s Creed Isu relic.

Is this how you wish to draw attention to these cultures you admire? While there is no denying their ubiquity in pop-culture, such plots trivialize broad swathes of non-white history and diminish the accomplishments of associated ethnic groups. The series listed above all lean heavily into these tropes either because the authors couldn’t bother to figure out something more creative or because they are intentionally telling a story the audience isn’t supposed to take seriously.*

More importantly, I detect a lot of sincerity in your ask, so I imagine such trivialization runs counter to your expressed desire to depict Eastern cultures in a positive and accurate manner.

4. Freedom to Write ≠ Freedom from Consequence: Once again, as a reminder, it’s not our job to reassure you as to whether or not what you are proposing is ok. Asmaa and Mimi have put a lot of effort into explaining who you will offend and why. We are here to provide context, but the person who bears the ultimate responsibility for how you choose to shape this narrative, particularly if you share this story with a wide audience, is you. Speaking as one writer to another, I personally do not have a strong opinion one way or the other, but I think it is important to be face reality head-on.

- Marika.

* This is likely why the AC series always includes that disclaimer stating the games are a product of a multicultural, inter-religious team and why they undermine Western cultures and Western religious interpretations as often (if not moreso) than those for their non-Western counterparts.

Note: Most WWC asks see ~ 5 hours of work from moderators before they go live. Even then, this ask took an unusually long amount of time in terms of research, emotional labor and discussion. If you found this ask (and others) useful, please consider tipping the moderators (link here), Asmaa (coming eventually) and Mimi (here). I also like money - Marika.

#alien character #historical fiction #science fiction #pseudoarchaeology #Middle-Eastern cultures #South-Asian cultures #Islam #writing with Islam #mehendi #cultural appropriation #areligious perspectives in writing #asks #WWC

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redspiderling · 3 years

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MCU Breakdown: Black Widow, Part 1

I can’t believe this is happening 😭

First of all, congratulations to all of you who’ve been here all these years. We got it. We begged for years, and it’s finally here.

For once I wasn't dreading revisiting this film to write down what I got from it. I felt more like I might not do it justice. This film is so special to me, but here it is, the MCU Breakdown of Black Widow, part 1 (of who knows how many).

I remember back when I started running this blog and talking about a hypothetical Black Widow movie that had never been announced, always "yeah, we would be happy to do it, maybe, someday in the future", and arguing that it would be important for women and girls, no matter its content. I'm so glad we got it like this. So, so glad.

The rest under the cut.

Let's start with some technical details. The film has a lot of setups and callbacks, nothing is done in chance. For example, I love how the light, and the sounds we hear when we first, and last, see Natasha in the film, are the same. We greet her in bright -birds cheeping- morning light, while she's riding her bike home, to her family

and we leave her in bright -birds cheeping- morning light, while she's riding her bike home, to her family (I'm using the term family very liberally here in reference to the Avengers for the sake of the movie, bear with me, you know how I feel about those dudes).

It's signifying new beginnings, each time, not endings. Notice how, what we see is natural light, which makes this scene pop out, and look more real because the light is coming from the sun, and isn’t artificially made on VFX software. You will notice the stark differences in colours and lighting when the emotions and the atmosphere change in this film, because there is a visual language being employed here, the director has a story to say, and she uses all the tools she has to tell it. The light is exactly the same in those 2 scenes, because Cate wants us to make that connection, even if we make it unconsciously.

Natasha is placed in such a positive way, both at the start and the end of the film. There's this discussion about how "real" their little family was, but it was the characters that muddled up that image. The reality of their lives in Ohio is presented in a happy way, that had deep rivers under the surface, for sure. This wasn't accidental, for a lot of reasons.

First of all, if you take it the literal way, they were spies, and had to present themselves as normal. If you take it the allegorical way, any girl could fall victim to trafficking, and if you take it the character way, both Scarlett and Cate wanted to showcase that Natasha is human. They also wanted to give her something that wasn't always dripping with pain and sadness. They were both parts of her life, yes, but there was also joy, and light, and once upon a time she had been a kid, playing with her sister.

Also, and this has been mentioned before but it bears repeating: I love the actress they chose for young Natasha, and I love how they presented her character. She's allowed to be a young teenage girl. She's not sexualised. She's at that gangly stage between childhood and adulthood, and there's nothing sexual about it, no provocative clothing, no excessive makeup. She's a kid.

Plus, I know Cate said the actress already had her hair dyed blue and they just decided to let her have it, but I think it works well for Natasha's character. That small act of defiance, even that early on, against the system that wanted to break her. Also, the film gives us such great character moments, because they let the camera roll and don't rush through scenes, look at Natasha looking at Melina comforting Yelena. We can see the pain, the fear, where she knows that this isn't going to last, and wonders about what will become of them once their lives begin to unravel.

We also get to see the joy on her face, the wonder of discovering the world, how often do you get to see Marvel characters do this, just live in the moment?

Bioluminescence: the production and emission of light by a living organism. Or how Natasha is a bright light, that shines from within. Not my words, Cate Shortland's words. I felt it when I was watching this scene, but it was lovely to have it verified in one of her interviews. I wish I could meet her, and tell her that everything she wanted to put on screen came through, incandescent and crystal clear. Fireflies are a symbol for Natasha, as a bright light that shines from within, and never dies.

Small details that I love, the magnet on the fridge: Don't forget, above a picture of Natasha. LIKE WE EVER COULD, CATE.

We have another setup here, where the family gathers up to have dinner together. Even the sitting arrangement is the same as later on in the film.

Notice also how both young, and adult version of Natasha, communicate so well with Melina, just with their eyes. It doesn't necessary show a deep history between them, but it does show a bone deep level of understanding. Not just of their current circumstance, but of their future, and of what it will do to them. Melina knows what's coming and she's says it "I'm sorry", but they're both resigned to their fate, Melina because she doesn't see a way out, and Natasha because, well, here she's a kid, and therefore is powerless.

The dynamics between Yelena and Alexei is so different. Yelena is young and doesn't understand, so they're speaking about completely different things. "I don't have my shoes" is what she says, and it's heartbreaking in its innocence, as Alexei is loading his gun and reading himself for battle. We can still see that he's not indifferent to her, telling her she can have "fruit loops in the car". He's not a monster, he just doesn't have a choice (or at least, he thinks he doesn't).

Also, notice how the camera angles are employed here: Natasha and Melina look each other eye to eye, Yelena looks up to Alexei, Alexei looks down on her, there is an imbalance of power and understanding in the second set of images, and the camera tells us that.

Melina doesn't let Natasha take the photo album. For one thing, it's certain that Natasha wouldn't be able to keep it. For another, Melina wanted the memories, and probably didn't want anyone else to realise/think that they cared about their little family unit.

There's just a lot of thought that's been put in the details of the script, to show us their bond, their attempts to hide it, to show the characters' personality in everything around them (notice the plants that are ever present in Melina's home, in Ohio and later in Saint Petersburg). She might seem cold, she has been through a lot, but she cares. And that care has brought her pain. And we have to see that pain, because we get the quiet moments like this one, where she stands alone in an empty home knowing that part of her life is over, never to return.

The mission, is the last thing Melina asks about. The last thing Alexei mentions, the last thing either of them cares about. First, she refused to accept that they had completed the mission and were now hunted, then she accepted it and they loaded their family in the car, and then she asked about the leaked files.

Also, notice how that shot is framed. Both images silhouetted by the light because it’s the moment and the prop smack down in the middle of the frame that’s important, now what they’re going through, emotionally, they’re not themselves in that moment, they’re nameless, tools of the trade, expendable in front of that tiny floppy disk.

Yelena is singing while the rest are plunging in despair, but still humour her and play her song.

I found this shot a bit... Jarring. I get it that for American audiences this would show that they're actually leaving "home" behind, but for the rest of us... Eeeh, I'll give it a pass because it is an American production and this is just something to be expected. I mean, Yelena's song was American Pie. We get it, you still love America, just because you're making a film about Russian spies doesn't mean you're a commie Marvel, it's ok.

But in any case, the setup for the action scene here was excellent. Happy, familiar music playing, car is on the main road, car goes off the main road familiar music gets toned down and eventually completely lost in the darkness.

Yelena knows what to do, we see it, so that we know that this 6 year old girl who holds her stuffed animal and walks barefoot has practiced for this moment.

By the way, Natasha did take another item with her along with the photobooth pictures (it also looks like a photo album with Disney princesses on it), it didn't survive the trip. We are informed of this for a very specific reason: Melina didn’t ask Natasha not to take the photo album out of malice, or just because she wanted to keep it for herself. She knew it wouldn’t survive the trip in Natasha’s hands. We also get a close shot of the image strip (and we get it again, during the credits), because it will be important, later on.

Bet y'all also forgot you were watching a superhero movie until this happened? That wasn't accidental, they wanted us to see them as normal people, this is the moment when that ends.

Natasha saved her family, even though she was a terrified kid.

