#white people have SUCH a history of taking stories that are clearly by POC talking about their own experiences as POC

[rudolphsboyfriend]

I keep seeing white book reviewers complain about how Babel is so very in your face and obvious about its rage at colonialism as if they would not twist the meaning of the book to fit into their convenient little worldview and find a way to say 'ok.. BUT' if it were NOT so clearly and explicitly laid out I'm sorry but it's true.

[stromuprisahat]

I've been reading a lot of criticism about Alina lately, and while I agree that she is a shitty protagonist, but the main problem I have with saying that she is the true villain of the story is that... no one told her? No one talked to her about Grisha persecution? Yeah, we hear about it vaguely in TGT, but it isn't until SoC when they find the burnt corpses and the kefta mural that it truly starts to sink in. It's not until you read DitW that you realize how desperate the situation was (and still is, in some ways). It's not until the Nikolai Duology that the true horror of the Shu experiments is brought to us. We see nothing of it in TGT, so maybe... Alina just doesn't know?

Yeah, sure, she has been around Grisha and is one of them now, but hear me out, it's like white people who say they don't have a problem with POC but they don't realize that it doesn't negate the fact that POC still face racism from others. Add to the fact that nowhere do we see newspapers and as an orphan Alina is definitely less aware of social justice situations than your average white guy- how is she supposed to know? All that she sees is the luxury of the Grisha- their tents their bulletproof clothes, etc.

Just a thought about how the story might have gone different if instead of the crows, it was Alina who found the three burnt bodies while chasing the stag and had to put one of them out of their misery. And how the story might have changed if Alina truly understood the situation.

I'm almost halfway through Siege and Storm, so I’ll talk from this perspective.

I’d say it’s the same issue as anything with Alina- she doesn’t want to know.

She’s almost murdered by a guy yelling “witch” in her face. Funnily enough- at this point it’s still in English (Ravkan), not drüsje, but witch:

I twisted and kicked as the yellow-bearded man grabbed hold of my legs. I looked desperately down to the glen, but the soldiers and Grisha below me were fighting for their lives, clearly outnumbered and unable to come to my aid. I struggled and thrashed, but the Fjerdan was too strong. He climbed on top of me, using his knees to pin my arms to my sides, and reached for his knife.

“I’ll gut you right here, witch,” he snarled in a heavy Fjerdan accent.

She gets safely to Little Palace, mentiones this whole experience twice and that’s it. It wouldn’t even take that much to get back to this topic- next chapter she learns such attack isn’t anything unusual for Grisha:

“ ... Other countries don’t treat their Grisha so well as Ravka,” he said grimly. “The Fjerdans burn us as witches, and the Kerch sell us as slaves. The Shu Han carve us up seeking the source of our power. ... ”

Alina sees there’s a difference made between Grisha and other Ravkans, but never connects the dots. It doesn’t concern her, she’s doing the same after all.

She isn’t interested in situation, not only the wide picture, but more personal perspective- we don’t see her ask her “not-friends” anything about them. Their lives, families... You won’t hear a scary story if you won’t ask or listen...

She got study materials on Grisha history, but that's just that. Words on a paper. Something she repeats when she remembers she's supposed to be hunted, although the reasons don't quite click.

She goes from being prejudiced herself to staying that way. Why would she change? She went from denying being Grisha to being Saint and that’s a completely different thing. The only person she truly cares about is an otkazat’sya, so why would she consider wrongness of slurs and disdain?

She was told, but the Darkling "never tells the truth" and she doesn’t feel the need to ask anyone else.

She hears First Army soldiers insult Ivan for refusing to share information with them, and doesn't blink an eye.

She hears about First Army slaughtering Grisha, and thinks "good, I'd do the same".

She only cares about Grisha being potentially mistreated as long as it's the Darkling harming them (Genya's punishment, Grishenka in R&R).

When forced to face other harm partially caused by Grisha status of slaves in Ravkan society, the circumstances allow her to ignore that aspect (Genya's abuse).

I don’t think she needs anything more explicit. She’d just find the way to blame the Darkling, or forget it ever happened as soon as it was out of her sight.

Burned Grisha corpses?

Some foreign tradition. Or barbecue gone wrong...

Just look at her reaction to Harshaw's story in R&R:

I thought of the dream the Darkling had once had, that we might be Ravkans and not just Grisha. He’d tried to make a safe place for our kind, maybe the only one in the world. I understand the desire to remain free. Was that why Harshaw kept fighting? Why he’d chosen to stay? He must have shared the Darkling’s dream once. Had he given its care over to me?

Zoya's the one, to note how fucked up it is. Alina's concern is possible responsibility. There's no horror, there's no resolution to take over Aleksander's efforts. The goal remains the same- hunt down the Firebird, kill the Darkling, destroy the Fold.

Even when talking as Grisha, Alina doesn't act like one.

[cdaae]

Hi, I know this is long but I wanted to talk about this, cause I don't think I can on my personal account. Reading everything about the POTO author is very disappointing to me. I read the first book and looked forward to the sequel. I did have some qualms about the two characters of color and I was concerned in how one of them perpetuates the "Woc is only there as support for their white friend" trope, but I was hoping this would get improved with the sequel. As I've been going through the sequel though, more of my concerns are being validated. There's frequent use of slurs regarding mixed-race people and said character is still only used as character development for Christine. Also, despite the author claiming they created Christine to be relatable to all people, its very hard to imagine her as anything but white/white passing when confirmed characters of color in the series are constantly degraded and dismissed for being Brown and Black. Now reading all the history regarding the author, I'm not surprised the characters of color are being treated this way. As a Black phan that loves Phantom immensely, it's sometimes hard being in this space and even being an e/c shipper when a lot of the aesthetics in this franchise are focused on whiteness and associating it with purity and good. While this series alone has its issue, I do think its important to note that a lot of Phantom work has issues regarding race whether its stereotyping (Kay) or erasure (ALW) so its a little unfair to single out this one creator. However, maybe this could be a good opportunity in analyzing the racial issues regarding this franchise as a whole! I'm genuinely thinking of writing my own version of POTO with e/c being poc because it's a perspective not explored yet

Thanks for listening! Love your account!

I don't necessarily feel it's unfair but she's also not being singled out for her racism in a phantom work but rather the fact that she's not only racist but a serious bully and is continuing both of these behaviors using her work and her platform. Race is definitely a phandom issue, but it's not the only issue with this particular author. Not to take away from anything you said though- you're absolutely valid in your assessment of the phandom.

The fascination with Kay has always bothered me- I could never get into it because of the problematic elements, but it's still something you have to be aware of when navigating the phandom because it's so popular. I actually think it's quite funny because this author dislikes Susan Kay but they're extremely similar- Older women clearly horny for the phantom and clearly writing with ALW in mind claiming to be adding on to Leroux but just making a mediocre book that doesn't fit in his canon at all with some added racism for good measure.

And yeah, her Christine sounds lifted out of ALW, and honestly, so does the phantom, since she still gave him a white mask. She also seemed to argue that Christine should be a brunette in the show because it looks better on women of color over blonde and that didn't sit right with me. Women of color with dark hair keep the "Christine look" according to her.

I'm disappointed but not surprised that the second book has the same issues. It's such an unnecessary thing to add to a phantom story. Meanwhile she had a video a while back essentially bragging about adding pocs and queer characters to her story like she's making strides for representation.

I do hope you write your poc phantom. Our phandom does need more representation, but it needs to come from the right place. You might also enjoy Music of the Night by Angela Ford. I haven't read it(yet), but I was told that Christine is black and the cover art supports this. But I don't think I've seen one where Erik and Christine both are poc.

Thank you for voicing your thoughts and please let me know if you write that story <3

[mareastrorum]

Yes, you are correct I was talking about trolls, goblins as well as other racially coded monsters like orcs and tauren on the subject of Warcraft and racism.

Basically Warcraft has gotten worse with the "POC coded monsters are evil stuff", whilst keeping or sometimes even increasing the racial coding.

As I mentioned in my previous post, I can’t speak to any developments post-Shadowlands because I haven’t played the game since then. However, I don’t think Warcraft can even fix the problem any time soon.

Warcraft lore has a wide array of races, but a limited number of influential cultures. The key issue is that the human race is young, limited in population, and predominantly white. They were creations of the Titans (titan-forged) that succumbed to the Curse of Flesh (vrykul) and then deformed, small children (human) were sent off from Northrend to populate other continents, Almost all the significant human characters are light-skinned, blonde, and/or blue-eyed. It’s clearly based on, but not identical to, Norse mythology. That also suggests that of course they all look alike when that wasn’t very long ago.

However, the recent history cements them in that position. There are barely any important human NPCs of color. The leaders of Stormwind, Lordaeron, and Kul Tiras were all blonde, blue-eyed, and light-skinned. The noble houses of each of those settlements have similar features. When those are the people in power for stories about trying to prevent the end of the world, well, of course all the humans the players meet are white.

Unfortunately, they also have a habit of adding non-human races with traits of non-white cultures, which makes everything worse. All humans are white is ethnocentrism, and all POC are monsters is white supremacy. It’s a frustrating thing, but there is no way to remedy it without switching to a new game or restarting the story. No retcon is going to fix that Tauren are based on Native American stereotypes, that Pandaren are Chinese stereotypes, etc.

Hell, the good, untainted highborne elves allied with humans have blue eyes and the corrupted elves have tainted fel or void skin. The night elves were lower class and have blue/green skin. The Nightborne have dark blue skin and are generally mixed class, but also isolationist and addicted to mana. The problem is that the default/good groups always have light skin, light hair, and blue eyes—so adding complex POC-coded populations is always going to be compared to that default.

All the options are unsavory.

Add POC humans with a different biological origin: oh god, that is taking the race essentialism of WoW to the worst extreme. No.

Add POC humans from a previously undiscovered culture and continent: this could be done well, but we all know they will be featured for one expansion and then never used or referenced again. This is the checkbox “we added neutral POC rep” option.

Add meaningful POC humans into the heart of the story: we know how this ends. WoW writers suck even when they aren’t racist. We know this is gong to end up with a Anduin story (the woobie), a Thrall story (POC that suffered racism and learned to love white people anyway), or a Sylvanas story (morally gray until we need a villain and then we’ll give the weakest handjob of a redemption). That’s without getting to the “but where did they come from?” question.

That said, this isn’t really worse than where they were before. It’s about the same. Like, there has been marginal improvement in that not every human in a cut scene is white, there are customization options for PCs to appear non-white, and humans aren’t the shining beacon of goodness in a world filled with monsters.

But it’s hard to say WoW got worse. The bioessentialism was already there. The white supremacy was blatant. Treating non-white cultures as useful material for side stories was always the vibe. Maybe it’s just a part of getting old, but it doesn’t cause me outrage to see a 20 year old game continue to be racist. It’s an old game—of course it’s racist.

It’s an entirely different matter when a new game does it. WotC gets to reinvent D&D lore with new settings and new editions, so there’s no excuse for carrying racist bullshit forward from prior books. There’s no reason for humans to have European-centric cultures, names, histories, etc. The change from “race” to “species” shows that the management either missed the point of or didn’t care about complaints about bio essentialism. It shows that the decision makers at WotC just do not care enough to change that. It doesn’t cost them enough money to matter.

In the end, it’s just going to keep happening. WoW dominates MMORPGs, and D&D dominates TTRPGs. The games do have positive facets, they’re fun ways to be social, and people prioritize those over being anti-racist. It doesn’t really matter if either of them gets worse or if one is worse than the other. They’re just reflections of how white supremacy is still the norm—they just aren’t as openly proud about that fact.

[misnomera]

On racial stereotyping of the Haans in TMA...

Right so as someone who is ethnically Chinese I have NO FUCKING clue how I didn’t notice this more distinctly in my initial binge of tma (going too fast and not paying closer attention to character names and descriptions, probably) but the Haan family storyline is, all horror elements aside, pretty fucked up in terms of racial representation re: stereotyping. This got long as hell, but please please please take a moment to read through if you’ve got time for it. thanks.

To start off, the Haans are one of the few characters in tma with an explicitly specified race and ethnicity—Chinese—and pretty much the only explicitly Chinese characters in tma, other than the mostly unimportant librarian (Zhang Xiaoling) from Beijing. But like, Haan isn’t even a properly Chinese surname, at least not in the way that it’s spelled in canon (it should be Han, one a. A quick google search tells me that Haan as a surname has...Dutch origins??).

