#i need to read more diverse stories this is on me

[yardsards]

This is why I refuse to watch/read delicious in dungeon. The entire thing gives me fatphobic vibes.

see the premise as a whole is actually very body positive (i myself had similar worries that a story about eating "healthy" would rely on fatphobic ideas of "healthy", but was pleasantly surprised). like, its approach to "healthy" is "make sure you're eating enough of everything so that your body has enough fuel. make sure you're resting enough and not overworking." rather than "you must not eat The Bad Junk Food." (like, there's one part early on where they're like "oh, we've eaten too much vegetables and lean meat, we need to eat more fat" so they search for fatty meat and eggs. and then later they eat deep fried food and no one is ever like "oh no, this is too fattening" they're just like "wow this is great it's so crispy and tasty")

and the core message of it all is just like "your body is a part of you, and is the part of you that allows you to do things and reach your goals. don't treat it like a burden or an afterthought." and the series has had a positive impact on the way i view and treat my body

and overall, it's better than a lot of other popular anime series in terms of representing realistic and diverse body types. our two human (or "tallman" as they're called in-universe) main characters, laios and falin, are not super skinny, with no wasp waist or shrink-wrapped abs. i would not consider either of them fat in canon, but they're still fatter than your average popular anime character. certain races like dwarves and orcs are just naturally stout, and are never treated as being unhealthy or unattractive because of their weight. fatness is said to be a respected trait among adventurers, as a sign that you're good at survival and can safely recover from injuries.

however. the show has a few small things that make me raise my eyebrows. one or two iffy offhand comments (glaring at you, That One Conversation about laios's hunger near the end) that in most media i'd just be like "sighhh, normalized societal fatphobia strikes again, as expected." but for this series it's like "god damn it, i expected better from you."

and some things about how body types between fantasy races are handled leaves something to be desired for me. like yeah dwarves are all stocky, but also elves are all slender. it makes sense for the different fantasy races to have different *average* body types, but i wish we got to see more variation from those averages between individuals.

(also, i can fully understand praising laios and falin's canon body types! even medium body types are underrepresented in most media and it's good to see more of them! but calling them *fat* representation just feels inaccurate to me)

it's just like. dungeon meshi is GOOD in terms of body positivity and representation, but it's not PERFECT.

like, i love this show/manga (if you couldn't tell from the content of my blog)

mostly i voice my complaints bc like. i'm tired of tumblr getting it's hands on a piece of media that is good and generally progressive and acting like the media is *perfect*. and then proceeding to treat anyone who points out things the media could have done better as if they personally slayed your firstborn. (and then, months later, after the hype dies down, realize that some of that criticism was actually very valid, and then violently knock the piece of media down from its pedestal. and act like everyone involved in the media's creation are irredeemable scum and that anyone who still likes it should be ashamed)

so yeah, funny dungeon show good, and i strongly recommend it if you like fantasy stories and food and worldbuilding, just don't expect it to be a flawless paragon of representation and fat positivity

(also take everything i say here with a grain of salt bc i myself am thin, i just care a lot about representation in media and body acceptance and dismantling fatphobia)

#eliot posts #dunme #dungeon meshi #delicious in dungeon

[upagainstthesunset]

Adoption in Comics

Found family and adoption are big themes in comics. i see a lot of talk about found family, as i think that really hits home for a lot of the tumblr comics fandom and rightly so. So for this post im focusing on adoption, legal or otherwise. A guarding and ward relationship, which can be parent and child or looser terms.

Many of the most well known and beloved heroes were adopted or have adopted children of their own. It invites discussion of nature vs nurture, of dsymorphia, of choice. It can be a situation that's terrible, or it can be a salvation. It can be done for all the wrong reasons and lead to a disconnect of expectation vs reality. It can be full of love but still lead to missteps.

But before i go any further, a poll. Id like to get some background on the fandom here, so please consider reblogging.

Note for the poll: "Strangers" meaning someone who did not know your birth family prior to the adoption

I wish there were more poll options to also ask the adopted part of the fanbase if they are a different ethnicity from their adoptive family, as that usually has a huge impact on their experiences. For example, I'm Korean but my parents are white US Americans. I grew up in an area of some diversity but not a lot, in that all my closest friends were white and all of my extended family was white. And because of that, my ethnic heritage was something ive had to actively seek out and choose to make part of my identity. It also meant that i just plain did not look like my family or peers, and so stereotypes and assumptions (good and bad) have been put on me at times.

Economic status also plays a role. Im mostly pulling from past knowledge of adoption agencies, but it's not exactly inexpensive, and of course financial stability is one of the big things agencies look for. So it ends up being that a good chunk of adoptive parents are fairly well off, in the upper middle class range. And that in itself can be alienating. This wasnt my personal situation but I knew of others where it was.

I might need to make a series of posts about how all this pertains to comics. It could really be a Master's thesis topic. But for now I'd love to hear other people's thoughts on adoption in comics. What feelings do you have about it? Have you given it much thought? How do the socioeconomic statuses of the adoptive family inform the characters and their actions? Does race with respect to adopter/adoptee play a part in the dynamics of what's going on in the stories you read?

I of course have tons and tons of my own opinions on all this, but I genuinely would like to hear from others. This includes fans who arent adopted! Your readings and interpretations are valid on this subject too! Youre really the average reader, the main demographic. So it's interesting to hear opinions from that perspective as well. And if you are adopted and feel like sharing your thoughts on comics, please please do.