I know that they did the huge titles thing to connect this film to Civil War but... Listen, Civil War needed the huge titles because that script and the way that movie was directed was a complete disaster. We needed to know where the characters were each time with huge ass title because there was NO OTHER WAY TO TELL. Between complete lack of a timeline, and the fact that you couldn't even tell what time of the day it was due to the horrible lighting, you definitely couldn't tell what the location was because it was irrelevant to the plot like, 90% of the time. Not to mention the title cards in Civil War were usually followed by dimly lit grey corridors so, yeah, give us a title so we know at least where they are, generally.

This film. Didn't Need That. For the most part anyway, there are 2 locations where the titles worked. First one was Ohio, the other I'll reveal later.

But here. Guys, they're Russian spies escaping from the US on a small plane... Where else would they go if not to Cuba?!?! This is the Black Widow movie paying for the sins of Civil War, in a small way in this instance.

Yelena tells Melina that pain only makes you stronger, Natasha cries, and they setup my heartbreak for later.

Natasha protecting Yelena, terrified, and staring men down the barrel of her gun anyway. Such a badass and heartbreaking callback.

Notice how this scene makes us look at how men view this. There's an allegory here as well, but I'll address what's actually happening in the film:

Dreykov notices Natasha's natural instinct to protect herself and her sister, and all he sees is something he can use. A tool for violence, instead of sex, in this case. But the implication is there. Not a person, or a terrified girl, just an object to be used by men.

So glad that piece of shit got blown up and never mentioned again. Any man looking for exposition on Dreykov to feel the "loss" when the villain is gone: Fuck you. Go get some therapy.

Moving on from that piece of shit, difference between Melina and Alexei: Melina apologised. Alexei lied, but he also tried to give them hope. We can see the devastation, because the soldiers never thought of them as girls like he did, and didn't blink before drugging them and taking them away.

Yet another setup, of Natasha and Yelena, drugged and powerless as they are taken away. Because it wasn't enough that they were kids, they took away all their choices, and rendered them unconscious.

What can I possibly say about this credits scene.

It's very real, probably the realest minutes in the entire MCU, and it's merciless. They don't try to sugar-coat what's happening, and there are no jokes to diffuse the drama. These are girls being trafficked from all over the world. I don't know about you but I felt the switch from true parallel to real life traffic victims like this shot that looks like footage from Interpol

to Red Room victims as being a clear shift, and I was actually grateful for it. Because here I could put my back against the fact that the red room wasn't real, otherwise I would have broken down before the credit sequence even ended.

It was a stroke of genius to create an introduction to this entire world like that. We rarely see credit sequences anymore and it's a shame, because when they're well done they tell stories in and of themselves, and this is one of the best I've seen.

Even the villain is set up here. He's pointing at girls and saying "that one, and her", like he's picking pigs for slaughter. How much more setup than that do you need, to want to murder that man dead? Not any more, that was enough.

Nobody speak to me I’m crying.

Subtle, but there. Trafficking (and traffickers) exists because it IS being tolerated by governments around the world.

Unnecessary title aside, who else says Natasha looks at herself in the mirror hear and repeats "pain only makes you stronger", as she's being hunted away from yet another family.

Then she's saying it again because it bears repeating and Natasha has been through A Lot these past few years. I love how unfiltered our first image of her is. After all she's been through, we basically see her stripped of all her tricks in a moment where she’s alone with herself and her thoughts(something we later learn she tries not to do much), and she's just a woman having a tiny breakdown in a semi-public bathroom. Again, human.

This is where I will leave you for this first part. Hey, I got through the intro, I count that as a win given just how long this breakdown has already been. If you’ve gotten this far, thank you for reading, come yell at me in my inbox whenever, see you for the next one xo

#MCU Breakdown #Black Widow #Black Widow Spoilers #Natasha Romanoff #I'd like to think that all my followers have already seen it but just in case

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a-stitch-in-time-and-space · 3 years

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ok i agree w/ everything you said about those ladies besides, lwaxana gives s*xual pr*dator vibes and that is why i dont like her.

I can see that reading for sure and all things are subjective. I do strongly disagree, but hey, fandom is a space for that! Super chill.

to go a little more into this though, since it's not really so much about what any of us feel, but more about how we engage with female characters (and I'll use your example of why you don't like her - not to drag you, your dislike is totally fair, she's fictional, she won't mind, but just because it's a single line that kinda puts her in a box. And not a very nice box to be in, that's for sure...)

a little tw for mild references to some of the shadier writings of star trek vis a vis sexual assault and otherwise sexist and/or strange relationship dynamics

okay so you know how Riker has like. two? episodes that're suuuper shady in terms of his treatment of women and the rest of the time it's pretty chill. and he's one of my favourite characters, but I have gotta skip those episodes, because whatever they were trying to do, they Did Not Succeed - and there's a reading of him that incorporates those elements and if you do you've gotta contend with the character being quite probably someone who's assaulted women.

or how Worf at times espouses sexist shit that makes me roll my eyes outta my head and you're either gonna say "I don't fucking like this character" (and again, totally fair, I've seen people who don't Vibe) or you've gotta find a way to make this work for you if you want to explore that character - or both of those things, you can dislike a character and want to write about them

Or some of the weird shit the writers have Geordi do (which, Geordi is my favourite character in TNG, but sometimes ya gotta breathe and go "the writers are fucking dumb, the writers are fucking dumb")

or - the spiritual successor of Geordi, Julian Bashir (my favourite character from DS9 - clearly I have a Type). You've gotta go: This is stupid writing. I can make it work with my own read of the character, but first and foremost The Writing Is Dumb!

Or hell, Q - since we're talking about Lwaxana and I assume her interactions with Picard and Odo, let's not forget to mention Q, both in TNG and on VOY with Janeway - some of the more urgh-inducing scenes between Q and Janeway are, I think, meant to be charming and funny? And I'm a massive QCard shipper here, okay, I actually vibe so hard with him as an alien who doesn't get shit about boundaries (this mostly with Picard, with Janeway I have gone: "Hm. This doesn't feel good" a fair few times).

or how the writers of DS9 had Garak be in a very uncomfortable relationship with Ziyal, who was a teenager, then not a teenager within much too short a span of episodes (and actress changes)

or Quark. Remember the episode in which Quark tries to get Kira's likeness so he can put it in a sex-fantasy roleplay that she did not consent to? or how there are two cold opens where his female employees are told they have to sleep with him to keep their jobs

or like... Neelix (okay, I am not a fan of Neelix anyway, but for people who are fans, there are times when you've gotta wonder what in the heck the writers are thinking - not the character, the writers)

what I'm trying to say with the post I wrote is that this same graciousness isn't offered to female characters - especially female characters of colour, but in the case of Lwaxana

she's older, she's an ongoing female guest star, she's very (sometimes uncomfortably) sexual towards especially Picard and for a short while Odo, before they become really good friends.

she's also in-text several times in positions in which men are trying to control her (the episode where she gets kidnapped, the episode in which the guy who's married her is a misogynist) and she uses or tries to use her "wiles" to escape these situations.

She's really more of a faded beauty who's putting a pressure onto her daughter (in a rare interesting, complex, fraught mother-daughter dynamic that I loooove) and refuses to let go of the past, because (and here we get into my read, but mildly supported by canon) it's the only way she seems to have learned how to be loved and have relevance. She's terrified of letting that go, because where does she go next, without everything that's defined her? which is why her final episode with Odo is actually so powerful to me.

Picard is never threatened by her in-text. He's not massively fond of her (at first, she grows on him... like a mold), he would prefer to avoid her, but he's not in a powerless situation here. She undoubtedly makes him uncomfortable at times in a way that - like some of the above examples have made me go "mmmmokay" but certainly not the worst example of this in the writing.

With Odo I also don't like how some of her interactions with him go in the first episode they're in together. But once they're friends and you see how easily she accepts him ("I can swim" is always going to be one of my favourite little chuckle lines) that no longer applies. He clearly likes her and enjoys her company. There's something incredibly lifelong platonic partners in their easiness with each other.

You can argue in both cases (and argue well) that there are scenes that are kinda sus. But there are lots of scenes that offer you depth of character. She's not one-note. She's got off moments.

Some of these guys (and others - I haven't watched as much TOS and Voyager so I don't want to misrepresent anyone, but I feel sure that Tom Paris has made me squint once or twice + I've not seen Enterprise yet) have whole episodes that make me shudder.

It's really - within this fandom for sure - open how we interpret characters and I'm not saying anyone needs to read Lwaxana like this or change their minds and like her.

The point of the post is not to say you have to like any of these characters. Or even to say you have to engage with them regardless of how you vibe or don't vibe with them. It's just... I have listened to several up-until-then-enjoyable deeply analytical podcasts where at some point one of the (guys... always guys... I'm guessing white) makes a sneering comment completely dismissing their value within the series.