Of course, that could be chalked up to shoddy anglicization processes within family histories, which certainly isn’t uncommon with immigrant families, so I’m not going to dwell on names too much (although I also find it interesting that John Haan’s name is so specifically and weirdly anglicized that he changed his own surname?? Hun Yung to John Haan is a very big leap of a name change and frankly not very believable. ANYWAY, this is not that important. I don’t expect Jonny, a white Englishman, to come up with perfectly unquestionable non-Cho-Chang-like Chinese names, though it certainly would be nice. Moving on).

What really bothers me about the Haans is how they almost exclusively and explicitly play into negative Chinese immigrant stereotypes. I don’t even feel like I need to say it because it’s like...it’s literally Right There, folks. John Haan (in ep 72) owns and operates a sketchy takeout restaurant. They’re all avatars of the Flesh—and John Haan is Specifically horrific and terrifying because he cooked his wife’s human meat and fed it to his unknowing customers. Does that remind you of any stereotypes which accuse Chinese people of consuming societally unacceptable and ethically questionable things like dog/cat/bat meat (which, if it’s not already crystal fucking clear, we don’t. do that.), which in turn characterize us as horrible unfeeling monsters? John Haan’s characterization feeds (haha, badum tss) directly into this harmful stereotype that have caused very real pain for Chinese people and East Asians in general. 

And Jonny does nothing to address that from within his writing (and not out of it either). And, speaking on a more meta level, Jonny could’ve easily had these flesh avatars be individuals of any race (like, what’s Jared Hopworth’s ethnicity? Do we know? No? Well then). Conversely, he could’ve easily, easily had a Chinese person be an avatar of any other entity. So why did he have to chose specifically the Flesh?

(This is a rhetorical question. You know why. Racial stereotyping and invoking a fear of the other in an attempt to enhance horror, babey~)

On Tom Haan’s side, Jonny seems weirdly intent on having other characters repeatedly comment on his accent (or rather, lack thereof) in relation to his race. Think about how, in ep 30 (killing floor), the fact that Tom Haan had spoken a line to the statement giver in “perfect English” was an emphasized beat in that statement, and a beat that was supposed to be “chilling” and meant to signify to us that something was, quote-unquote, “not right” with Tom Haan. Implicitly, that’s saying that it was unexpected, not “normal”, and in this case even eerie, for someone who looks Chinese to have spoken in fluid, unbroken English. Mind you, the line itself was perfectly scary on its own (“you cannot stop the slaughter by closing the door”), so why did Jonny feel the need to note the accent in which it was spoken in? Why did Jonny HAVE to have that statement giver note, that he initially “wasn’t even sure how much English [Haan] spoke”? 

This happens again in episode 72 with a Chinese man (and again, his ethnicity is Explicitly Noted) who we assume is also Tom Haan. This one is rather ironically funny and kind of painfully self aware, because the statement giver expresses surprise at Haan’s “crisp RP accent” and then immediately “felt bad about making the assumption that he couldn’t speak English,” and subsequently admitted that thought was “low-key racist.” Like, from a writing perspective, this entire passage is roundabout, pointless, and says absolutely nothing helpful to enhance the horror genre experience for listeners (instead it just sounded like some sort of half-assed excuse so Jonny or other listeners could say “look! We’ve addressed the racism!” You didn’t. It just made me vaguely uncomfortable). And again, having other people comment on our accents/lack thereof while assuming we are foreign is a Very Real microaggression that east asians face on the daily. If Jonny needed some filler sentences for pacing he could’ve written about Literally anything else. So why point out, yet again, that the crazy murderous man was foreign and Chinese? 

At this point, you might say, right, but yknow, it was just that the statement givers were kind of racist! It happens! Yeah sure, ok, that’s a passable in-universe explanation for descriptions of Tom Haan (though not John Haan, mind you), but the statement givers are fake made up people, and statement’s still written by Jonny, who absolutely has all the power to write overt discrimination out of his stories. And he does! Think about just how many minor (and major!!) characters are so, so carefully written as completely aracial, and do not have their ethnicity implicated at all in whatever horrors they may or may not be committing. Think about how many lgbtq+ characters have given statements, and have been in statements, without having faced direct forms of discrimination, or portrayed as embodying blatant stereotypes in their stories (though lgbtq+ rep in tma certainly has their own issues that I won’t go into here). Jonny can clearly write characters this way, and he can do it well. So why, why, am I being constantly, repeatedly reminded in-text of the fact that the Haans are East Asian, that they’re from China, that they’re Chinese immigrants, that they’re second-generation British Chinese or whatever the fuck, and that they’re also horrifying conduits for blood, gore, and general fucked-up-ness? It’s absolutely not something that is Needed for the stories to be an effective piece of horror; the only thing it does is perpetuate incredibly harmful and hurtful stereotypes.

And listen, I love tma to bits. It’s taken over my blog. I’ve really loved my interactions with the fandom. And I am consistently blown away by Jonny’s writing and how well he’s able to weave foreshadowing and plot into an incredibly complex collection of stories. But I absolutely Cannot stop thinking about the Haans because it’s just. It’s such a blatant display of racial stereotyping in writing. And I’ve certainly seen a few voices talking about it here and there, and I don’t know if I’m just not looking in the right places, but it certainly feels like something that is just straight up not on the radar for a lot of tma fans. And I’m disappointed about that. 

Just, I don’t know. Take a look at those episodes again and do some of your own thinking about why these characters had to be specifically Chinese (answer: they didn’t.). And in general, PLEASE for the love of god turn a critical eye on character portrayals and descriptions whenever they are assigned specific races/ethnicities (Some examples that come to mind are Jude Perry, Annabelle Cane, and Diego Molina), because similar issues, to an extent, extend beyond the Haans, though I haven’t covered them here. 

You shouldn’t need a POC to do point out these problems for you when they’re so glaringly There. But for those of you who really didn’t know, hope this was informative in some way. I’m tired, man. If some of the only significant Chinese characters you write are violent cannibalistic men with a perverted relationship with meat, just don’t do it. Please don’t do it. 

EDIT: Since the making of this post Jonny has acknowledged and apologized for these portrayals on his twitter and in the Rusty Quill Operations Update, which went up September 2020. A long time coming, but better late than never. This of course doesn’t necessarily negate the harm done by Jonny’s writing, and doesn’t make me much less angry about it, but is appreciated nonetheless. For more on this topic there’s a lot of productive discussions happening in my “#tma crit” tag and in the notes of this post

[bookofmirth]

Can you please elaborate why it is considered problematic that SJM wrote that elain is uncomfortable around lucien? You mentioned in a previous response that it was not a good move for her to write elain being uncomfortable by a disabled POC but I’m not quite sure why that is a problem because she is not uncomfortable because of his disability or race- her discomfort has nothing to do with that.

Also, racism is not an issue in prythian the way it is in real life. You have high lords such as helion and tarquin (among others) that are explicitly POC and there has never been mention of any hostility towards them because of the color of their skin. The only discrimination I can recall is between high and lesser fae which is classist not racist.

I’m just confused why it is considered ableist or racist when SJM decided to write how elain is uncomfortable around lucien when it has nothing to do with his skin color or disability.

On another note- would it have been racist if amarantha (a known rapist) was written as a WOC rather than white? I’m just trying to understand your point of view and I’m a little lost. To me, acotar is a diverse world with characters of all races and some are good, some are evil but pretty much every character has done something morally grey at at least one point in the series. And none of that is not specific to one race vs another. There are white characters that are good, morally grey and downright evil. And the same can be said for other races.

I appreciate any further elaboration you can supply!

Hello! I will try my best. I don't mind answering questions like this! I recognize that I have had a lot of education about these topics and I have learned A Lot from Black women on Twitter over the years. I hope to share it in a way that is useful. I can maybe make a reading list if anyone is interested, but people should definitely ask around so that it's not getting filtered through just one person (aka me).

So the whole thing with talking about race in the fandom is that race does not function the same way in the acotar world as it does in ours. You are correct about that. You may have seen my post that attempted to break down various ways that characters access privilege in Prythian? Either way, yes. It is not a one-to-one correspondence with our world and the book world.

However, there are issues within the acotar world that mirror issues in ours, and the way that fans engage with those issues can reveal underlying prejudices. I mentioned in this post that we don't have to intend to do these things. (Also, intent versus impact is like diversity, inclusivity, and equity training 101. It's one of the first, and most important things you will learn. Even if you didn't mean to harm someone, they still feel hurt, and it's important to acknowledge that.)

The issue with the way people talk about Lucien - and I mentioned in another post that this is perhaps just as much on Sarah for creating this scenario as it is on the fandom for hopping on that horse and riding - is that there is a history of white women being painted as the victims of Black men specifically.

I'm going to put the rest of this under the cut because I want to show you some examples.

I hope that I don't have to explain why this is disgusting. There is a real-life example of this ^^^ if you google Emmett Till and read his story. This is by far not the only example of a white woman claiming that a Black man (or boy, in his case) was harassing her in some way, and often, that has resulted in lynching.

These are clearly older examples, and also really good examples of how people of color can be dehumanized, but these problems persist. The methods are just more subtle. More recently, it could result in police brutality. When that women called the police on a Black man in NYC last summer, it played into the long history of a woman claiming that she was being threatened or victimized by a Black man. As @gimme-mor explained in her post, the concept of white womanhood is often used as a way to uphold racism and white supremacy because it shows people of color as being violent threats, giving white men (and white women) a reason to retain their privilege.

You're probably wondering now what the fuckity fuck this has to do with Acotar and Lucien. I am getting there!

Because of this historical context, there are many slurs and stereotypes used against POC that on the surface, seem innocent. However, they have a deep, dark history of oppression and violence. It's not about the "one time" that someone said one racist thing, but generational trauma. I can't speak to what this is like as a lived experience, and so I would really appreciate anyone who does want to add on!!!

For example, just to take us away from acotar for a minute, there is a problematic, sexist and often racist trope in which characters get fridged. This is a term used to refer to the way that women, women of color, or characters of color (this could include queer and disabled people as well) are killed off to further a white person's story. This happens SO OFTEN. Nehemia was killed in ToG to motivate Aelin. Sorscha was killed in HoF to hurt Dorian. In a multitude of super hero and action movies, the wife or girlfriend of the main character is killed off in order to provide either pain or motivation to the white male hero.

Individually, these events are whatever. Taken as a whole, though... it shows a trend that the girlfriend of the hero is disposable. It shows that people who are not white, straight, able-bodied males are worthless, and only function to further someone else’s plot.

So that's what is sort-of happening here. After a long, long history of white women positioning themselves (or being positioned) as the innocent victims of brutish, violent, barely-even-human men of color, there are some disturbing parallels when people try to say that Elain is a shrinking violet next to Lucien's insistent attentions.

The context is everything. It's not about this one event, but that there is a history in the real world of this trope playing out over and over, and it has even been an explicit tactic used to perpetuate white supremacy.

This context influences the way that we interact with one another in fandom. The point of that post was not to critique the acotar series itself, but to expose some problematic aspects of the fandom.

I am not going to speak for anyone else, but I think that the original intent of pointing out this parallel between Elain/Lucien and white feminism was not that we want people to stop saying that Elain feels this, or Elain feels that, or Lucien is doing this or that, etc. The reason why this has been mentioned in the past is because there are some very uncomfortable, violent historical precedents set, and while people may not realize that those exist, they may be unintentionally furthering that stereotype.

There were many, many other points made in that post that I think bear repeating and further attention. I hope that this made sense. It's hard to condense literal centuries of racism like this, and of course I am only talking about the context in the U.S. I'm sure it's different elsewhere.

The main takeaway from that post, though, is that it wasn't about the world itself. It was about the way that the fandom engages with the world, and how they utilize some problematic tools to do so. Critiquing the world itself is a completely different issue, which... I will sorta touch on now!

One last point, since you brought up Amarantha and the potential of her being a WOC and a rapist - it could be viewed as problematic and racist, due to the oversexualization of Black women in particular (again, the context throughout history supports this). However, that would not be a fandom problem! That would be an sjm problem.

BTW - I do have serious problems with the way that Illyrians are portrayed in acotar, again because of the history of POC being portrayed as uncivilized, brutish, violent, and... that word that means someone isn't religious. I am getting tired and forgot the word. When sjm says that Illyrians are that way, and when she emphasizes the fact that they are a race... yikes. It's not racist of us to point that out, but it was highly questionable that she created them to be that way in the first place.