My point is that Lwaxana (since we're on her) has value as a character within the Trek universe. She added something important. She's not everyone's cup of tea, but it's a big series, we're not all guaranteed to like everyone.

and in the original post I used "shrill" and "cringy" on purpose, because those are descriptors I've heard. And they are absolutely rooted in misogynist dismissals of female characters no matter what shape they take (Keiko, Lwaxana, Michael, and Ezri are radically different from each other and yet all easily brushed aside regardless of screentime, personality, show, age, role/job).

I'm not making points about having to engage with or like characters. I'm just saying we need to be aware of how easily we specifically look down our noses at female characters (and specifically female characters of colour - apologies, this was just because we were talking about Lwaxana, but some of the shit I've heard about especially Michael and Keiko have made me want to bang my head against a wall... or other peoples heads against walls... you know, for a nice change)

so how much sympathy or analysis of behaviour is afforded to female characters vs their male peers. What judgements are we making and how do they compare to our readings of their male counterparts?

sidenote: I hate using male and female about star trek, my brain is just like "why anyone gender? why do this? you're in space? there are aliens? y'all can't chill with the binary for two fucking seconds?"

different post

#lwaxana troi #tng #ds9 #voy #st: tng #st: ds9 #st: voy #star trek disc horse #I don't want to make statements on TOS or Disco guys - I HAVE seen them I just don't rememberrrr too much #i have entirely avoided any and all opinions by white cis dudes on adira and gray btw because I have F E A R #they're not female characters tho but like... tangentially I'm thinking hooboy about them as well #anon just wanna reiterate I'm not telling you to change your opinion or feelings about her

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worstloki · 4 years

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please read the article 'How White Fandom is Colonizing "Character-Coding"' by Shafira Jordan and quit while you're ahead

Okay, so I read it and see the problem, and I’ll try to address all their points in order because I don’t wholly agree with the article. I know it’s a lot to read so I’ve put tldr; sections at the end of each :)

Misusing the Term Reinforces Negative Stereotypes for Marginalized People

The article essentially argues that labeling characters which are villainous as POC-coded is bad because they’re not morally pure and doing so "reinforces the idea that people of color are naturally dangerous and not to be trusted.”

Which is fair as you don’t want all the representation to be of ‘bad’ characters, but I also don’t believe all representative characters have to be ‘good’ either as it would be equally racist to divide good/bad in such a way. Not that I would place Loki under ‘bad’ to begin with, but arguing that characters shouldn’t be labelled as POC-coded for reasons unrelated to what’s presented in the narrative or because they did bad things is :/ even if lack of good representation is a prevalent issue in current Western and influenced media.

Ideally there should be a range of representative characters that fall into ‘good’, ‘bad’, and ‘anywhere in-between’ because variety and complexity in character types should, in theory, be treated as common practice (which can only happen with a multitude of representation!).

And a bit unrelated but... within the fictional context of Thor 1, all the Jotnar (sans Loki) are presented to the audience as ‘bad’ by default. They desperately want to get their Casket back to the point of attempting stealing it (from the ‘good’ characters), they fight the heroes and even when the gang and Thor (’good’ characters) are enjoying or going overboard with taking lives it’s inconsequential, Laufey wants to kill the opposing king (who just happens to be a ‘good’ character) and will resort to low-handed methods to do so, etc. The narrative itself is from the frame of reference of the ‘good’ and we only see warriors of Jotunheim though so we understand why it’s like this, because regardless of their race/experiences the narrative carries, even if it most definitely would be seen as racist from our real-life perspectives if the ‘monstrous’ race were presented by actual people of colour, even if it would make sense for the people on on different realms living in different environments to be different from each other, and realistic even for that to be the root of some conflict.

tldr; not using a specific label to prevent negative presentations of the characters seems a bit strange to do when the coding would be based off the text, but with limited representation available I see why it would be done, even if I still believe minority-coding is free game to expand/interpret.

Improperly Labeling a Character as “POC-coded” Suggests the Experiences of All People of Color are the Same

The article argues that labeling Loki as POC-coded “suggests that all people of color have the same experiences, when in reality, people of color come from different places, have different cultures, and have different traditions.” And while it’s true that the term doesn’t go into detail about which particular experiences (and these experiences can vary vastly due to diversity!) the appropriate measure would be to remove the umbrella term POC altogether as people of colour tend to also vary. But that’s also exactly why it’s an all-encompassing general term? It’s a way to denote anyone who isn’t “white” and has the associated cultural privilege that comes with the concept of white supremacy.

And, obviously, in the fictional setting presented, the concept of white supremacy is not prodded at, but cultural supremacy is definitely one that makes recurring appearances, right next to the parts about Asgard being a realm built on imperialism with ongoing colonial practice.

My take on this is that Loki’s narrative features a struggle with identity after finding out he’s of a different race and was being treated differently his entire life and being Jotun was presumably a part of the reasoning even if he didn’t know it. He’s basically treated as of less worth for inherently existing differently. I do believe that racism is a common-enough POC experience, but that while Loki was born with blue skin he passes/appears white which is why I don’t say that Loki is a POC, just that he has been coded/can be interpreted this way.

There’s also the entire thing with Loki trying to fit in and prove he belongs by trying to fit the theory and be The Most Asgardian by committing genocide (which ultimately makes no difference as he’s still not the ‘acceptable’ version of Asgardian), and the denial/rejection of his birth culture in destructively lashing out towards them (which even Thor is confused by because Loki isn’t typically violent), and the fact his self worth plummets and he is passively suicidal upon finding out he’s Jotun (internalized racism? general drop in self-worth after finding out he’s adopted and has been lied to? Bit of both?), but what do I know, I’m sure none of those are, at their base, common experiences or relatable feelings for anyone or decent rep because we see such themes on-screen presented wonderfully in different lights all the time.

tldr; every set of experiences could be different, some types of discrimination could overlap, if you limit an umbrella term to only very specific circumstances then it’s no longer an umbrella term.

Suggesting that White Characters are Meant to be Seen as People of Color Ignores the Actual Characters of Color that are Present in these Stories

I don’t agree with most of this section, but that may just be the way the arguments are put together, which I don’t blame the author for.

“ Implying that Loki is a person of color completely ignores Heimdall and Hogun, the only Black and Asian Asgardians who appear in the movie. ”

Characters such as Hogun and Heimdall which are played by actual people of colour have smaller roles in the films and any prejudice they could face for being POC in-universe isn’t made apparent, while Loki at the very least comes to the realization that something he couldn’t change (race, parentage,) was having him treated differently his whole life and had to come to terms with it. The Vanir/Aesir are also both treated similarly on-screen, and Heimdall having dark skin isn’t plot relevant, whereas Jotnar are treated as lesser consistently and are relevant through the movie (breaking into the vault, Thor and co. attack Jotunheim, Loki’s deal with Laufey, the attempted regicide (and the successful one XD), destroying jotunheim, Loki saying he’s not Thor’s brother,).

I also see including characters as POC-coded as... more representation? In all canon-compliant interpretations of the characters Hogun being Vanir is always explicitly mentioned because it’s a fact that just is, up to the appearance and even the world-building of Vanaheim in some fanworks use particularly East Asian culture as inspiration. I have never come across a Marvel fandom Heimdall interpretation where he’s not Black... but because these characters are more minor/side-characters of course they get less attention!

“ In Loki’s fandom, Heimdall’s name sometimes gets thrown in to suggest that it was he all along who was the real villain due to his “racism” against Loki and the rest of the Jotun. It is, of course, ironic to suggest that somehow the only Black Asgardian to appear in the movie can oppress the privileged white prince. “

I... don’t know where to start with this. But the example of theorizing given in the article wasn’t suggesting Heimdall was bad or trying to explain his actions in Thor 1 by saying he is Black... and just looking at a character’s actions shouldn’t be done less or more critically because of skin tone in my opinion. Heimdall may have been trying to do what was best and protect the realm but if the audience didn’t know that Loki was up to dodgy things then the coding would be switched around because he was trying to spy and committed treason and then tried to kill Loki. People... can hold feelings towards others... regardless of skin... and suspect them... for reasons other than skin... although I do still have questions about whether Heimdall knew Loki was Jotun or not. (Even if I personally don’t think it’d make a difference to how he’d treat Loki?)

Some Loki fans have also suggested that because Jotuns have blue skin that this alone makes him a person of color (even if the audience is only allowed to see Loki in his true Jotun form for mere seconds of screentime). This, again, shows a lack of understanding when it comes to race. It doesn’t matter what skin color the Jotuns have.

Race can differentiate between physical and/or behavioural characteristics!! Not being blue all the time doesn’t make him any less Jotun!! He’s got internalized stuff to work through and is used to being Aesir!! At least 1 parent is Jotun so even if Loki was passing as Aesir he’s probably Jotun!! (I don’t know how magic space genetics work for sure but Loki being Jotun was an entire very important jump-starting point in Thor 1!!). It’s a fantasy text and typically things like having different coloured skin indicates a different race or is sometimes if a species has multiple then is just considered a skin colour. That’s how coding works!! The Jotnar are very specifically the only race we see in the movie with a skin-tone not within the ‘normal’ human range, which alienates them to the audience from the get-go!! They’re an “other” and on the opposite side to the ‘good’ characters.

Both Loki and his birth father, Laufey (Colm Feore), are played by white men, and it is impossible for a white man to successfully play a character of color.

The specification of men here bothers me, but yes, you don’t get ‘white’ people to play characters of colour if it can be avoided. (And it can be avoided.)

This also connects with the previous point made that people of color come from various places. There is nothing specifically about the Jotun that could be traced to any specific person of color, and even if there were, there would be no way for white men to portray them without being disrespectful.

This is where arguments about the definition of coding and how specificity/generalizations and do/don’t come in. I know I’m subjective and lean towards the more rep the better, but while I agree ‘white’ people wouldn’t be able to respectfully play a POC I don’t think that rule should have to carry over into fantasy-based fiction. I know texts reflect on reality and reality can reflect within texts, but if contextually there is racial discrimination and there are similar ideas which resonate with the audience’s own experiences I’d say it’s coded well enough to allow that.

tldr; Thor 1′s narrative revolves mainly around Thor and Loki, of which race is kinda kinda a significant theme in Loki’s part of the story. Not so much explored with less-developed side characters such as Heimdall and Hogun, even though their actors are actual people of colour.

How Much of this is Really Well-Intentioned?

In the fantasy space viking world Heimdall and Hogun don’t face any on-screen prejudice and their appearance is not mentioned (which is nice, for sure! good to have casual rep!) but adding on to the roles they play in the narrative the explicit fantasy-racism in the movie isn't aimed at Asian/Black characters, but towards the Humans -to a lesser extent- and the Jotnar, including Loki, who only just found out he comes under that bracket.

The article mentions how fandom space toxicity often “reaches the actors who portray the characters,“ which is true, and it’s shameful that people have to justify their roles or presences are harassed for the pettiest things like skin tone/cultural background, but I don’t see coding characters as removing the spotlight from interesting characters such as those which are actually POC, rather expressing a demand for more rep, since well-written complex characters which are diverse are often absent/minor enough in the media, and therefore can get easily brushed aside in both canon and fandom spaces.

tldr; It’s obviously not a replacement for actual representation, but, if a character is marginalized and can be interpreted as coded, even if they would only be considered so within the context of the textual landscape, I don’t see why spreading awareness through exploring the coding as a possibility for the character shouldn’t be done, even if the media is being presented by people who are ‘white’ or privileged or may not fall into the categories themselves, as long as it’s done respectfully to those it could explicitly represent.

#please don’t patronize me by asking to quit while i’m ahead #it doesn't help anyone #so anyway i've summarized my opinion on the coding thing here for the many anons whose answers could be answered in this ask alone #i think i covered everything?#the article started out okay but I found it kinda :/ in places even though there were valid concerns #I do believe that in-universe context and creators of the media should be taken into account #and that if marginalized themes can be touched on by non-marginalized groups then... great? fictional texts can help people understand #i do also think that rep being presented should if not on-screen have people working on the product to support and ensure it's done well #the world is cold and harsh and cruel and i just wanted a desi Loki AU but here we are #I've got to try and summarize how I think Thor 1 presents Loki's part of the narrative well with POC-coding there because of fantasy-racism #even if the POC-coding is ignored the themes of racism are far too apparent to ignore #loki spends the entire film being a multi-dimensional character and having an entire downfall fueled by grief and a desire to be loved #I don't think attaching a label to such a character would be a negative thing... but perhaps for casual watchers it'd be a bit :/#apparently not everyone takes into account the 1000+ years of good behavior around that 1 year of betrayal/breakdown/identity crisis/torture #MetaAnalysisForTheWin #MAFTW #ThisPostIsLongerThanMyLifeSpan #TPILTMLS #AgreeToDisagreeOrNot #ATDON #poc-coding #yes i ignored everything not about loki in the article what about it #hmmm I know people are going to disagree with me with what should and shouldn't be allowed #I know some people are okay with it but some don't like the poc-coding thing #and that's fine #completely understandable #makes me uncomfy to talk about fictional space racism in comparison to real life but I do think that lack of rep is why coding is important #for some people coding is all that they get #but also!! @ifihadmypickofwishes suggested the term racial allegory and I do believe that is also suitable here!! so I’ll try using that too #rather than poc-coding even though I still believe it applies

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lucifer-is-a-bag-of-dicks · 3 years

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Oh my gosh so I also headcannon Jack as autistic! But im not comfortable with writing it yet because idk how. Im not autistic; my little sister is and i know a few things jack could have trouble with... but hes a grown ass man so i just dont know. Im definitely taking notes on what you write him as but could you give me some pointers?....maybe?

Im mostly referencing to Bitter with this

aaaa yeah it definitely presents differently in adults who've learned to mask, personally I don't plan to put certain things in specifically to talk about how he's autistic, I write with the background knowledge of what traits he displays, and then express them when relevant, it's relevant a lot with Jack simply due to how much it affects his life

now this is going to get long, so bare with me, because this is a whole lot more complicated than you might expect

there's really no one correct way to write Jack, since there's no one way that autism presents itself, the way I write him is based on a mix of myself and some people in my family, so I can give you a basic idea of what angle I personally come from

for one, I change the way I write about facial expressions and how emotions come across to Jack, in Jazz's chapters I'll write about the exact emotion she can see on their face, with Jack's I'll go with an obvious base emotion, but then if the person is expressing something more complicated, I'll describe their face in physical details

eg;

Jazz POV - Danny was upset, but his face was tight with frustration

Jack POV - Danny looked sad, but his eyebrows were furrowed and his mouth was set in a hard line

it's a subtle difference but it's one I try to maintain throughout Bitter, Jack's POV is based on how I have trouble reading non-obvious expressions, although in my case I also have trouble looking people in the face when I talk to them, that's harder to write in an emotion driven POV story, so I made Jack better at that than I am

his interest in machines is quite obvious, since he's an inventor, and he looooves infodumping on people, he gets very excited about his passions very quickly and his mouth runs off with him, something I also have trouble with, it hasn't been a prominent trait for Jack in Bitter, because he's so out of his element he's mostly confused and in a way, almost grieving his own death, so he's been far quieter than he usually is

his special interest is obviously ghosts and machinery, and in Bitter I cover that he's got a degree in engineering, physics and mathematics. He's good at them, I like to look at it as though Jack rolled high in intelligence and low in wisdom, he's book smart, he knows things that are straightforward and have firm rules, he's less comfortable in topics that are more wishy washy and vague, biology is complicated and has too many variables, he finds it difficult to grasp, there's no one standard rule that applies to every body

I also struggle with vague and unclear directions, I need a solid structure and clear instructions, my strength is in sorting, organising, alphabetising and colour coding, I like things to Look Right, I stick to a particular routine with very specific things, and it's viscerally uncomfortable and even distressing for me to have that order disturbed, I nearly had a meltdown at work because someone had done a part of my job incorrectly, and I had to fix it, it made me genuinely upset on a personal level, it was MY system, NOBODY should be touching it, NOBODY should be moving things around, they do anyway, and I spend a portion of my shifts just frustrated and on edge because of it

Jack also has issues socially, he often says or does things that other people find uncomfortable or embarrassing, I reference that in Bitter, where Jack assumes everyone is mad at him because he said or did something stupid, this I have much experience in, while in the middle of a social situation it's easy to just do what comes naturally to you and not realise it's off putting to other people, because people often play polite and you can't tell that they're uncomfortable, even though people around you find it painfully obvious

sometimes it's easy to see in hindsight after you've been told you made something awkward or uncomfortable, but in the moment if nobody says anything about it, you can remain either totally oblivious, or become anxious and second guess every interaction you have

Jack is the oblivious type, he's fortunate to live in a family that is fairly understanding, they might get frustrated with him, or embarrassed by him, but they don't really take it personally, they KNOW he means well, they know he cares, and Jack does care, he cares a lot, he feels things a lot, he's incredibly empathetic

this is a trait that a lot of media likes to ignore in depictions of autism, because I guess it makes people with autism seem 'too normal', when tv shows always want to be like 'hey wow look at this clever asshole! isn't he clever, but also an asshole! but you can't hate him because he's ✨autistic✨ and he can't help it'

that bothers me a lot, I mean some people with autism do have trouble relating and empathising with people, my brother is one of them, but some people with autism really empathise a lot, some of us feel things very strongly, I'm highly empathetic and it's a real struggle to cope with

so yeah, it is a very complicated thing, so you need to go in with an idea of what their character struggles with, how it affects them, and when it's relevant in the story, also autism falls on a very wide spectrum, some people, like myself, are able to mask well, but that creates a big issue with identity, when you start to wonder how much of you is real and how much of you is mask, then you have to decide if you want to lower that mask and accept the social consequences of expressing yourself naturally