Let me know if any of this doesn't make sense, please! To anyone reading this to the end, first off RIP! But also let me know if I've gotten something wrong or if you see something differently.

[maxwell-grant]

Charlie Chan. Who is fascinating, because he was created explictly to be an anti-Yellow Peril character. Unlike most Chinese characters of the time, he's both intelligent, physically capable, and unambiguously heroic. In the novels, he's simultaneously proud of being Chinese AND proud of being an American citizen. He gives orders and instructions to white people, and the narrative treats this as perfectly normal and acceptable. There's a bit in the first book, when an attempt to trap the..(1/2)

(cont'd)There's a bit in the first book where an attempt to trap the protagonist fails, because a message supposedly from Charlie clearly isn't because Charlie's English isn't broken, it's like poetry. Etc. The movies made him more stereotypical, & played by white actors in yellowface, but still, he's a heroic Chinese man, who is as capable and patriotic as any white man. Nowadays, he's thought of as racist caricature. Which he is, but still, it makes one think.

I'm not nearly as acquainted with Charlie Chan as you are (and I definitely suspected he was less racist in the original books because that's nearly always the norm when it comes to pulp characters) but yeah, that "Which he is" is forever going to be the most unfortunate and saddest part of it all when it comes to Charlie Chan. For all the virtues that can be bestowed on Charlie Chan, for everything great that the character had going for him and inspired, the fact that the least offensive image of the character I could find to put here for illustration's sake is from the Hanna-Barbera cartoon kinda exemplifies the big elephant in the room when it comes to Charlie.

Charlie Chan is a great example of two things: One is the way progress is never a fixed quantity and often what was progressive and forward-thinking in it's time can become something outdated and backwards and downright offensive given enough time, and the 2nd is my constant stressing that this is all the more incentive to reclaim the pulps and either highlight or fix aspects of them, instead of dismissing every aspect of them based on the preconception that everything about it's history is unforgivably bigoted and must be handled with the nuance of a sledgehammer.

I stress time and time again the need to highlight and understand the prejudices that went into pulps, because either ignoring them or wielding them as a weapon to attack them does no favors to anyone. The pulps weren't exceptionally bigoted - look at literally any medium in it's time period and you'll find bigotry and prejudice and hatred - and they were exceptional in the number of POC heroes and heroines. Pulps were a medium of experimentation and cheap entertainment that gave way to much, much more varied kinds of protagonists than were permitted in films, serials, novels, comics and radio serials of the day. Imagine if no one was allowed to bring up and discuss superheroes without mentioning the Superman Slap-a-Jap posters or the Captain Marvel story so horrifingly racist it was recounted by an American ambassador after it deeply offended a friend's son and a major influence on the 1950s anti-comic trials. "Pulp fiction had deeply, unforgivingly racist depictions that deserve intense scrutiny and cannot be ignored" and "Pulp fiction was significantly ahead of every other medium at the time in regards to authors and editors striving to publish stories about heroic POCs, this cannot be dismissed and is something that needs to be perpetuated" are not exclusive facts. "A product of it's time" is not an excuse and never was, but it's a fact nevertheless.

Every time someone speaks favorably of Charlie Chan in any capacity, they have to start with a long preface of everything positive that the character had going for him. Yes, he's a deliberate subversion of the Yellow Peril, he's a heroic protagonist, he's plump and good-natured and humorous but far from a joke, he's friendly and pleasant and well-educated and wise, he's a good dad and family man and a terrifically sharp detective who's so good at his job he gets called to solve crimes all over the world, and none of these traits are apparent to people who have to google the character and repeteadly see a white man in awful make-up into every single image of the character, who watch the movies and cringe at the broken English. It's hardly relevant in the face of all the Asian-American critics who acknowledge the character's virtues but rightfully point out that this fortune-cookie spouting caricature, acting subservient to whites and whose virtues are based around his proximity to a white American ideal, doesn't represent them and they shouldn't pretend it does.

Which isn't to say that to like Charlie Chan is "wrong", a lot of East Asians love Charlie and the character's obviously got fans in Asian Americans. It's a complicated subject and I obviously cannot begin to vouch in a subject so heavily based around perceptions I cannot experience. And I deeply detest the idea of speaking for others on their particular experiences on this kind of matter, which is something Americans do a lot everytime they talk about representation in media.

So instead, I'm going to tackle this on a roundabout manner by going on an unrelated tangent to bring up an example of representation that isn't quite representative of what it's supposed to be, has a lot of issues that have been dissected by critics among the people it was supposed to represent, and none of that stopped the character from being popular and beloved and from being claimed anyway. And it's a Brazilian fighting game character, which means it's completely within my ballpark.

Yeah, obviously Blanka doesn't look like anyone who lives in Brazil (whatever resemblance he bears to redheaded jungle protectors of Brazilian folklore is purely accidental). Obviously neither Jimmy nor Blanka are Brazilian names or even exist in the Portuguese lexicon. Obviously there are issues in Street Fighter's approach to representation across the board, sure, and I'd actually say Laura is much worse than Blanka in that regard (again, my opinion, obviously not universal), but the fact remains that Blanka is and has always been pretty controversial. Obviously there's Brazilians who took offense to Blanka and they weren't wrong to do so, and I obviously do not speak for everyone here, that goes without saying.

Obviously the idea that Brazil's major representative in a global cast of characters, the first big name Brazilian character in videogames, is going to be a freakish jungle monster who roars and bites faces has problems, as is the fact that all the others get to be regular people representing fighting styles from their countries while Blanka doesn't. None of the Brazilian SF characters represent Capoeira, which is kinda shitty to be honest. And there's a whole stereotype of Brazil as a backwards land of beasts and savages that Blanka's creation played into. There's no shortage of ground to criticize Blanka's representation and Ono actually apologized in an interview once, but then he learned one teensy little thing:

Street Fighter is very popular on Brazil. Would you like to leave a message to the fans from there?

"Ono: Yes, I'm aware. At the time of Street Fighter II a lot of the arcade machines produced went there, so I knew we had lots of fans there. A message to Brazilians, well, I'd like to apologize. I know Blanka's a weird character and I don't want any Brazilian to feel uncomfortable with that.

When Blanka was conceived, we knew there were forests in Brazil, and so we thought he could look like that. I was actually kinda nervous knowing I'd meet Brazilian journalists. Still, this is the first Street Fighter in ten years, so we'd like all fans to play, including Brazilians, which are many.

Thanks. Well, but you should know that Brazilians love Blanka

"Ono: Ah, good! I was scared of getting beat up if I ever went to São Paulo! (laughs)"

(That's from a 2012 tv special called The Greatest Brazilian of All Time where over a million viewers voted to elect whoever they wanted, and Blanka was going to win. He was polling ahead of Aryton Senna and PELÉ, fucking Pelé, yes this happened. He wasn't even disqualified for being a cartoon character, it was an open poll, he was disqualified due to canon stating he had been born in Thailand, which I think may have been retconned since then. Again, A MILLION BRAZILLIANS voted for this contest, and Blanka was going to win.)

Blanka is great and sweet and lovable, he made the best out of the incredible shitty hands fate dealt him and became a cool and strong green man who shoots lightning and flies, a self-taught warrior who rides whales and planes to fighting tournaments, and he loves his mom and friends and kicks ass and after he's done he dances in joy and gives the kids of his village piggyback rides, and Brazil loves him. He doesn't represent any existing person or fighting style, he's rooted in a negative stereotype and incorrect assumptions, he's not even really Brazilian, and he's our boy and nobody can take him away from us.

No criticism of Blanka, no matter how in-depth or even right it is, is ever going to affect that, because regardless of what was wrong or misguided and offensive about him, we claimed him and loved him so throughly that Capcom kept playing up Brazilian representation in every subsequent game post Alpha, and because of Blanka's impact and reception in such a big game, Brazilian characters have become a staple of fighting games, and that's how we got much more diverse representatives in those games. Fighting games have more Brazilian representation than LITERALLY ANYTHING ELSE on media not produced here. It started as BAD representation, with way less thought put into it than Charlie Chan, and it still mattered to a lot of Brazilians who reclaimed it and made it better than it was ever intended to be, and as a response to it, it gradually became better. 

Progress is not a fixed quantity, it's an uphill battle, and it's not unwinnable. Everything's gotta start somewhere.

The Good Asian is a ongoing comic that I think does the best job I've seen yet of handling an Asian American detective protagonist, which is not really a high bar in the first place, and more to the point, The Good Asian illustrates the 2nd part: the reclaiming. The Good Asian deals a lot with the realities that a 1930s Asian-American detective would run into, the strained circumstances and relationships between said character and the world around him, because it's born from an author who took a look at Charlie Chan and Mr Moto and the like and recognized the potential in those stories that could not be fulfilled in it's time period by the people writing said stories. 

The Good Asian pays little reverence to Charlie Chan, but it acknowledges that it cannot exist without Charlie Chan, and it reclaims the Charlie Chan premise at the hands of someone more adequately equipped to tell a gripping story that goes places none of Charlie's contemporaries would ever go. Regardless of how good or bad of representation Charlie Chan was, Charlie Chan mattered and was beloved and inspired a better example for others to improve on or rebel against.

I desperately wish that I could google Charlie Chan without having to look at a guy in yellowface, and the ONLY way that's going to happen is if the character ever gets meaningfully brought back and reclaimed for good by people who can meaningfully tackle the character and present him as he should have always been presented.

And then, I imagine it would be a lot easier to show people on how swell Charlie really is. A true, positive role model and hero, who no longer has to look like a gross cartoon to be able to exist at all. Who can finally be what he was always meant to be, and always was deep down.

[spac3-em0]

Hi due to some things happening I’d like to say a few things about the webcomic The Glass Scientists because I keep seeing lies about it.

First off, if you don’t know, TGS is set in VICTORIAN LONDON because it’s a mad science fantasy comic with a dark academia twist. This is extremely important to the story, considering how easy it is to set things on fire, how the two of the three main characters have a shitton of Victorian repression, and how Hyde, the other main character, came to be in the first place.

Now, I’ll be talking about Hyde’s actions/what happens to him throughout the comic, the way Sabrina, the author represents POC, the two white main characters and how that’s not a bad thing, the claim that it’s a bad representation of D.I.D, when consuming problemactic media becomes a problem/why problematic media is needed, and finally what is and isn’t a lie. And, spoiler warning for the entire comic.

Edward Hyde’s Actions and the Plot Points Surrounding Him

Edward Hyde is the on and off narrator for TGS, and is also, in my opinion, one of the main characters. His actions have greatly befitted the plot, from when he manipulated Jekyll into letting him go free for a night so he could visit Blackfog, when he set a third of London on fire on accident, when he started using “nightmares” to torture Jekyll into letting him out to go to Blackfog again, him discovering he could take control of Jekyll’s body, becoming what my friend and I call Green Eye, and finally Rachel and Hyde’s relationship which started before the comic even began. These are just the ones off the top of my head, but there are more.

I’ll talk about Rachel and Hyde’s relationship first, because it’s used as a plot point multiple times. At first glance, it could appear that Rachel is abusive towards Hyde. One could make that arguement, and I only slightly agree. The reason for Rachel’s actions towards Hyde is because her deceased little brother, Eli, looks an awful lot like Hyde. Rachel blames herself for Eli’s death, and believes if she was there for Eli more he wouldn’t have died. This is explained by Rachel’s older brother, Patrin, to Hyde. I don’t believe Rachel is trying to be abusive, commonly people don’t realize their actions are, in fact, abusive. That gives others time to show them the error of their ways (However, there are people who know they’re being abusive, and that is not a good way to view the world). Rachel is not intending to abuse Hyde in any way, she simply believes that she can “rescue” Hyde from a life of crime and thievery, doing what she couldn’t with Eli. This, in and of itself, is not bad. Their relationship is only slightly toxic. If Rachel can get over Eli’s death, and stop blaming herself for it, I’m sure their relationship will be less toxic.