I have a friend who presents a little more obviously, he's very rigid in his ways and he talks like he's reading from a script, I have another friend who can socialise just fine, but will go into a total meltdown when a plan gets derailed and she doesn't know what to do next

another friend I have is highly social and incredibly boisterous, she stims with her whole body, dances around a lot, she's chaotic and that can be off-putting to people, she's had to spend a lot of her life holding that back, she's only recently started learning how to be herself shamelessly

my brother was incredibly social when he was younger, and people always really loved him, but most of that is mask, he's socially anxious and just wants to be alone most of the time, and he's a total prick to his immediate family, I don't take that personally any more, since now I understand that he's so blunt and brutally honest because he isn't masking with us, but also he still needs to be called out when he oversteps, autism might be why he has difficulty empathising, but it's not an excuse to be a complete asshole, even people with autism need to be called out on shitty behaviour, it isn't a get out of jail free card, our self expression shouldn't come at the cost of hurting other people, most of us are more than capable of learning to not be an asshole

I know this is like, A LOT, but these are the things that need to be considered when writing about autism, it is an all encompassing thing that permeates your entire life experience, I absolutely welcome people like you to try to write about it! Because I think it shouldn't be a taboo subject, and I appreciate that you asked for advice and that you want to do it respectfully, you've probably seen first hand how difficult living with autism can be, having a family member on the spectrum, so you already have some experience to draw from, I don't know your relationship with your sister or how old she is, or where on the spectrum she falls, but if possible you can ask her about her experiences in particular situations that you're having trouble writing, if that's something you and she are comfortable with

I hope this helps, just remember to keep an open mind and listen to any feedback you might get, it is very VERY easy to misrepresent autism so don't be too hard on yourself if you don't quite get it right, if someone gives you a critique, take it in stride and use it to become better ~ you can even express that in an authors note, that you want to write it accurately and invite anyone with experience to share their opinion, because like I said, it is different for everyone and my experiences are not universal, and you're welcome to run something by me every once in a while if you aren't sure about it ❤️

#asks #autism #danny phantom #bitter #jack fenton #this shit be COMPLICATED y'all

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skrltwtch · 3 years

Text

Graveyard Shift

Prompt: I know the sign says, "No shoes, no shirt, no service", but I just had the WEIRDEST night and your shop is the only building with lights on this early, and I'm really, really hoping you have some spare clothes behind the counter. Help? (Source in master list)

Word count: 4,255 words

Genre: Fluff, romance, smut, supernatural

Warnings: Smut

References: 1 Inglourious Basterds

∘₊✧──────✧₊∘

Graveyard shift is the fucking best — and the fucking worst.

For one, the shop is able to achieve that fine balance between having enough customers to justify its opening hours and keep me on its payroll, and having enough customers to not make me regret my choice of employment while I attempt to sort out my life. The silence that falls over the shop at two o’clock — without fail every night, like the general public know they have better places to be at two o’clock than a corner shop — grants it the perfect atmosphere for self-introspection and self-improvement. Have I learnt anything useful? Let’s … not talk about that.

Now, what’s the downside to this job, you ask? The customers, of course. There are fewer of them in the dead of the night, but God, the ones that do come in … Being situated on one of London’s busiest corners means a colourful clientele at all times of the day. Drunkards and yobs make up a sizeable number of the demographic that contribute to the shop’s cash drawer while I’m on duty. It’s both sickening and fascinating to deal with them. In my nine months of working here, I’ve seen it all — or I thought I have, until my attention is drawn to the naked man at the door.

It’s less than half an hour after sunrise. He doesn’t look like he’s knocked back a drink too many. (Can coffee make me see things I’m not supposed to be seeing at this hour?) He looks to be of sound mind, his franticness to be let inside aside. He’s handsome: his brown waves, wiry physique, and elegant features lend him a startling resemblance to an ancient Greek sculpture. Strangely, there is an abundance of scars all over his body, and not in a manner that’d signal self-harm. They look more consistent with animal scratches. I’m speaking from experience here: I have a cat, though it’s nigh impossible a cat did this to him.

Nonetheless, this ranks in the lower half of the top ten weirdest shit I’ve seen while on the clock.

‘Hello? Hello!’ That ought to be what he’s saying; I don’t proclaim myself to be an expert at lip reading. It’s encouraging that he’s aware of the sign preventing his entry and doesn’t think he’s above it, at least.

I shake my head at him. Rules are rules, mate. They apply even to hot, naked men.

‘Come on! Please?’ — I think.

‘Sorry!’ I shout, and I point at the camera above me. Colin, my manager, is a cool bloke. It’s about as likely that I’d lose my job for letting Mr Naked and Afraid grace the inside of the shop with his presence and providing him with service as it is that Mr Naked and Afraid is on something that isn’t obvious to my innocent eyes. Why tempt fate? There are other corner shops with less draconian policies down the street. I turn away and continue looking at my phone to spare us both our blushes. It is nippy outside …

Fuck it.

I motion for him to come in. I can explain this to Colin, should he decide to review this morning’s security footage on a whim. He’s a Cool Bloke™.

‘Thank you,’ says Mr Naked and Afraid. Fuck, the shop lighting is doing him more favours than he needs. ‘You won’t get in any trouble for this?’

‘Nah. I might get chewed out1 for this, but that’ll be the worst of it.’

‘Sorry. But thank you. Thank you. I’m George.’

Good. Mr Naked and Afraid is becoming a mouthful.

‘I’m Eva. How can I help, George?’

‘Do you have any spare clothes?’

‘It’s just me here, mate.’

‘I know. Can’t hurt to ask.’

Can I say, ‘You have balls’? Is that appropriate at a time like this? I exhale audibly. ‘Give me a second.’ I retreat into the staffroom behind the counter. Colin deserves a better staffroom than a lad hangout. I’ll clean up when there isn’t a naked man waiting on me outside — or not. I’m not their helper. I sort through the coat rack for something suitable. Andrew is the closest to George in stature, I think. Operating on that approximation, I grab Andrew’s jacket and trousers. I don’t want to have to think too hard about what my co-workers look like underneath their clothes. Besides, Andrew’s clothes have been here for ages. He won’t miss them.

‘Try these,’ I say.

‘Thank you. I’ll clean and return them, I promise.’ He reaches over the counter for the clothes.

‘Not so fast. Give me the craziest reason you’re butt naked, and if I like it, you get the clothes.’

‘Really?’

‘I have to tell my manager something. Might as well be something weird so I don’t get chewed out too hard.’

‘Fine.’ He puts his hands on his hips and looks around the shop — in search of inspiration, perhaps. I’d love to hear what he comes up with. He looks like someone with a good sense of humour. If we’d met elsewhere, I’d have thought about asking for his number and then chickening out at the last minute, because women like me don’t get anywhere with men like him. I keep a lookout on the entrance for any customers or co-workers, mostly because I don’t want to share this moment with anyone else.

‘Clock’s ticking, George.’

‘You didn’t say there’s a time limit.’

‘I’m not the one with my arse out in public.’

‘Alright. I’m a werewolf. I must’ve messed something up, because I got out of my flat last night and woke up in Trafalgar Square. I live in Hampstead. See these scars? It’s all me.’

I stare at him. He’s staring back at me, expecting a response. He looks serious. I — I can’t. I burst out laughing. Of all the things I thought I’d hear, that isn’t one of them.

‘That’s one I haven’t heard before. I love it.’

‘Yeah? Can I then —’

‘Not before you answer one more question, wolf boy.’ I mean that nickname with utmost sincerity.

‘Seriously …?’ Red blotches his cheeks. ‘Okay, okay.’

‘Were you born a werewolf or were you bitten?’

‘How is that relevant?’

‘Humour me.’

He rakes his hair with his fingers, and holds his inhalation and blink long enough for it to mean ‘I should’ve gone to the next corner shop’. Little does he know that his exasperation is making him look more attractive. I’ll treasure this moment forever. ‘Born. You don’t see any bite marks, do you?’

‘Touché. Here.’ I pass him the clothes.

‘Thank you, thank you, thank you.’

‘No, thank you for the laugh,’ I say, looking away from him as he tries Andrew’s trousers on for size. Andrew’s fashion sense is being wasted on us corner shop plebeians. ‘I love horror and supernatural shit. That was perfect.’

‘Cool.’ For fuck’s sake, he can also pull off the loud, brash prints Andrew favours? This is unfair. ‘I’ll pop these in the washer when I get home, and I’ll return them to you …’

‘I’m working tonight. I’ll be here at ten.’ Technically, I start work at midnight. Andrew’s scheduled for the evening shift today, and I’d love to see his face when George returns with his clothes. I can’t remember how long these specific items have been in the staffroom. Plus, like, ten o’clock is an acceptable time to meet someone who lives in Hampstead and probably has standard working hours, isn’t it? ‘If that’s not too late for you.’

‘That’s fine. Thanks again, Eva.’ He’s said the T word so many times, it’s starting to sound weird to my ears. Semantic satiation — that’s what the phenomenon is called. I learnt this from the 3,722nd post I read on Reddit some nights ago.

‘You’re welcome, wolf boy. See you tonight.’

He grins. ‘See you.’

Just as he turns to leave, I swear, I swear on my copy of The Killing Joke with a frayed spine because I put it in the same bag as my water tumbler with a loose cap, I see a flash of fangs.

✦✧✦✧

‘You’re here early,’ says Andrew.

‘It’s midnight somewhere in the world.’ I don’t join him behind the counter. I’m scheduled to start work at midnight, and that is exactly what I’ll do. Overtime means nothing to me. (I say that like it’s applicable in this instance.) ‘Did a guy come in to look for me?’

‘Nope. Hey, do you know what happened to my trousers and jacket? First one’s floral; second one’s mustard.’ Doesn’t it just sound like a ghastly combination? Andrew can pull it off. So can George — both items at the same time. I’ve only seen Andrew in one or the other.

‘Funny story, that.’

‘Share.’

‘Okay, picture this: It’s fuck o’clock in the wee hours of the morning. Sun’s coming up. I’m on my second tumbler of coffee and running out of things to keep myself entertained. Suddenly, a naked bloke is asking to be let in; he’s begging. He doesn’t look drunk or high. I let him in because I’m a bleeding heart at heart. He asks me for spare clothes. Thank God you treat this place like your second closet. I ask him to hit me with the craziest reason he’s naked to help me decide if I should help him. He says he’s a werewolf.’ I am fighting to hold in my laughter. ‘And he says it with the straightest face you can imagine.’

‘Eva, this bloke was hot, wasn’t he?’

‘Yes, but —’

‘You’d have given him the clothes no matter what he said.’

‘I didn’t tell you this story for you to call me out like that.’

‘You’re welcome. Does Colin know you breached one of the shop’s sacred creeds?’

‘Does he have to know?’

‘No comment. It’s not my arse on the line.’

‘Colin won’t do me dirty like that. I did a good deed.’

‘… No comment. Am I going to get my stuff back?’

‘That’s why I’m here.’

‘Bollocks, I thought it’s because you like my company.’

‘Why not both?’

The bell above the door jangles, cutting our conversation short. It’s none other than the man of the hour himself. Never have I been this ecstatic to see someone enter the shop. He has no business filling out his grey shirt as well as he is.

‘George! Hi!’ I drown out Andrew’s snicker. Can’t I be excited about speaking with an attractive, charming man who isn’t drunk or in need of goods and services a corner shop can provide in the shop at this time of night? I might also never see him again after this, so as far as I’m concerned, I deserve every second of this.

‘Hello, Eva,’ says George. ‘Got the clothes cleaned like I said I would.’ He shows me the paper bag in his hand. McDonald’s. I can hear Andrew’s heart giving out. ‘Thank you again.’

I take the bag from him and place it on the counter, the golden arches staring Andrew in the face. ‘You’re welcome. You should thank him, too.’ I jerk my thumb at my near-apoplectic co-worker. ‘This is Andrew. The clothes are his.’

‘Thank you,’ George says to the other man, who responds with a tight-lipped nod, still in the midst of computing what he did in a past life to deserve having his clothes returned to him in a McDonald’s paper bag. ‘I followed the instructions on the labels as best I could. If I ruined something, I’d be happy to pay you back for it.’

‘Thanks, mate.’ Andrew takes the clothes out of the bag and gives them a quick once-over. ‘Looks good. You can have the bag back.’ He pushes it toward George with his finger.

‘Okay …’ George takes the bag, flattens and folds it into a neat square, and holds it under his arm. ‘Eva, I can’t — I can’t thank you enough for this morning. Last night was … weird.’ He swallowed.

‘Yeah, sure …’ I wink at him. ‘… wolf boy.’

‘Are you working now?’

‘No, but I will be in’ — I consult my watch — ‘an hour and a half’s time. I came in early because I know I don’t have the same concept of day and night as most people.’

‘Graveyard shift: fun as shit’ is Andrew’s sterling contribution to this part of the conversation. I like that, actually.

‘You didn’t have to — I’m more of a night owl,’ says George. Is that because he has a closer affinity to the night because of what he is? I convince myself it is. ‘Do you want to go get some coffee nearby? It’s the least I can do. I hope I didn’t get you in trouble.’

‘Don’t worry about it,’ I say. I should talk to Colin about this soon. ‘Sure, I’d love some coffee. Be a dear and watch the shop for me, will you, Andrew?’

✦✧✦✧

George leads me into his flat. Our bellies are full from dinner. I love and hate eating with him sometimes. I love his company, obviously; I hate that he can put away so much without any of it showing on him. Earlier, he had pork chops, lamb meatball stew, and a fudge brownie with ice cream. I get that he needs all that protein to maintain his figure, and I’d love and support him all the same if he were, but he’s not an Olympics athlete like Michael Phelps. Nonetheless, all that food’s imbued him with oodles of energy, the kind that’s seen us seek to end the night on a more gratifying note at someone’s place. (Mine’s out of the question tonight because my flatmate’s working toward the same goal with her latest squeeze.)

The farthest we make it before the urge to eat each other’s faces overpowers us is the sofa. I’m on top of him, just showering him with gentle kisses on his lips, and sometimes his cheeks and nose. I’m content with savouring his taste for now. His breathing is heavy. He’s warm to the touch. His kisses are more insistent. I yield to his desperate, almost plaintive moans and allow our tongues the pleasure of getting to know each other better. His hand is feverishly fondling my thigh and hip; the latter has developed a mind of its own, grinding up against him. Deciding our mouths couldn’t have all the fun, I move on to his neck, which he kindly bares for me. His throat is thrumming with — growls?

I look up at him and say, ‘Do you hear that?’

‘Hm?’ His eyelids flutter open. I gasp.

Staring back at me are yellow eyes, brilliant and wild.

Oh, my God.

‘George — your —’

‘Why?’ He puts his hand to his mouth. ‘Shit.’ I get off him. I see the fangs I thought I saw the first time we met. ‘What’s today’s date?’

‘It’s the eighth.’

‘Fuck!’ The force with which he cursed propels him out of his seat. ‘You have to go. I’m sorry,’ he says, taking off his shirt. His chest sheens with sweat. ‘I forgot.’

I don’t need to ask him what it is he forgot: I know the answer on a primeval level. I know I should leave. I stand transfixed by what’s happening before me. His flesh twists and ripples. The growls get louder. The proportions of the hand on his chest — hairier than I’ve ever known it to be — are all wrong. Poking — pushing out from underneath his fingernails are claws. He turns away from me. The sight of protruding knobs of bone under the skin along his spine causes chills to run down mine. My poor George. My poor wolf boy.

‘I’ll go,’ I say, as much as I want to stay with him. ‘Will you be okay?’ I shake my head. Stupid question. He’s in agony.

‘I’ll be fine.’ There is greater conviction in the violent gurgle that follows than his words. ‘Now go. Please.’ His back arches and expands with muscle. He cries out in pain.

I do as he says. I hear the locks rattle and turn behind me. Though his strained growls and yips are horrible to hear, I stick around outside his door. I don’t know why. I don’t know why I don’t quite feel afraid either of what I saw in there or of what I now know. Instead, I feel … I press my legs together and bite my lip. Not the time. After what feels like an eternity of guttural noises that have no right coming from a human throat, a howl, long, almost melodious, pierces the air. It’s almost … reassuring. So much about him makes sense now.

I take my phone from my bag, and I send him the following: ’Text me when you see this. Love you.’

✦✧✦✧

I shift on my feet as I wait for George to answer the door. I’m worried about him. Does he not want to see me anymore after last night? No, it’s an insult to the both of us for me to think that he thinks I’d be narrow-minded enough to stop wanting to be with him because of what he is. I don’t know how long I’ve been here. The food I brought for him is getting cold. Can he smell it from inside his flat? I press the doorbell again. I wish he had a neighbour to tell me what I can do in times like this.

The door opens. He looks a mess: he’s in boxers, and his hair is sticking out every which way. His eyes go wide. The memory of his yellow eyes resurfaces. I feel a little weak in my knees.

‘Good morning, love. I came to see if everything is okay,’ I say, ‘and I brought breakfast.’ I show him the paper bag. The food inside still smells good.

‘I thought —’ He doesn’t need to complete his sentence for me to know what he means. It’s written plainly in the furrow of his brow, the sadness in his eyes. Damn it. I didn’t want to be proven right about that.

‘Of course not. You didn’t see my message?’

‘I haven’t checked my messages. Sorry.’

‘Oh.’

‘Please, come in. Are you off work today?’

I nod.