Now onto the things Hyde does. Hyde is meant to be a bad person. Hyde is everything Jekyll’s repressed, and clearly Jekyll has had some nasty thoughts. It’s also good to keep in mind that neither Hyde nor Jekyll are a full person. Jekyll drinking the HJ7 split his personality in two. Both Hyde and Jekyll are missing important parts of themselves, so, in my opinion, neither of them could be classified as a full human, but they are the same person. I bring this up because Hyde relied on Jekyll to take care of maintaining looks, paying bills, and other responsibilities that Hyde didn’t want to deal with. And Hyde has been shown hating the idea of being trapped. So, what does Hyde do? He manipulates Jekyll into giving him what he wants. But we run into a problem when people expect Hyde to be perfect and a saint. That isn’t his character at all. His character is supposed to be considered evil by Victorian society. So he’s not going to be unproblematic. He’s based off the book Hyde, who literally trampled a little girl and committed murder. The explanation I just listed is the reason behind most of Hyde’s actions throughout the story, and they commonly carry the plot forward.

Sabrina’s POC Representation

I’d like to go on record and say that the representation in TGS is nice to see, however I am white myself. I’ll be going off of what I’ve heard other POC say about the representation, and my own personal opinions. The main criticism I see is Lanyon and Lucy being portrayed as black stereotypes. Except they aren’t. First off, Lanyon isn’t even a full black man. He’s biracial (half white half black). I’m not too sure about Lucy, but given the fact she is darker than Lanyon I believe she is a full black woman. Neither of them play into stereotypes. Now you could say that Lanyon is the gay black best friend, except that would be diminishing him to half of his racial identity, his sexuality, and his relationship with Jekyll. The comic is good at showing that Lanyon doesn’t fit that mould perfectly, or in fact at all. Lanyon’s actions are fueled by the want to keep the Society for Arcane Sciences afloat, and keeping Jekyll alive and well. His sexuality also plays a role in the plot because before the comic started, it’s shown that Lanyon and Jekyll clearly have a history, and as you read further you can infer that it was sexual in nature. Why would a straight man in Victorian London sleep with a man?

Now, onto Lucy. We don’t know a lot about Lucy, but we do know that she was poor as a child, and was able to create an empire of thieves and provide housing, childcare, and income to a lot of women. Now, tell me how that’s playing into a stereotype for black women. Or, really, black people in general. From what I’ve researched, a lot of stereotypes about black people are rooted in racism and slavery. You could argue that because Lucy’s a thief, it’s negative and racist. But if Sabrina was racist, wouldn’t Lanyon also be a thief instead of being well off? And wouldn’t Lucy not have been able to create something of this magnitude, because the entirety of London knows about her empire.

Another criticism I saw is the fact that Rachel’s name doesn’t fit her race. And that Eli being a thief is a negative stereotype. As far as we know, all of Rachel’s blood-bound family is Romani. But here’s the catch, we don’t know if Rachel’s parents are immigrants or not. They could have very well have been raised in London themselves which is why Rachel has her name to begin with. I’m not entirely sure about the Eli stereotype, but I know it wasn’t meant to be like that. Eli is meant to be like Hyde, and Hyde has problematic traits and does problematic things. It’s supposed to be a parallel between the two, which is why Rachel acts the way she does with Hyde.

Why Having Two White Men as Protagonists Isn’t a Bad Thing

I know I’ll get backlash, but not every piece of media needs a POC main character. Especially not when it’s set in Victorian London. However even with my first statement, in TGS there is a biracial gay man as a protagonist. And even though Hyde and Jekyll are white and are men, they aren’t straight. Jekyll is bisexual and Hyde is pansexual. So there’s still some representation for the LGBTQ+ community, which I am a part of. I’m a transgender man and bisexual myself and I like seeing bisexual men be represented.

Why Jekyll and Hyde Isn’t the Thing You Turn to for D.I.D Representation

J&H was never meant to be D.I.D representation. And even if it was, it was written in the times where people were sent to asylums for briefly thinking they heard something when they didn’t /not serious, joking. As someone who has two systemmates, I can assure you that J&H isn’t meant to be D.I.D representation. And if people are trying to claim it is, you should maybe just try and talk to them to see where they’re coming from.

Problematic Media

Consuming problematic media doesn’t make you a bad person. Creating it doesn’t make you one either. It becomes a problem when the person or you creating it tried to romanize certain toxic behaviours, or claim problematic actions are perfectly okay. We need problematic media because we don’t know the story behind it. The person making it could just be venting and trying to heal, or if they write a success stories, like I do, it creates a well of hope in them. Because they believe if this character can do it, then so I can I. Now, how does this tie into TGS? Characters in the comic have shown behaviours that are problematic. Rachel, Hyde, Frankenstein, Moreau, and even Jekyll to an extent. However, their behaviours are framed in a way that puts them in the wrong, but they aren’t bad people, aside from Moreau.

What is and isn’t true?

TGS is not a “yaoi uwu gay soft bois” comic.

Characters are allowed to be problematic because no one is perfect.

No one’s sexualities have been the butt of any jokes.

No one has been sexually assaulted within the events of the comic or what has been shown.

Lanyon and Lucy are not black stereotypes.

Hyde and Jekyll being white and men aren’t a problem.

[xxmiizcornerxx]

Darker the Berry (POC! Reader x Aizawa)

A/N: Okay so heres the late story I’ve promised! Sorry for the delay, my internet has been booty buttcheek and my only source of comfort has been Mario Kart 8 deluxe and my Soundcloud listening history 😣 ANYWHO~ This story is on the issues(insecurities) of colorisim. And this is for my insecure baes out there that just needs some love🥰So enjoy! (And hopefully my internet doesnt give out once im done (┬┬﹏┬┬).....)

A/N: Oh! Another side note, this is in Aizawa’s POV for the most part!

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

‘Oh for fucks sake. This is just embarrassing.’ 

Thought Aizawa Shota, aka Eraserhead, a somewhat well known hero. At least till another well known pro hero comes around. Anyways, it was late at night and Aizawa was at a small restaurant waiting for his date to come. But by the looks of it, he probably just got stood up. Recently he has been trying to “get back out there” to not only have his comrades off his back but also because he was becoming lonely. He wanted that emotional support from someone other than his students, family and friends. Someone he could come home to every night to ramble about absolutely nothing or about everything going on in his world. And sure he had his best friend and his cat to talk to, but its not the same. He wanted that somewhat perfect love he sees everywhere he turns. 

 With a tired sighed, he was getting ready to leave but all of a sudden he could hear an all too annoying familiar voice. Even without his quirk, Hizashi Yamada is the loudest man on God’s given green earth. “HEY SHOTA!!! WHAT ARE YOU DOING HERE?!” He asked loudly making the people in the restaurant jump but Aizawa was accustomed to it.

“OOH! ARE YOU HAVING A DAT-?!” Aizawa instantly covered his mouth annoyed, “How about you shut up? Anyways yeah but I was just getting ready to-” he was cut off when a 5′8 dark skinned woman with the most beautiful set of dark eyes that was barely covered by the few dreadlocks that poked out of her high bun. She was dressed in light shades of grey and white that made her skin pop out. She was truly what they called a goddess among men. “I am so sorry I’m late! I got so busy with work, I lost track of the time and decided to come straight here.” the woman rambled not fully realizing that Aizawa was too busy silently thanking whatever deity that was here for not only sending Hizashi for stopping him from walking out that door but also blessing him with the most gorgeous person he’s ever seen. 

“It’s alright. My colleague here just stopped me from leaving.” He stated in his usual monotoned voice removing his hand from his friend’s mouth and sending him a look that said ‘ If you say or do something to ruin this for me, I will personally rip your vocal cords out.’, thankfully Hizashi got the memo nodding in slight fear. “Indeed I have! And now that you’re here miss, I can get what I’ve came here for and leave. Have a goodnight you two!” he stated as quietly as he can possibly get and left. “Sorry about my loud, somewhat obnoxious colleague. Here let me get your coat.” Aizawa said gently taking the woman’s coat setting it on the back of her chair. “Oh its alright, I have also been ‘plagued’ of having a very, very loud best friend. But you learn to get used to it.” she joked a bit taking her seat which only left the hero himself to take a seat. “I see. Well I don’t think we’ve properly introduced ourselves. I am Aizawa Shota, an absolute pleasure to meet you.” He said with a tiny little smile. “It’s wonderful to meet you, Aizawa. I am Y/N L/N.” she returned the smile flashing her pearly whites a bit. And with that led the beginning of a great date. The night was filled with a few laughs, a few stories about their past as children and teenage years.

Soon the two were at a park, the air was brisk and cold. The moon, stars, and streetlights illuminating their path and a small light drizzle of snow softly falling from up above. It was like a seen from a Hallmark Christmas movie, just absolutely perfect. Aizawa and Y/N were getting along great and were sitting on a bench somewhat snuggled up against one another but not quite because personal space still exists. Currently the topic of conversation landed on insecurities. Aizawa admitted to Y/N about how he felt about his own unkept look and how it took a lot of faith for him to even go out tonight. “That’s reasonable.” said Y/N, “But just in my own opinion, that unkept look is your own. Not many people can pull it off and still look as handsome.” she chuckled giving him a soft nudge of her elbow to the barely blushing man. “Well what about you? What are your insecurities?” Aizawa was genuinely curious about what she could possibly be insecure about. She was practically perfect in all aspects; has a good sense of humor, an amazing sense of style, very well educated, has more confidence than anyone he knows, and to top it all off, just carries herself respectably.

Y/N bit her thumb a bit nervous, for what she was about to reveal is going to be silly or at least that's what she thought. “Well. The thing I am most insecure about is my....complexion. As you can clearly tell I am not in anyway light skinned or even milk chocolate. And I know it is silly to be insecure about but from where I come from looking like me is a target in more aspects than one. To some being dark skinned has even been turned into a personality trait.” Without even noticing, Y/N ended on an entire rant about how her skin was and still is a target for ‘dark as night’ jokes or the ‘loud mouth, ratchet, Hot Cheetos’ girl. How people within her own community would just assume that she (and many others) fought or was angry all the time or lived in a really bad area where there was a lot of sun. Or the worst of things, that if she was a slave back then she’d be in the cotton fields. Every time she was told that or something similar, Y/N’s self-esteem would just crumble entirely. It made her feel unwanted, unloved, unnoticed, and just down right ugly. By the end of her little rant, she found herself trying hard not to cry in front of Aizawa. She didn’t really intend to just lay it all out there on the table for him, but maybe it was for the best. If they were going to continue dating then it was best for her to lay out all of the cards on the table and show him what he’s getting into.

“Sorry about that. I didn’t mean to make everything so gloomy with my little insecurity reveal.” she said giving an awkward smile to the now stunned man. He personally didn’t understand how anyone could be cruel to their own people, let alone for how they looked. It was foolish and childish to say the least. But he was more than proud of Y/N for being able to overcome it all. “Well I’ll be honest here. I won’t pretend that I have any form of resemblance of what you must’ve gone through over the years simply because of your skin color, but I will tell you now. Your skin is beautiful and don’t let anyone tell you otherwise. I am willing to learn about the struggles you face and if fate allows it I’d love to be by your side as I do.” He said in a serious tone, gazing into her eyes and gently taking one of her hands bringing it to her lips planting a soft kiss upon her knuckles. “All those people in the past or in the now that has anything to say about your skin in a negative light are simple minded nincompoops' that have yet to be enlightened. After all, don’t they know?” he asked tucking a dread behind her pierced ear. “Know what exactly?” she asked with the most brightest smile that night. “Don’t they know that the blacker the berry, the sweeter the juice?” That alone made Y/N laugh but Aizawa was being serious. “Boy, don’t do that. Plus how would you know?” she asked as her accent came out a little. “Well I don’t. But why don’t we find out?~” he asked teasingly leaning into her ear.

Needless to say.....

Best. 

First Date.

 Ever.

[mcnuggyy]

How come Taako is not allowed to have nonhuman skin tones but all your unicorn ocs have nonhuman skin tones? Like, honest question, I genuinely don’t want to come across as rude but I can’t figure out what is different

1) I am just a little artist on tumblr... idk why you want to compare me to HUGE content creators but sure lets get into this!