His flat, too, is in disarray. It looks just as if an animal went wild in here. Pillows and books are all over the floor; some of the former have been ripped apart. Sunlight shines through the gaping holes in the curtains. Nothing’s broken, at least. George’s head hangs low. ‘I haven’t had the time to clean up … nor was I expecting visitors. I called in sick to work and went back to sleep. I forget what happens when I don’t take my meds before I transform.’

‘Let me guess — the last time that happened was a year ago?’

‘Yeah, probably. I don’t know. That was — that was different. I guess I was too excited about our date that I forgot what yesterday was.’

I walk him to the sofa, and we sit down. The food is left to sit out on the coffee table. ‘It’s okay,’ I say, stroking his arm lovingly. ‘I wasn’t … I’m not freaked out or anything. I love horror and supernatural shit after all.’ I chuckle nervously, more so because I hate my tendency to resort to awful humour in an attempt to defuse tense situations. ‘So, um … I owe you an apology for laughing at you when you first told me.’

‘Don’t. I could’ve said something else. I didn’t. I wanted the clothes fast, and after the night I’d had, that was the most out-there thing I could think of in a snap.’

‘Yeah, then I made it into a thing between us! I call you “wolf boy”! You never asked me to stop! And I told everyone how we met! Everyone knows you’re a werewolf!’ I gasp. So. Many. Exclamation. Marks.

‘This is our thing. Only you know for certain. I feel like I can breathe now.’

I lay my head on his chest. ‘You don’t have to be afraid. You don’t have to hide.’

‘That first sentence sounds like something I’m supposed to say.’

‘So, George … about last night … was that because you were about to — or …’

His words come out almost in a snarl: ‘I wanted you. I want you.’ His lips are centimetres away from my neck. His breath is hot on my skin.

‘Are we like … mates now, then?’ I giggle as I draw an indiscriminate shape on his chest with my finger. I may or may not have spent a considerable amount of time last night reading up on wolf behaviour. The thought of what lies in store for me is a little exhilarating, an observation I had a mild developmental crisis over when I felt that first pang of passion from applying what I read to our relationship.

‘Yes.’

He licks my neck. My core tingles with excitement at the ramifications of his declaration — for the record, I meant it as a light-hearted question — and at what’s about to come next, based on my research. Then he pushes me down onto my back, and I see his eyes, still blue, flicker with the same intensity as last night. He hikes up my dress and gets straight to nuzzling my mound. He laps his tongue over my underwear and inner thighs, the strokes long, soft. I hum impatiently. My underwear is getting soaked. He slides it off my pelvis, and he promptly buries his face in my folds. Fingers come into the picture soon after. I writhe in his grasp, desiring release.

And Lord, does it come.

I don’t get to wait for my legs to stop quivering, as he rises from between them and says, ‘On all fours, love’, his voice a lusty rasp. I scramble to my hands and knees. He’s never asked for this before. I’m liking this greater sense of freedom he now has around me. How much had he been holding back? I spread myself for him. He pushes his cock up against my slit. I let out a small, startled ‘Oh’ when he enters me. I feel pinpricks where his fingertips are. Each thrust is deep and brutal. It hurts a little, but it hurts so good. I press the side of my face into the couch and close my eyes. Stars crash into each other in the blackness behind my eyelids.

Though he’s the werewolf here, I’m the one whimpering and moaning like an animal, too, while he huffs and growls with each movement. The sounds encourage him. ‘Please, don’t stop, don’t stop …’ I breathe. My walls convulse around his girth and fill up with an unbearable heat and wetness. Come drips out of me and trickles down my thighs. Then his thrusts become shallower and rough, his fingertips threaten to leave bruises on my skin, and he empties himself inside me. He lets out a strangled howl; my lip almost bleeds from how hard I’m biting down.

I feel so empty, almost a little sad, when he pulls out. I settle into a lounging position on the sofa. He wedges himself behind me. I gently fondle his business, still hard. He resumes licking my neck, sometimes rubbing his face on my skin.

‘I’m sorry if that was … weird. It’s the first time I fucked like that — and the first time I fucked after the full moon.’

I turn around and kiss him. ‘You were amazing.’ His ears turn pink. ‘Am I your first girlfriend who knows?’

‘Yes. About being mates …’ He pulls me closer to him. ‘I can do something about that. If you want. No pressure. It’s a huge decision.’

I won’t lie and say I didn’t consider the idea at least once last night. The dream I had about transforming and running alongside him on all fours can attest to that. But I tell him, ‘I need to think about it first.’ I don’t want him to think I’m rushing headlong into something I have little to no knowledge about. (Tabbing back and forth between pages about wolf behaviour for at least two hours doesn’t make me an expert. I’m not even sure if it’s relevant.) I also wasn’t expecting this question to come up so soon, considering he thought I’d leave him. I sweep my thumb across his lips, then his nose. ‘Maybe if I see you in your wolf form first …’

‘Fair enough. Promise me you’ll still love me the same after you’ve seen him. He’s more fun than I am, even when hopped up on industrial-strength bear tranquiliser.’

‘It’s going to take a lot to top what I’ve seen in the last year — and the last hour.’

He chuckles. ‘I’m in trouble.’

I spend the day at his place. (What? I’m taking a mental health day, and being with my boyfriend does wonders for my mood.) We fuck several more times, unable to get enough of each other; we’re like lovesick puppies. He lets shades of his true self slip through on occasion. He assures me it’s not because of the full moon. I assure him I know. Until today, I didn’t think it’d been possible for him to become more alluring. I give him my answer to his offer before sunset, which he happily accepts. At the end of the day, I lie in my wolf boy’s arms, waxing gratitude for the graveyard shift at the corner shop a year ago.

#exophilia #terato #werewolf #monster love #monster romance #mine

74 notes · View notes

ryegarden · 4 years

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You’re welcome to ask for small changes after the piece is finished, but I’ll send progress throughout, so please let me know if you spot something you’d like changing as soon as you see it.

I won’t draw: complex animals, mecha, complex fursonas, machines/weapons, or complex backgrounds. If you’re unsure, shoot me a message!

I will draw: single portraits and portraits of couples or friends (I can draw more than two people, but each extra person is extra, so please message me for this), small or simple animals (although I can draw larger ones given a photographic reference), OCs, and fanart. Message me if you’re not sure!

For portraits, I need at the very least full body and headshot reference photos (if relevant) and preferably a reference, if not a description of outfits if relevant. Poses and colour schemes are appreciated but not necessary. Please have this all prepared before you message me. The more you have the better!! If you have a specific pose or concept in mind, send references or even little scrappy doodles (even if they’re bad) so I can get the best idea of what you want

If there’s any of my work that you specifically like the look of and would like a similar vibe, let me know!! It helps a lot

For painted work I will need a specific photo to work from - small changes can be made, but largely it should be the same. If you really want a painted portrait without a photo reference, be prepared to pay a lot.

My turnover time averages at about 6-8 weeks. It may take more or less time depending on the complexity, so please be patient! I will be sure to keep you updated as and when I can. If you’re waiting more than a week or two for any progress, pop me a message, but it’s likely that I’ve been working away on it or am working on other commissions

If you need the art for a deadline that is less than two months away and you want a guarantee that it will be ready in time, I have an express service which is +30% of the commission price. Whether you are eligible for express price depends on the complexity of the work and the deadline. If you need the art within the next two weeks, it is double the price. These are not always available, so please ask beforehand

I will always ask if you are comfortable with the art being posted online, on my tumblr and instagram

You may print and post the artwork however and wherever you like (with due credit) but you may not redistribute it or use it for profit (e.g. website banners, business cards, print selling) as I currently do not accept commissions for professional work.

Tips are welcome and encouraged! A lot of work and effort goes into every single commission I do, and they’re much appreciated.

If you need anything clarified, pop me a message!! I’m happy to answer any questions at all

#commissions

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nbmahoushoujo · 3 years

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hey so i really do want to start commissions soon, but one thing stopping me is that i don’t know how well i’ll be able to do things on time so i wanna test it out!

followers message me a character (or characters together, up to 3 max!) you’d like me to draw and what type of drawing, and i’ll draw them for free!

here’s a messy chart i made of the 8 different types

(forgive my lack of recent halfbody examples, cropped fullbodies will have to do)

i’ll update this post when i’m not accepting any more, as long as there’s not an update at the top of the post you’re good to go! it’ll help me feel more confident in my abilities if i get a good few requests so i can really try this out, and you get free art from it so it’s a win/win!

a little more info under the cut, didn’t want this to get too long!

I can draw:

Both OCs and characters from other media

Humans/humanoids

Chibi animals

Props

Simple backgrounds (Simple shapes and patterns, you can leave it up to me or tell me if you want something specific like stripes, hearts, stars, etc.)