2) They (my unicorn characters) are magical beings that are MEANT to be disconnected from humanity... it’s kind of the plot.... both emotionally, and physically? They can’t even get the nose right... sigh.... so in terms of story there’s a big reason I don’t want them to look like humans! Also! THERE ARE!!! Humans!!!! In the story!!! So I clearly have to distinguish them from the actual humans? And even then my unicorns characters can come in all sorts of colors so ya know, there’s definitley unicorns with more human skin tones (just not as common, but again trying to avoid this to distinguish them from actual human characters)... (also there’s this issue in the story were unicorns are meant to be very shitty creatures who don’t care about humanity and are overall big assholes... so I would prefer to keep a good chunk of them white coded ex: Trixie )

3) even though my unicorns are multicolored.... I try to be mindful about racial coding!! Like to me i obviously have made the twins Latine, but that’s cause they’re based off me and one of my sisters, Kay, Elly, Butterscotch and Sunny are DEFINITLEY not white coded, and if that wasn’t obvious I would be glad to try and figure out a way to redesign them so that this is clearer!

3.5) okay bonus quiz! back to racial coding, you can tell Hal is white right? And you can tell Sunny is black right? So light blue pale Taako, with blonde hair and a huge pointy nose, look at his design and tell me :) what’s the racial coding there?

4) okay back to the first point and how there’s humans in my story... so there are actual humans in this story, and most of them are kids of color, because the other half of my story takes place in LA, (aye wow that’s where I grew up!!) I wanted to focus on what it’s like being a minority in a place like LA, using both my own experiences, the experiences of my family, and of my friends! Yeyeye!! I want this world to feel very different compared to Unicopia, more human and real, with a different background style, and even what almost feels like a different art style all together??? But ye!!)

5) you are TOTALLY aloud to have your characters have nonhuman skin tones, but you ALWAYS, have to be mindful of racial stereotypes... I’ve talked about this before but, a character w Orange skin like Mel, is not inherently racist! She’s essentially an angry kid with a suit (And because the unicorn world has already been established this helps set that up as well) HOWEVER, put that orange skin on a character that has a thick dark mustache and an accent and he’ll throw a poncho on there and now you have a racial caricature! And even then! You’re always gonna want to be mindful of both how these stereotypes change and their history!! Always always!! I always try to be super careful, and I am ofc open to criticism and critique!! I want to learn and grow as a human and an artist!!! I hope everyone does too!

(Maybe this should have been the first point but yeah! You’re aloud to do “fun” skin tones but when people constantly rather have non human skin tones over black or brown... well.... that’s not very cool... and actually very shitty.... but we can have endless amounts of white blonde haired elves I guess?? And even more so for a character like Taako who has a whole story arc about his relationship to Tex-mex food... idk man... sighhhh)

6) You know what the Mcelroys need to do more of? What they did with Argo and Firbolg but with their human/elf/half-elf/halfling/etc. characters too... they said, Argo has blue/green skin w scales, EPIC, Firbolg has gray/blue skin, POGGERS, super cool and helpful!!! Why are they so afraid when it comes to let’s sayyyy a human or elf or half elf.... Well I mean come on I know the answer to that, they are white content creators and don’t want to make that call, so they leave that to us! But because of this they’ve also fallen into the “my character has no race” trap... which brings a WHOLE lot of other issues that people wayyy smarter than me have explained before!

(Even if they are in a fantasy world, everything is based off of something and it is not free of the fact that in the real world, poc exist, and we all have different cultures and unique experiences, what don’t we get to be in fantasy stories too? No issue with Europeans though... )

7) it’s complicating and context is everything!! But sometimes all you have to do is look at a design to just KNOW it’s not sitting right... I feel like blue Taako is VERY obvious but again, not everyone has the same experiences and knowledge to come to that conclusion... I just happen to be a Mex-Am with a Jewish gf, but most white people aren’t going to get it... luckily there have been essays upon essays and documentaries about harmful caricatures and racial coding, and stereotypes!! WOWIE!! Please try and educate yourself if you can! I know I will be too!

8) maybe also? I shouldn’t have to keep explaining myself so much? At this point I’m just repeating myself, and it doesn’t even matter at this point, I just want people in fandom to be aware of these things and for content creators to be even MORE aware of these issues.... but again, I’m just a little artist, what the hell do I know, I know I brought it up, but damn, sure wish people would go research and look things up before dumping all their weird sad little questions to me... I’m just one dude, and you know maybe I’m glad people aren’t sending my other friends questions like this, cause it fucking SUCKS... but anyways!

Hope that helps!!

[bookcoversalt]

Have you noticed the latest edition of Charlie Bowater can only draw one (1) face? She did The Princess Will Save You and Cast In Firelight both YA Fantasy set to be released this year. And they are how you say... the same fucking cover

Ah yes so you saw the same tweet I did

I know I literally just posted that we cannot outlaw book covers from looking like each other, but ! Oof!

The only thing that softens the blow here is that Charlie has improved at representing nonwhite features such that characters look like POC rather than tan white people, although,, that bar was low. Anybody remember the ACOTAR coloring book.

(Would you have guessed that 2/3 of these people are nonwhite? Or even that they’re supposed to be three different men? I guess all the men in Prythian have the same haircut?)

But that minor victory is mostly lost in the quagmires of the fact that Charlie’s style is to give everyone instagram face:

I wouldn’t even call this “Sameface” necessarily: that implies limitation, that an artist is only capable of drawing a single facial structure competently. Bowater is incredibly technically talented, she just chooses to give everyone catlike fae eyes and the cheekbones of a starving nymph. (My previous post on this here.)

But I don’t really blame her for that, or for these hilariously identical, nearly devoid of personality covers. Artists are allowed to do whatever they want. Artists who make art for covers are being art directed by designers and marketing teams who bear responsibility for how the finished pieces turn out.

No, this is our fault, as a community and an industry and..... society, kind of, for valuing character portraits that are “pretty” (“pretty” being an extremely loaded, culturally subjective concept) over art that actually Says Something About The Story. Bowater’s style happens to dovetail perfectly with what we currently collectively find pretty, and so we’ve put her art on a pedestal at the cost of everything else art can or should do for our stories.

And this is understandable: in contemporary western culture, pretty is a value unto itself. Seeing our characters portrayed as pretty denotes them as special, as smart, as powerful. It’s almost impossible to de-program ourselves from that reaction. There are approximately five kajillion studies on how beautiful people are at personal and professional advantages; how they’re perceived to be happier, healthier, more successful, and how those perceptions can translate into realities. (Nevermind how thinness and whiteness enter that equation, see above note about “pretty”.) I would love to see more “average” or weird- looking characters abound (and be accurately visually represented) in the YA/ Genre lit sphere, but for now... everyone is pretty.

Which sometimes means everyone is pretty boring.

But that’s just the specific, "What’s the deal with Bowater’s success in book circles and her style and all the sameiness” part of this equation. What if we backed up and asked: why character art at all? Beyond a question of “pretty”-ness (and general obvious Artistic Quality), why do we gravitate towards it, what's the purpose of it, how does it fall flat in a general sense, and how can it be utilized more effectively?

This is something I think about all the time. I follow writers on social media (because..... I am a writer on social media, regrettably), and we have an enormous collective boner for character art. “Getting fanart [of the characters]” is one of the achievement pinnacles constantly cited when people get or want to get published. Commissioning character art is something we reward ourselves with, or save up for (WHICH IS GOOD AND CORRECT. FREE ART IS GREAT BUT DO NOT SOLICIT IT. PAY YOUR ARTISTS). And like???? Same????? We love our stories because we’re invested in our characters. Most humans, even prose writers, are visual creatures to some extent, and no matter how happy we are with our text-based art, it’s exciting to see our creations exist in that form. So we turn that art into promo material and we advocate for it on our covers-- because it’s so meaningful to us! It goes with the story perfectly!! Look at my dumb beautiful children!!!!!

But on an emotional level, it’s hard to grasp that it only means something to us. Particularly when you take into account the aforementioned vast landscape of beautiful visual blandness of many characters (in the YA/ genre lit sphere, that’s pretty much all I’m ever talking about), character art can be like baby photos. If you know the baby, if that baby is your new niece or your friend’s kid, if you’ve held them and their parent texts you updates when they do cute shit, you’re probably excited to see that baby photo. But unless it’s exceptionally cute, a random stranger’s baby photo isn’t likely to invoke an emotional reaction other than “this is why I don’t get on facebook.”

Seeing art of characters they don’t know might intrigue a reader, but especially if the characters or art are unremarkable-looking, it’s doing a hell of a lot more for the people who already have an emotional attachment to that character than anybody else. And that’s fine. Art for a small, invested audience is incredibly rewarding. But like the parent who cannot see why you don’t think their baby is THE MOST BEAUTIFUL BABY IN THE WORLD???? I think we have trouble divesting our emotional reaction to character art from its actual marketing value, which.... is often pretty minimal. This is my hill to die on #143:

Character portraits, even beautiful ones, are meaningless as a marketing tool without additional context or imagery. 

I love character art! I’m not saying it should not exist or that it’s worthless! Even art that appeals to only the one single person who made it has value and the right to exist. And part of this conversation is how important for POC to see themselves on covers, whether illustrations or stock imagery, particularly in YA/kidlit. I’m not saying character portrait covers are “bad”. 

I am saying that I have seen dozens and dozens of sets of character art for characters who look interchangeable, and it has never driven me to preorder a book. (Also one character portrait for a high-profile 2019 debut that was clearly just a painting of Amanda Seyfriend. You know the one. There’s nothing wrong with faceclaims but lmfao, girl,,,,)

I’m sure that’s not true for everyone! I am incredibly picky about art. It’s my job. There’s nothing wrong with your card deck of cell-shaded boys of ambiguous age and ethnicity who all have the same button nose and smirk if it Sparks Joy for you.

But if your goal is not only to delight yourself, but to sell books, it’s in your best interest to remember that art, like writing, is a form of communication. The publishing industry runs on pitches: querys, blurbs, proposals, self-promo tweets. What if we applied that logic to our visuals? How can we utilize our character design and art to communicate as much about our stories as possible, in the most enticing way?

Social media has already driven the embrace of this concept in a very general sense. Authors are now supposed to have ~ aesthetics. “Picspams” or graphics, modular collages that function as mini moodboards, are commonplace. But the labor intensity and relative scarcity of character art visible in bookish circles, even on covers, means that application of marketing sensibility to it is less intuitive than throwing together a pinterest board.

Since we were talking about it earlier, WICKED SAINTS, as a case study of a recent “successful” fantasy YA debut, arguably owed a lot of its early social media momentum to fanart.

(Early fanart by @warickaart)

The most frequently drawn character, Malachiasz, has long hair, claws, and distinctive face tattoos. WS has a strong aesthetic in general, but those features clearly marked his fanart as him in a way even someone unfamiliar with the book could clearly track across different styles. Different interpretations of his tattoos from different artists even became a point of interest.

(Art by Jaria Rambaran, also super early days of WS Being A Thing)

Aside from distinctiveness, it's a clear visual representation of his history as a cult member, his monstrous powers, and the story’s dark, medieval tone. The above image is also a great example of character interaction, something missing from straightforward portraits, that communicates a dynamic. Character dynamics draw people into stories: enemies-to-lovers, friends-to-lovers, childhood rivals, platonic life partners, love triangles, devoted siblings, exes who still carry the flame-- there’s a reason we codify these into tropes, and integrate that language and shared knowledge into our marketing. For another example in that vein, I really love this art by @MabyMin, commissioned by Gina Chen:

The wrist grip! The fancy outfits! These are two nobles who hate each other and want to bone and I am sold. 

In terms of true portraits, the best recent example I can think of is the set @NicoleDeal did for Roshani Chokshi’s GILDED WOLVES (I believe as a preorder incentive of some kind?): 

They showcase settings, props, and poses that all communicate the characters’ interests, skills, and personality, as well as the glamorous, elaborate aesthetic of the overall story. Even elements in the gold borders change, alluding to other plot points and symbology.

For painterly accuracy in character portraits on covers, I love SPIN THE DAWN. The heroine looks like a beautiful badass, yes, but the thoughtful, detailed rendering of every element, soft textures, and dynamic, fluid composition form a really cohesive, stunning illustration that presents an intriguing collection of story elements.

The devil isn’t always in the details, though: stark, moody, highly stylized or graphic art with an emphasis on textural contrast and bold color and shape rather than representational accuracy can communicate a lot (emotionally and tonally) while pretty much foregoing realism.

The new Lunar Chronicles covers are actually the best examples I found of this (Trying to stay within the realm of existing bookish art rather than branch into All Art Of Human Figures Forever):

Taking cues from styles more typical of the comics and video game industries.  (Games and comics, as visual mediums, are sources of incredible character art and I highly recommend following artists in those industries if you want to See More Cool Art On Your Timeline.)

TL;DR: Character art and design, as a marketing tool (even an incidental one) should be as unique to your story and your characters as possible, and tell us about the story in ways that make us want to read it. I tried to give examples because there are so many ways to do this, and so many different kinds of art, and I could give many more! But I’m bored now. So to circle all the way back:

These are not just bad because they look like each other, although that is embarrassing and illuminating. These are bad covers (although,,,,, PRINCESS is the far worse offender, at least FIRELIGHT suggests a thoughtful cultural analogue) because a desire for Pretty Character Art overrode the basic cover function to tell us about the story. We get no sense of who these people are, what their relationships are, what these books are about beyond the most general genre, or why we might care. The expressions are vague, the characters generic-looking, the compositions uninteresting and the colors failing to be indicative of anything in particular. 

They’re somebody else’s baby pictures.

(And yes, that’s the CRUEL PRINCE font on PRINCESS. I better not have to do a roundup post but it’s on thin fucking ice.)

[snakeningel]

not to be starting homestuck race disk horse in 2019 but yknow what? I Will.

being an asian fan in the hs fandom is kinda, not great actually. in fact, it not only feels like we’re not here at all, that we’re erased, but its honestly? downright harmful. people treat the trivialization and fetishization of your culture to be,,, like a Big Joak. yall joke about weebs like these people havent been literally grooming and abusing asian girls, like we havent been made fun of enough for Their actions, like we aren't already viewed as the strange punchlines to jokes that still seem somehow acceptable. its somehow funny to joke about how you hate every sign of asian culture that shows up throughout the comics, like how dirk’s kotatsu was dumb and pretentious as if people in japan dont literally live with one and use it every single day!

even asian-coding in characters get swept away in favour of other headcanons. even the megidos, who are as close to canonically asian as they possibly can be in a medium like homestuck, are often drawn white or something completely different altogether. the stridlondes are also heavily asian-coded, and the fans who do pick up on that, who finally feel comforted by someone like them as protagonists? they often just.. give up on that, because they see so little representation in the fandom. (theres only like one popular artist i know of that draws the strilondes asian? but like, hats off to u pal, youre fighting the good fight). also, it seems strange, to be represented so little considering almost 3 billion people on earth is asian, which is, Quite A Lot to be not represented a lot. dont get me wrong, i adore the outpouring of more diverse art of the kids, but a hard truth to swallow is that pocs being weebs/fetishizing asian culture, is just as harmful as white people doing the same. there is a world of difference between japanese dirk, trying to interface with his lost culture by clinging to the most performative and popular parts of it, than another dirk, appropriating people’s cultures because he thinks its funny or interesting based off a show he watched once. i love how people are like "wow the striders like anime and care about traditions and use japanese words and overall just seem like diaspora kids" and the conclusion they draw from that is "clearly,, they cannot be asian" bc a non-asian person being interested in those things is better than an asian person whose interested in their own culture i guess??

in fact, a lot of these narratives are so much more interesting once theyre looked at through their coded lenses!

Dave’s struggle with coming to terms with his emotions strikes such an interesting chord when the striders’ concept of irony and never showing their emotions Correspond so well to the idea of honour/face, where youre not supposed to show that youre Ever Sad or anything that isnt a positive emotion because it shows that youre a Failure and You Failed and that makes you a Bad Person, which is exactly what dave struggles with because hes So Guilty about it, which ties to the guilt and shame a lot of asian people feel about not being able to live up to impossible standards set by their parents, which is another theme we see reflected in all four strilondes. 

rose’s strained relations with her mother are mirrored in so many of our second-generation lives and makes so much more cultural sense when looked at that way. the weird distance you hold from your parents, where you cant look each other in the eyes anymore, because every interaction feels more like a business transaction. you hand in your good grades and praise from teachers, talking about how mature you are, and they return with some present or gift that you don't really want. you dont know anything about them, and they dont know anything about you, Not the person you Actually Are, anyways. but there is a yearning, to be close, to know eachother, but you only feel it in return when its too late. as well as her Obsession to be mature, to be smart and adult-like because thats what shes praised for, because you Need to be academically the best always and that means reading dictionaries until the sun goes down, repeating each word until they are engraved into your mind. always finding competition, subtle or not, because if you are not the winner, what are you?  dirk’s wild performative love of japanese culture (which also, in turn, lead to non-asian fans literally trashing it like it was a funny joke to call someone’s culture lame and stupid) seems like ‘ironic’ weebism, but its also being Exactly the type of over-the-too performative reclaiming of our culture that so many asian diaspora kids do when they’re teens! they feel bad about pushing away their culture as youth, but they’re not quite mature enough to actually care about the rich history and ‘boring’ parts, so they cling to pop culture, to social media and something so much more easily consumable, like anime. which is not even to mention the idea of him trying desperately to connect to a culture that he has never grown up in, but still belonged to by consuming mass amounts of media, being Such an immigrant story. as well as his massive competitive streak and need to make other people as good as he is (but not better), is the type of internalized pressure that a lot of asian kids feel as well. 

and all the stridlondes have various anxieties about not performing well enough, of not living up to a standard that they have set for themselves, feeling like even a single step back or even one mistake is a catastrophic failure that’s branded to you for life. Which is just as much of a mental health thing as it is like,,, an asian thing

this is getting really long so im cutting myself off here but please if you want to hear more about my Thoughts and Hot Takes feel free to shoot me an ask. 

in conclusion: please treat asian people better hs fandom i literally beg you. like,, im Not tryna make waves but,, asian erasure in fandom is a huge issue and no one ever talks abt it!! dont trivialize, fetishize and erase cultures blease  big thanks to @ernikerr and @wyndryga for encouraging me to go Off and helping to write this.

anyone please feel free to rb but non-asian people please watch your mouth

[heatherclowndler]

An Open Letter To the Six Fandom

I'm gonna be real with you guys: I’m getting really tired of the moral superiority of some people in the Six fandom. Six is a barely historically accurate concert-musical where the queens fight about their trauma for an hour, but it’s about white women, so I guess that means that its #girlpower is so much more respectable than Hamilton being representation to POC.

If you think I'm not talking about you, I am, @historemix / @ghostheather . I’m fucking sick of your bullshit. How come every time you get called out for being a hypocritical bully, you have a little meltdown, say you'll be better, and then go back to the same bullshit as before?

Before I actually get into the reasons that you’re a hypocrite and a bully, I want to thank everyone that sent me the screenshots and testimonials used in this post. It’s good to know that multiple people are as fed up and disturbed by this behavior as I am, and it wouldn’t have been possible without you.

Anyways, back to the matter at hand. First and foremost, your obsession with being on a fucking high horse is embarrassing. Your self-congratulatory posts about the Six fandom being so much better than the Hamilton fandom is fucking laughable coming from you, and here's why.

Before you get on about the Hamilton fandom being toxic, and the major reason why you can't fuck with the musical, remember that much of the fandom are people of color: most of whom are also minors. And they’re often the first to be driven out of it– not by harmless headcanons and fanfics or kids being "cringy”, but racist, toxic ass adults, colorism, whitewashing and constant harassment. Black fans, minors especially, would be the first to tell you this, since there’s been multiple incidents on Tumblr and Twitter where Black fans have been harassed, called slurs, etc. just for liking the musical, and that isn’t even getting into the amount of shit that’s been sent to the Black cast members for being a part of it. But clearly you haven't been fucking bothered to read the posts of how Black people in this fandom and in the cast have been treated, because maybe if you did, you’d be quiet and think before you start spouting shit, instead of constantly putting Hamilton’s name in your mouth to say shit that you think will give you woke points with the funnymen crowd.

Do you really think that the same bloggers that make fun of Hamilton would see any difference between those fans and you, the adult stanning a musical where Real Life Catherine of Aragon, a character played by a black woman, owned slaves, and was the person that introduced slavery into England is portrayed as a strong, feminist Queen? Or how Catherine Parr, a woman who was complicit in child molesation and later got upset with said child for being a victim of sexual abuse, is portrayed as the ultimate feminist and hero of the musical? Or is it okay for you to talk about how these child-molesting slaveowners were oh so admirable and honorable because you "respect the history,” whatever the fuck that means.

Yes.. I'm sure white women from the 1500s would be so pleased about the fact that their history is being told by women that they thought were inferior to them based on the color of their skin.

Also sidenote, you may want to reconsider your definition of what is a respectable Six fan when you're writing a literal AU for your favorite dead queens. Sis, just say that you want to write Six fanfiction. There’s no shame in it– especially because the people that write Six fanfiction are more respectable than you are.

But speaking of history, you need to take off your clown mask and realize how ridiculous the notion that “respectable Six fans” are ones that have a genuine respect for Tudor history, because despite the fact that you say this, Six completely disregards the actual Tudor history.

Take the example of Boleyn. Anne Boleyn – a woman who was judicially murdered on false charges including incest with her brother, witchcraft, and adultery in part because she couldn’t give birth to a son and wouldn’t be a submissive wife to her husband – is reduced to a three minute comic relief song that makes light of her murder and states that yes, she actually was guilty of adultery, but she only flirted with those guys to make Henry jealous! Writing an entire song about a woman whose name has been dragged through the mud for nearly 500 years after she was murdered on false charges and then saying that she actually did do the thing that caused her to be executed is just peak #Feminism, am I right? And so is making light of her unjust execution by calling the song “Don’t Lose Your Head” and continuously making joking references to her being beheaded, I guess. Never mind the fact that Boleyn was reportedly near-suicidal and “ready to be done with life” by the time she was executed. Never mind the fact that the six fingers rumor – something that’s also repeated in the musical and presented as a fact – was started by Catholics attempting to quell people’s sympathies over Boleyn’s execution by attempting to make it seem like she actually was a witch and therefore deserved to die. None of that matters because Six is about feminism and it does the Queens justice, right?

And let’s not even get started on Catherine of Aragon. You know, the person who you've reblogged posts about that claim she was “a remarkable woman”, and that you’re apparently so sad about the fact that she died that you’ve made memorial posts about her knowing good and well that she was a garbage person who owned human beings? The same Catherine of Aragon that was reduced in the musical to only being angry that her husband cheated on her and wanted to divorce her, as well as bickering with Boleyn? The same Catherine of Aragon that also was reduced to constantly talking in the musical about how she was forced to move to a country where she didn’t know anyone? On that note, isn’t it funny how that works? Especially since she and her garbage family owned slaves, forced them to convert to Christianity and change their names to Spanish ones, and then forced them to come to England with Catherine when she moved there to marry Arthur Tudor!

All of the queens are dumbed down for the sake of the musical and it isn't until the very, VERY end of the musical that they all realize that fighting over who got the worse abuse from their husband is fucking stupid. And, even then, it’s still incredibly fucking problematic and gross because the Queen that makes them realize that the fight is stupid, and ultimately the Queen that’s praised for being the most feminist in the musical and by its creators, is the Queen that literally held her stepdaughter down while her husband molested her. If you’re really so damn upset about how much Hamilton and its creator glorify the Founders that it ruined your ability to enjoy the musical when that musical at least still acknowledges the fact that Presidents Washington, Jefferson and Madison owned slaves (and its creator acknowledging that none of the Founders were good people), why aren’t you upset about how Six portrays Catherine Parr and Catherine of Aragon as feminists when they were a child molester and a slave owner, respectively, and it's never acknowledged in the musical? Why isn’t your enjoyment of Six ruined by the fact that the Six creators praise Child Molester Parr and Slaveowner of Aragon for being strong feminists, or the Six Instagram calling Ferdinand and Isabella (you know, the people that committed genocide against Black people in Spain, had others tortured and executed for their race&religious beliefs, and literally caused Columbus’s colonization of the Americas [and by extension, the Transatlantic Slave Trade] to begin) a “power couple”?