I will not draw:

Complex backgrounds

Mecha

Anthro furries

Explicit sexual content

Extreme gore

Anything containing hate speech, sexualising minors, incest, etc. (this is the only one i’m against, the others are all lack of skill in those areas)

I will need a visual reference of the character and any other details you would like me to draw, such as specific props, a different outfit, etc. Images made with picrew or other dollmakers are fine!

for now it’s one drawing per person but you can ask for up to three characters in the image with simple interactions

i’d like to do a range of types of drawing so i’ll list what types have been requested here, if you can then try to pick something different:

chibi - coloured sketch (3 characters)

halfbody - full finish (2 characters)

halfbody - coloured sketch (2 characters)

chibi - full finish (1 character)

bust - coloured sketch (2 characters)

fullbody - coloured sketch (3 characters)

halfbody - full finish (1 character)

bust - full finish (2 characters)

halfbody - coloured sketch (2 characters)

bust - coloured sketch (1 character)

anyway, don’t be afraid to shoot me a message because i really want to get a good amount of requests! i’ll let you know how long you can expect to wait once you sent me a request, because it will depend on how many i’ve gotten

thank you for reading through this mess, since this is an informal experiment with free art i’m not gonna waste energy making this post look professional, it’ll be different with actual commission information lol

you can tell which parts of this were copy pasted from my drafted commission page because it has capital letters in it

#millie.txt #we don't have to be mutuals! and it doesn't matter if you've literally only just followed me!#but i do mean message not asks #so i can ask any follow up questions and stuff easily!#you can ask for my discord or message me here!#discord is probably more reliable tbh #and for friends that i know would feel bad asking for art:#if you really don't feel comfortable asking for your own ocs you could ask for a character you know i like or tell me to draw one of my ocs #or you could do it as an art trade if you'd prefer that!#as long as i have things to draw that someone else has requested i'm good!

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carlatsukinamistolemyhamsandwich · 3 years

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Just as something to mention, when I write reader insert fics, I usually try to keep them as inclusive as possible.

That being said, I am only human and writing a character without using descriptors can be tricky in places, especially if I'm writing things from one of the diaboys' perspectives. If you ever notice any points where I have referenced the reader having a specific skin-colour or body-type or something similar then please do let me know and I'll change it. It will never have been done with the intention of excluding people but because I am a fool who is bad at proofreading and enjoys self inserting a little bit too much.

With gender things get a little bit more fuzzy, as it's only something I've really started to be conscious of recently and while I have started trying to keep things GN, I will often still default to Carla referring to his S/O as "woman" because of how he refers to Yui/the MC in canon and because of the Tsukinami boys'... goals, I do tend to imply the reader is biologically female.

I've never felt my readership was big enough to merit tagging the gender of the reader but if that is something that I need to start doing then I'll look into it when I get the chance.

With regards to requests, I will happily accommodate requests for the reader to be specifically written as gender neutral (i.e. having Carla referring to them as "human" or "mortal", making Ayato and Laito get more creative with their nicknames etc). I will not accept requests for readers with specific ethnicities or body-types, partly because I am not part of an ethnic minority and I would be very concerned about accidentally being insensitive, but mainly as I don't believe I will ever write something where the reader's race or body-type is plot-relevant so I would rather my writing remain inclusive.

That should cover everything. I have some posts planned and partially written and those should hopefully be published in the next couple of weeks. Hope you're all doing well x

#just felt I should make it clear that if I ever have accidentally referenced the reader's skin colour or anything similar then you guys can #call me out on it #as I said with gender things get fuzzy but certainly more recent stuff should be fairly accomodating #I wouldn't say I'm really taking requests atm though as I already have quite a lot to work on #but my askbox isn't closed so it felt like a good a time as any to make some stuff clear #own post

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ariadnedelia · 4 years

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Literally I know I’m a small blog with like. One popular zukka post but this has to be said

The white members of the tlh gang, specifically Matthew and Anna, for all that they are meant to be the ‘good white people’ for accepting cordelia into their circle, have not done a full scale analysis of their pre-conceived notions of race, their position in shadowhunter society as white people, and how they benefit british colonialism and white privilege.

No one come on this post with a comment about the times because if queer acceptance can exist, guess what? So can anti-racism and the conscious effort to unlearn prejudice.

I’m bringing this up because I’m becoming increasingly frustrated about Ariadne’s whitewashing/adoption by a family that was an authority figurehead in the society of a country actively colonizing her people, and the way Alastair’s internalized racism was treating as an angsty plot point, but apparently not worthy of telling from his point of view or making him an obvious Chief of Angst(tm) the way Matthew’s was, trivializing the inter-generational trauma of real people as compared to mythical creatures, and the overall way racism is briefly addressed as angst for a character of colour, but ultimately pushed to the background to make way for discussions of oppression against imaginary species, which I get is supposed to be a reference to real oppression, but it’s a poor one, and it’s not necessary when we can point to several instaces of racism among the Shadowhunter community,

I’ll start with the example that was, for me, the most obvious: Anna.

I’m aware that microaggressions like this were common, but as Cordelia’s reaction shows, they were still offensive- and again, given the high amount of queer acceptance, at least within this character group, and honestly the very fact that racism is bad and anti-racists existed, I will be judging EVERY white characters perception of race the way I would were this the modern day.

This is immediately brushed over and never addressed again, like Anna didn’t just admit to having prejudiced pre-conceived notions about non-white ethnicities? Microaggressions, prejudices and harmful pre-conceived notions of race aren’t one a million. If you have one, you most likely have another. The books treatment of Anna’s prejudice as at best, an honest mistake, and at worst, funny and quirky, implies racism is just a minor bump in the road you can quickly skip over- but considering whose writing this, it’s not surprising.

THEN, shortly after discovering Alistair dyes his hair due to internalized racism:

WHAT?! THE FUCK?!

WHAT KIND OF RESPONSE IS THIS TO FINDING OUT SOMEONE WAS ON THE RECEIVING END OF RACISM?! HOW DO YOU SEE SOMEONE’S GENERATIONAL TRAUMA AND LIKEN IT TO BEING MADE FUN OF FOR BEING SMALL AS A CHILD?! IT’S LIKE IF ZUKO SAID ‘THAT’S ROUGH BUDDY’ TO SOKKA EXPLAINING HOW THE FIRE NATION MURDERED HIS MOM?!

And the way she cut off from what I guess we’re supposed to believe was a passionate speech challenging white supremacy and instead settled on refusing to sympathize with the pain of the person of colour? What the FUCK? I’m not justifying ANY of Alastair’s actions, but I literally Do Not Care what a person of colour did to you; if you see them on the receiving end of racist treatment, you empathize, because not doing so implies non-whites have to EARN not receiving racism.

I’d finally like to address Anna’s handling of Ariadne explaining her proposal.

I want to make it clear that out lesbians are not obligated to stay in relationships that are treated like a dirty secret, and Ariadne’s attempt to distract Anna from the situation, and honestly, her overall treatment of the engagement, was poor. However, Anna’s inability to understand why Ariadne may not be in the position to deny social cues sheds light on her white privilege and shows she doesn’t, fundamentally, understand what it must be like for Ariadne to be completely removed from her culture, in a white society where her proximity to whiteness ad adherence to white culture is the sole judge of whether she is worthy of occupying the same space as them- and henceforth makes no effort to try.

Anna fails to grasp that as a visible dark skinned girl, Ariadne is expected to live up to higher standards or expectations or she will not be accepted. Despite the time they were in, queerness was a option for Anna because she was white. It decidedly wasn’t for Ariadne. This is the typical failure of whiteness to acknowledge its privilege- not realising that being part of a generally ostracised race means you have to fight ten times harder to be just as good as a white person.

Anna doesn’t understand this, and she does’t make any effort to. I understand that resources on anti-racism were generally limited, but I’m going to take a leap of faith and assume Anna could do the math on her own and realize what it meant to be in three oppressed groups.

So, on three occasions, Anna has displayed ignorance, prejudice, and a general lack of knowledge or a real attempt to study her white privilege. And I love her character! I really do. But we can’t gloss over this. Even if she isn’t throwing around slurs and refusing to talk to Cordelia because she’s brown, she’s still displayed a limited understanding of her white privilege and treated her ignorance towards race as funny and quirky, and refused to sympathize with a man of colour- while not even knowing what he did to deserve to be antagonized.

I’m so tired at this point, but I’d like to go on record and say Oscar’s white supremacy was public knowledge even then, due to lack of criticism. Matthew’s continuous and uncritical support and admiration of him points to him not considering racism serious enough to denounce support of someone.(Also, the fact that Anna latched onto the first white feature she could find and decided that was the highlight of Ariadne’s looks? And how not once in the ENTIRE series can anyone be bothered to even give a shitty, ‘sorry we’re colonizing your country’? Writing Ariadne to be ADOPTED BY HER OPPRESSORS?)

Anyway, it was 1903. The tlh gang are probably SUPER ignorant of their place in the social hierarchy, their white privilege and their pre-conceived notions of race, and that is why I am now taking all white tlh characters with a pinch of salt.

#tlh #anna lightwood #matthew fairchild #ariadne bridgestock #alastair carstairs #I am quaking in my boosts as I post this y'all are SCARY #cassandra clare #tsc

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