The entire premise of Six is flawed, arguably even more so than Hamilton’s, because at least Hamilton actually did what it sets out to do throughout the entire musical, and not just the last five minutes. But even so, the basic plot idea remains– fictionalized (heavy emphasis on the fictionalized, Heather!) versions of real people fighting to tell their story. So, if the creators of Six cast aside historical accuracy for the sake of creating a diverse and modern take on the Queens’s lives and you eat it up as much as you do, why should we give a shit when Hamilton does the same thing? Since you love Six so much, you clearly fucking don't, because otherwise you’d be shitting on Six just as much as you like to shit on Hamilton. It really just goes to show how much of a hypocrite and a pick-me ass bitch you are, because the fact that you love Six makes it really obvious that you only care about hating Hamilton so much because it’s a stance that you think will give you more street cred with the Tumblr and Twitter crowds.

^^ The absolute hypocrisy of you reblogging this when you regularly make posts and reblog posts of you and other people doing the same thing with Hamilton and its fandom. Embarrassing.

I'm saying this as someone who enjoys Six’s songs and also has common sense and brain cells– they're fictionalized versions of real people, and those real people were shitty. And that’s okay. But you need to stop embarrassing yourself and acting like you’re morally superior to people that enjoy Hamilton when your core arguments for enjoying Six literally could also be said for Hamilton, and your core arguments for hating Hamilton could be said (and would definitely apply better) to Six. I see you all the time making the argument about how important it is for Six fans to see an all-woman cast, do you think Hamilton fans of color can't make the argument that they feel it's important to see a cast with over 95% POC? How for those teens, it brought them into giving musicals a try in the first place (this is just one of many examples)? How Hamilton's overwhelming success brought jobs to so many actors of color, including helping some of them (most prominently, Daveed Diggs) make a stable enough income to give them a place to live and rest their head? When it paved the way for musicals like Six to gain popularity, too? Cognitive dissonance isn't a good fucking look on you, luv.

And don’t even try the "creator is problematic argument", bitch. You're all over Mean Girls, where the creator (Tina Fey) is shitty for a multitude of reasons, blackface and saying the n word included. Not to mention the Heathers musical, where the creators turn JD into a sympathetic villain and apologise for him when the director and writer of the original movie made it clear that JD wasn’t a character that people are supposed to sympathize with. It's a fucking joke that you go "I can't get behind a musical with a bad creator!" when you base your whole blog around a musical whose creator that's transphobic and antiblack, as well as a musical whose creators apologise for an attempted school shooter and use their musical to make him sympathetic. We know LMM is a piece of trash, but that doesn't give you the right to steamroll over fans (again, most of whom are minors of color) who just want to mind their business and enjoy a fucking show, like a pick-me ass theater kid you are.

And while we're talking about your hypocrisy, let's talk about your incessant harassment of a teenage Six fan for fucking months. You’ve instigated wave after wave of bullying towards a fan who was only 15 at the time when it started, for various reasons. I don’t give a fuck if you were just trying to “spread awareness” about their actions, or get them to change their ways, or whatever. You’re a grown ass fucking adult. If you see a minor in fandom – especially one that’s 3+ years younger than you – doing cringy/problematic stuff, let other minors be the ones to say something about it. Your harassment and creepy behavior around minors isn’t justified by the fact that you think that you’re doing something good.

This is just one of the many examples of you vaguing/posting about the teenage Six fan under the guise of trying to “spread awareness” about their reaction. This one is just fucking rude, especially because they’re a minor with ADHD/ADD that projects traits that they have onto fictional characters and vice versa. I’d expect you to know a lot about projecting onto characters and picking up traits from them, since you channel Heather Chandler and Regina George’s bitchiness and their consistent harassment of teenagers that they consider to be lesser than them into your internet persona and identity, am I right?

The potential end result doesn’t justify the means; but clearly you think it does since you never say shit about this teenager getting harassed until you get called out for your complicity in it, say that you never sent them any asks, promise you’ll do better about the way you interact with minors in fandom, repeat.

Not to mention the complete hypocrisy of this statement in the tags of one of the below posts– especially considering that you were the one that made it open season on this girl in the first place with your consistent vaguing about her and making joke posts about her with your friends when she was only fifteen. And on top of that, denying that you ever harassed Lizzie, claiming that your only crime was vague posting her – when you and your shitty friends posted memes about stuff that she had been doing and making it really clear in your vagues that it was about Lizzie. Just because you didn’t name her directly doesn’t mean that it wasn’t harassment, asshole.

Oh, and here you are, months earlier, admitting that you did cause her to get harassed and acknowledging that you named her? Interesting.

The fact that you say that you have to take responsibility for it, but you never fucking do? [Narrator Voice] Heather would not take responsibility for that.

And let’s not forget how after almost driving the girl to the point of suicide and after getting called out multiple times for it, you promised to be a better person, before running to Twitter and continuing to vague about her. And in addition to that, you making memes and joke posts about Jay, the black teenager who was also bullied almost to the point of suicide for minding his own fucking business and making some fucking fanart and quirky headcanons, is fucking nasty. To further stick your nose up at him and go “not my fandom” at him for drawing Trans!Jefferson art when your Tumblr icon is Anne Boleyn with a lesbian flag behind it and your Twitter icon is the same thing with Katherine Howard... the joke writes itself. Do I have to repeat my point?

Not to mention the fact that you fucking lied in your apology on your viral post about him, because you said that you only became aware of the fact that he was a Black teenager that was harassed after the post whent viral.. when someone told you months before (in the replies to the above post) that he was a Black teenager that was harassed relentlessly for his fanart and asked you to leave Hamilton fans of color alone. But clearly you still stand by your point about Hamilton fans. Who’s surprised?

And then after receiving a 22-anon thread where anon presumably called you out on your hypocrisy of this, you still went to Twitter and started bitching about the fact that you were called out despite saying that you were deeply ashamed and that you would do better. Yet another example of Heather the Hypocrite, am I right or am I right?

You really switch up from “I feel incredibly ashamed and I want to reassess where to go forward from here” on Tumblr to “I hate Tumblr purity culture” when you’re on the safety of your Twitter account like clockwork. And it’s awfully bold of you to mention Tumblr purity culture like you didn’t cause waves of harassment to be sent to a 15/16 year old girl to the point where she felt paranoid that someone was going to come to her house and attack her, and later make memes/joke posts about a Black minor who was harassed to the point where he tried to commit suicide and later had to get rid of his online presence altogether for his own safety.

Also, you posted the IP address of the anon who called you out, and tagged them as “asshole” on the website that you use to track IP addresses. But you genuinely felt ashamed, right? You wanted to change and reassess yourself, right? (The anon’s IP address has been blocked out by me to protect their privacy, because the person who sent in this screenshot didn’t black it out, either.)

And even then, aside from all that, your actions have caused multiple minors in the Six fandom to feel uncomfortable. Below are testimonials about your behavior, and how it’s made minors in the Six fandom feel. One of these is also a reply on a post that called out your behavior. (URLs and icons on both Tumblr and Discord are blacked out to protect their privacy.)

Take in what these testimonials are saying. The fact that your behavior with harassing minors has grown so much that people are afraid to post in the Six tags and express their love for the musical because they don’t want to get harassed by you and your group of friends is concerning.

You, a grown adult, have made minors scared to be themselves and do things their way. You’ve created a culture of fear in a fandom where over 80% of its active fans are minors. You should have been leading by example, showing Six fans how the message of uplifting women should be implemented, but instead? You caused a floodgate of harassment to be sent to a then-15 year old girl that got so bad that she was suicidal and paranoid that people would come to her house, and it ended with even more minors afraid to post in the fandom’s tag because they’re afraid that you and your shitty friends will come for them, too. Shit, I was a follower for a while! I had only unfollowed due to your moral high horse, but it wasn't long before I was made aware about your history of bullshit.

You shouldn’t just be ashamed of yourself– you should be mortified with yourself. And your little friend group should be, too: not only because of their part in all of this, participating in harassing and making fun of that poor girl with you, but because of the fact that they keep enabling you to do this harmful shit by not properly shutting you down or calling you out. But it's not like you care anyways, because you’ve made fun of people voicing their concerns about your behavior and calling you out for making the fandom an unsafe space.

"But I said I'm sorry-" Yeah, we know. We saw a series of half-assed “I'm sorry” posts, paired with you not taking real responsibility for any of the harm you’ve caused. And clearly you didn't actually mean anything you said, because you kept doing it again. And again, and again, and again.

By the way, Heather, the implication that you would be indicted for murder if Lizzie committed suicide despite never speaking to her isn’t just an implication: it’s a literal fact that people can be prosecuted for manslaughter/murder without ever laying a finger on the suicide victim. This includes cyberbullying.

It means nothing to admit you're a hypocrite and do nothing to improve, especially because you’ve said this same exact “apology” multiple times, almost word from word. You're a grown fucking adult that vicariously lives out her dream of being a highschool bully through Tumblr by harassing teenage girls on the internet, and it gives me secondhand embarrassment. Grow the fuck up already, Heather. You’re 20 years old.

You're always harping about how the Six fandom is becoming toxic and embarrassing without considering the fact that you’re one of the toxic ass adults that make children embarrassed and ashamed to be a part of their fandoms. Whenever they do something even slightly cringy, and not even genuinely problematic like some of the other shit in the Six fandom, you’re quick to be like “This isn’t respectable,” “The Six fandom is going to be the next Hamilton fandom,” or whatever the fuck else you say. Teenage girls calling Boleyn a gremlin and making headcanons about the queens siblings/children is not the end of the world, and the fact that you act like it is when you’ve actively created a culture of fear in a fandom that’s mostly made up of teenage girls is embarrassing and disgusting.

I don’t care about whatever apology or sob story you’re going to say after you see this post, because in the end, it’ll just be an empty promise as long as you stay on here. At best, you’ll say that you’re going to do better and leave Tumblr for what, a month? Only to bitch on your Twitter account for the entire month, then come back to Tumblr and do the same exact thing that I’m calling you out for.

You need to stay away from minors in fandom. As a matter of fact — stay out of fandoms that are mostly made up of minors as a whole. You’ve proven time and time again that you don’t care about the safety or feelings of minors, nor do you care about actually “improving” or reassessing yourself every time you get called out. The fact that you’ve been called out for the same things via being indirected on a Tumblr post (linked here), being sent multiple anons by different people (shown above), and being sent a 22-anon thread by one single person calling you out (stated by you above), and you still haven’t changed? Is all of the proof that I need that you won’t change.

That’s all I have to say to you.

People in the Six fandom, I’m heavily urging you not to continue giving this person a platform. I can’t force you to do anything, but you all deserve the right to know what’s been going on. Aside from her hypocrisy about Six, it’s historical figures, and its fandom as a whole, she’s been involved in harassing a minor to the point where she felt paranoid and wanted to leave the fandom on separate occasions, made jokes about another minor in a different fandom that was harassed to the point of attempting suicide on multiple occasions (then lying and claiming that she was never told he was a Black minor who was harassed after she was called out due to a post she made about him going viral when someone told her months before that he was all of those things in the notes of another post she made about him), and other minors have posted/stated that they feel her behavior went too fair, and that because of it they feel unsafe posting stuff in the fandom.

She’s been called out on her behavior on multiple different occasions, and each time she said that she would reassess her behavior and discuss how her actions were toxic. People have given her multiple chances, and each time, she’s gone back to the same toxic behavior and done the very things that she claimed she would stop doing. It’s getting ridiculous at this point, and her actions have gotten to the point where it seems like the only course of action is to call her out publicly.

Like Heather herself said, and I will now brilliantly quote because karma is a bitch: “If you keep making the same “mistake” MULTIPLE TIMES, people aren’t gonna be happy about it.” She isn’t exempt from criticism, especially when this stuff has happened multiple times and she hasn’t done anything to change her behavior. Listen to what she said, and hold her accountable.

Again, I can’t force you to do anything, but I hope that everyone in the Six fandom keeps what was said in this post in mind the next time they consider interacting with her or her content. Take care.

[flying-elliska]

Just watched The Old Guard yesterday....I have Emotions. Compelling characters, excellent rep, great action scenes. I see why tumblr is obsessed with it.

SPOILERS + lil essay incoming

It's not perfect obviously. It drags in places and I think it needed more flashbacks for the immortals that would have given that extra oomph (maybe they definitely couldn't afford that - the few historical flashbacks we got looked kinda cheap tbh). You feel like there is so much interesting stuff under the surface that isn't explored fully - how they got where they are because it does, at times, seem even more compelling than the present (which is already quite interesting, don’t get me wrong). The bad guy doesn't feel as scary as he should be, either - he lacks presence, he could have been more pathetic or more unhinged. The dialogue was a bit overly sparse in places. But overall, I loved it. Charlize Theron as queerish action queen badass with a gruff exterior but a core of goodness is like...my jam. And it NEEDS a sequel.

Some more thoughts :

- The tone of deep melancholy and sadness that pervades the film is so interesting. Yes, most of the main characters are the gruff action hero type who say little ; but there is so much underlying emotion there too, love and loyalty and loss, in the way they are played and interact with each other. So it doesn’t come over as the stereotypical macho cliché of ‘gotta repress those feelings and BE TOUGH’ - you really feel as if 1) those characters have spent so much time together that they function really well as a unit, they don’t need to talk a lot of the time, they just understand each other and 2) there is so much real grief and sorrow there that words wouldn’t properly adress it and it’s no use trying. AND at the same time, they still get an arc of ‘caring about the world is still good, actually.’ As an action movie fan who hates the ‘cardboard stoic is the only way to survive’ tropes of the genre, this movie just made me very happy. They have this intimacy within the group that feels so real and like...battle forged found families, again, my jam, but they’re also tied together by loss and loneliness and having no one else who understands. It’s so JUICY in terms of character dynamics. Nile’s more innocent but still a fighter thing fits very well with the older, more cynical ones. The ending, where they punish Booker with a century of loneliness for betraying them but ultimately still recognize why he did what he did and that he’s still part of the team...but that he might not ever see Andy again...my heart. 

- Also, it reminds me of this essay I read about how violence/battle/injury in film is often used an excuse to show male intimacy in a way that is not allowed anywhere else but in this movie, you both have platonic intimacy (and also between Andy and her team, which is cool! love a good m/f platonic soul bond!!!) AND you have a couple of dudes who both fight together and are actually lovers, which is awesome. The scene in the van is just so bloody brilliant because you have that idiot soldier who is at the level of homophobic taunts, ‘haha is he your boyfriend’ as if that was supposed to threaten their masculinity (because in their world it would). But Joe and Nicky are just way beyond those puerile games - they also met in this context of violence but because of their immortality, they were able to turn it into love. And it’s the thing that allowed them to survive the centuries with a relative level of happiness compared to the two others because they have each other. I love this because it 1) grounds gay love in history and clearly shows it as something that has always existed and can be an epic love able to withstand almost a thousand years (whereas gayness has been so often coded as something both modern and ephemeral) and 2) presents it as wiser, deeper and a lot more badass than the path of repression and violence as a baseline for men to interact even as a lot of male socialization is build up as brutal to avoid it so like YEAH !!!!! GOOD!!!!

- This is another movie that really REALLY shows the importance of having ppl who are not white and/or dudes behind the camera. (It was still written by one but I still feel a difference).The two leading ladies are never objectified, and their main emotional dynamic during the movie is with each other. The audience surrogate, who is also the emotional pivot of the movie who causes the other characters to change, is a young Black woman (especially since apparently Nile’s role and her relationship with Andy was expanded from the comics). Andy is the leader/main badass and mystery of the story in a way generally reserved for men. There is that scene, too, where Andy gets her wound patched up by a random woman in a pharmacy, which causes her to reflect on the good of humanity and the importance of good actions in a chaotic world. Chiwetel Eijofor’s villain being allowed complexity and a sort-of redemption. But it’s also more specific things in the way the movie is shot - especially in the non-Western countries. In action movie tropes, you have this cliché of ‘picturesque but dangerous’ ‘exotic’ locales, who are often used as the backdrop for action scenes, which is...not awesome tbh. This movie does take us to those countries, and there is action, but it’s also shot in a very humanizing way that reminds us that this is a real place where real people live : Nicky saying hello to the locals in South Sudan in their own language, Nile asking the Afghan women for help in the beginning, shots of kids playing with balloons, etc. The team accepts a mission in the beginning to rescue kidnapped Sudanese girls in the beginning - in most action movies often the populations to save are white/Western whereas locals/POC are shown as ‘tragic but acceptable collateral damage’. Or for instance, that scene in Marrakech’s Jemaa El-Fna square - a lot of the time foreign markets only appear as a ‘chaotic, dangerous’ backdrop for action to be ransacked through without a care ; here it’s just a cool lively place for the team to meet their contact, normalized instead of exotified. It’s shot the same way as the scenes in France, it’s interesting to look at and the shots take advantage of the beauty of the location but there are no weird color filters or shots that suggest that the place is bizarre, threatening, Otherized, etc. (Also interesting that most of the scenes in France take place in abandoned buildings like a church that’s half in ruins, a mine, etc...interesting reversal lmao.) The movie is not anti-imperialist by any means but it’s still...a tangibly different gaze, especially for an American movie, and it makes it a lot more humane and interesting.

- Overall, it left me wanting more, mostly in a good way. This could have made such an excellent series too. They seem to be setting Quynh as a villain for the next movie and that could be really interesting but I really hope they’re going for a ‘tragic villain gets redeemed in the end’ (with a side of lovers to ennemies to lovers with Andy...their story seems to have so much potential in such an epic tragic way) instead of ‘psycho lady too far gone to save’ thing. And that we get more flashbacks from the immortal’s pasts. Since it seems very successful, I hope we do get that sequel once the film industry starts again.

[harostar]

Interesting take on appropriation but hey we have different definitions. I still think it counts you are referencing poc culture without using a "white" character. You could say the same for Aesop who is believed to have been a Black Greek story. Like if you base a white character on poc mythology/ religion you are feeding into a history of whitewashing even without malice. You are treating poc culture as a tidbit or costume. And that's what they are doing to make a character fun / unique

Also I mean you are also white washing the criticism. The people see bringing this and similar issues like Avatar and Korra discourse up are all poc. Can't you ask the show for more poc rep that references poc culture and not slap poc culture onto white and white passing characters. That way people learn about and explore the culture while actually having rep. Like name one african or african american fable in rwby, name a indian character with indian mythology

Talk about how Sienna Khan was killed and how the Jungle Book is actually racist British propaganda written by a dude who wrote "The White Mans Burden". Instead of sweeping the cultural appropriation issue under the rug engage with it and talk about race and references in the show.

Honestly, it does seem like people have different thresholds and definitions. Most Sociological concepts and issues are difficult to pin down and strictly define, so there is a lot of room to have differing opinions and personal limits. Because it ISN’T an issue that is easy to grasp with, to find the line between something that is Harmful and something that can be positive. Because history is an ugly mess, and there’s so much difficulty in charting a path forward while acknowledging our mistakes, our failures, and our complicity.

And the Anime inspiration doesn’t make it any easier, because there’s A LOT to unpack concerning that medium and its handling of race, culture, and history. 

RWBY has an issue with exploring themes involving Race, as well as struggling with more representation and how to actually make it happen. I think that they clearly want to do so, but their efforts have been......mixed at best. For example, I know that people have expressed issue with the latest episode involving Marrow (a dark-skinned minority) nearly being shot in the back and then roughly arrested. That violence struck home with a lot of people involving what is going on in the real world. 

There’s been concerns voiced about the portrayals of Elm and Harriet, as WOC that have become Antagonists. With the reaction to Robyn, a WOC activist that fandom has criticized/demonized as “hot-headed” and “angry” and “impulsive” because of her frustrations with her kingdom. 

And of course, I think EVERYONE was unhappy with Sienna’s treatment. She deserved so much better, and honestly I would love to see a novel or side-story devoted to exploring her. We get just enough to tease, with a sense of a complex WOC leader with Indian inspiration and then.......they killed her to further ADAM’s downfall. It was frustrating, and another example of the issues in handling that entire White Fang storyline.

I give them credit for admitting they mishandled it, and that “two white dudes” were not really suited to telling that kind of story. I hope that means going forward, they will try to bring more voices into the room. Kdin is clearly one example of them trying to be more careful, in bringing in a Transwoman and letting her be actively involved in decision-making and shaping things for May. 

I hope going forward, they WILL hear the concerns and strive to do better. That they’ll keep in mind that diverse voices are necessary, to bring unique perspectives and ideas to the table. That if they really want to do right by POC and representation, they need to have POC voices at the table. That to me seems like the best solution to dealing with those issues, and showing a genuine effort to learn from their mistakes and do right by the fans.

Honestly, my hope is that we’ll have some further representation with the Vacuo Arc. We know that it represents that region of the world, and our few glimpses have included North African and Middle Eastern influences in the buildings. That would be a good opportunity for them to improve on things, and make an effort to listen to fans and do right by them.

[ignitesthestxrs]

whoa it’s such a blast from the past hearing you talk about grishaverse and gmm lol. but a question for you, how do you feel about the trilogy now that you’re more removed from it? any changed opinions? I think I saw someone post a similar thing recently and I got curious about what your answer would be.

oh boy oh gosh lol this is a doozy

like grisha will always have that place in my heart for a) the friendships it has brought me and b) just punching me in the gut with creativity and meta and that sort of shit at a time when i clearly needed that particular story. sometimes things just hit you at the time that you need them and they stick with you in a way they would not have otherwise.

that being said, the grishaverse is uuuuh overtly racist in a way that gets worse over time and not better

all the obvious caveats of, i’m white, my take on this is not the be all and end all of problematic racism in books, people of colour reserve the right to have whatever feelings about their representation in books by white people, or anyone.

but something that starts off as an asian kung-fu master trope in the first book becomes:

- tolya and tamar as the ‘good’ asians who are also depicted as the only cast characters to...genuinely believe in Alina as an actual religious saint in a very discomfortingly white saviour sort of way

- The Shu as the creators of what is essentially fantasy opium - a trope with a long history for white fucked upness in media - a drug that is wreaking havoc on largely white grisha (in terms of who we have seen in the grishaverse as named cast characters that we care about), whom the shu seek to control to the extent of enslaving their own people

- WYLAN VAN ECK LITERALLY MAGICAL YELLOWFACING INTO KUWEI YUL-BO LMAO GENUINELY WHAT THE FUCK god all of that is just So Bad and it takes up such a significant amount of plot and emotional character space? and it’s very clear that by the time crooked kingdom rolled around that bardugo was aware of the issue she had created and was gingerly stepping around it in a way that really only highlighted how much she absolutely should not have been trying to write that story

- the depiction in KoS of Shu Warriors as Inhumanly Modified Robot People? it’s bad! it’s so bad!

- slapping a matriarchy on top doesn’t make it better lol

there’s also the uuuuuh let’s say opportunistic retconning of Zoya as half Suli with a *checks wiki* ‘unnamed husband’ of her named white mother and doing so about 2/3 of the way through the book with a little slip of the hand as though Zoya wasn’t presented to us as the White Queen Bitch character for the first 3-5 books in this universe.

which like - it’s very easy for me as a white person to make a grimacing face at this, it’s not my representation on the line. if this aspect of zoya’s backstory is something that has become important and/or meaningful to POC i absolutely would not want to take away from or reduce that. but as a white reader criticising a white creator, like, do better? do better. there is what feels like a very ugly streak of grim mathematics to the way bardugo is inserting diversity into this universe rather than actually putting care or thought into the way she is representing people of colour in her verse.

like i don’t think she went out there with an explicitly racist agenda or anything, i just think that her white privilege and the way she has consumed stories about asian people in particular is Really Showing Poorly in the creation of her universe and the way she is moving her characters inside of it, and each book she releases doubles down on this instead of improving.

i’m also mad about nina and bardugo’s response to all official representations (art & casting, which i’m aware casting is not in bardugo’s hands but she could have kicked up a fucking fuss lmfao) of nina being...not fat. like she’s just not fat LOL she’s Bigger Than Size Zero But Don’t Worry No Rolls Or Double Chins Here and bardugo’s insistence that nina exists in this amorphous space of ‘she’s whatever size you need her to be so long as that size is big girl’ is actually not representation and instead is a way of wriggling out of being pinned down to acknowledging Just How Fat She Is.

(i don’t expect people to be aware of this particular conversation, it was a series of exchanges on twitter that, after nina being so important to fat girls in the book, just felt really fucking disappointing as official artwork and then casting rolled out conventionally pretty and averagely sized girls. it’s not like, egregiously fatphobic or whatever, but it just made a bitch real sad at the time and i continue to be unhappy about it lol).

and all of that kind of clouds the remaining affection i have for this series. i appreciate the positive things it brought to my life, but i have definitely moved beyond it in terms of properties that are important to me and hit me in the honey nut feelios these days lolol