Oh! And one last thing, feel free to tag or list comics characters who are adopted or who have adopted someone. I'd be interested to see how many there really are!

#dc comics #adoption #clark kent #bruce wayne #<-tagging two of the big characters related to adoption #gottaknow #kateliftstheveil

[marklikely]

i have a pet peeve for the final girl trope being only ever referred to in terms of virginity

#i mean like i can accept when people do analysis of the way sexuality is portrayed in these movies it just like #bothers me that virginity is seemingly the be all end all of final girldom. as if its their one and only trait. #it gets talked about so much to the exclusion of literally anything else that makes the trope what it is smh. #avpost #like when john jarpenter said she doesnt survive bc shes a virgin she survives because her repressed sexuality comes out and she uses #phallic objects on the guy well. that was also insane but its at least a lot closer to what i like about final girls over the common #analysis of 'laurie is a virgin and she got to live therefore virgins get to live and everyone else must die' #bc to me the most appealing thing abt the final girl is not how she starts the movie its how she ends it. #by going crazy going stupid and attacking the killer w his own weapon and maybe killing him even. #i mean thats literally what makes her the FINAL girl. her ability to outlast. #its about like her tenacity her using her wits to escape/hide or her holding her own in a fight against this slasherman. #and thats why i have zero patience for movies like the burning where the final girl does fuckall and some guy does all the fighting #anyway yeah. i think we can and should do analysis of like the values that make it so that #not always but v often the good girl is a virgin and gets to live or w/e im just sick of that being the ONLY thing thats talked abt. #we need more diversity in the final girl metanarrative ecosystem if i have to read one more ~self aware~ horror story abt virginity ...

[firebirdsdaughter]

Of all these fake verified tweets…

… The person making the claim about free insulin worries me, bc what if someone sees that and mistakes it for being true?? Like people need that to live, maybe don’t make jokes about it.

And the person trying to ‘Gotcha’ American Girl just… Bewilders me. Like of all the things???

#Firebird Randomness #I'm speaking as someone who's grandfather has diabetes #don't joke about insulin PLEASE #like I know I'll get told it's not a huge deal #but any sort of 'memeing' about medications people need to live worries me #and the American Girl thing is just like #dude it's… It's IN the book #like just read the book like what are you trying to prove?? #like that's the point dude that's a point of the book #like it's realistic she's a well off white girl in virginia #I hate to break it to you most white people in that time w/ any money owned at least one slave #including my own ancestors #like I dunno how to tell you this but that's not shocking in the least #like personally I think it's kinda brave that they didn't try to forcibly make her more sympathetic than she realistically would have been #not that there's nothing to ever criticise the company for like I think it was a while before they started making nonwhite dolls/protags #but they have become more diverse and they research the hell out of everything #they got permission from a Native American tribe to make a doll based on them and changed her face to respect their culture #you don't need to 'Gotcha' AG they'll gotcha themselves/the settings of their stories

[redgoldsparks]

My very last comic for The Nib! End of an era! Transcription below the cut. instagram / patreon / portfolio / etsy / my book / redbubble

The first event I went to with GENDER QUEER was in NYC in 2019 at the Javits Center.

So many of the people who came to my signing were librarians, and so many of them said the same thing: "I know exactly who I want to give this to!" Maia: "Thank you for helping readers find my book!" While working on the book, I was genuinely unsure if anyone outside of my family and close friends would read it. But the early support of librarians and two American Library Association awards helped sell two print runs in first year.

Since then, GENDER QUEER been published in 8 languages, with more on the way: Spanish, Czech, Polish, French, Italian, Norwegian, Portugese and Dutch.

It has also been the most banned book in the United States for the past two years. The American Library Association has tracked an astronomical increase in book challenges over the past few years. Most of these challenges are to books with diverse characters and LGBTQ themes. These challenges are coming unevenly across the US, in a pattern that mirrors the legislative attacks on LGBTQ people. The Brooklyn Public Library offered free eCards to anyone in the US aged 13-21, in an effort to make banned books more available to young readers. A teacher in Norman, Oklahoma gave her students the QR code for the free eCard and lost her job. Summer Boismeir is now working for the Brooklyn Public Library. Hoopla and Libby/Overdrive, apps used to access digital library books, are now banned in Mississippi to anyone under 18. Some libraries won’t allow anyone under 18 to get any kind of library card without parental permission. When librarians in Jamestown, Michigan refused to remove GENDER QUEER and several other books, the citizens of the town voted down the library’s funding in the fall 2022 election. Without funding, the library is due to close in mid-2024. My first event since covid hit was the American Library Association conference in June 2022 in Washington, DC. Once again, the librarians in my signing line all had similar stories for me: “Your book was challenged in our district" "It was returned to the shelf!" "It was removed from the shelf..." "It was moved to the adult section."

Over and over I said: "Thank you. Thank you for working so hard to keep my book in your library. I’m sorry you had to defend it, but thank you for trying, even if it didn't work." We are at a crossroads of freedom of speech and censorship. The future of libraries, both publicly funded and in schools, are at stake. This is massively impacting the daily lives of librarians, teachers, students, booksellers, and authors around the country. In May 2023, I read an article from the Washington Post analyzing nearly 1000 of the book challenges from the 2021-2022 school year. I was literally on route to a festival to talk about book bans when I read a startling statistic. 60% of the 1000 book challenges were submitted by just 11 people. One man alone was responsible for 92 challenges. These 11 people seem to have made submitting copy-cat book challenges their full-time hobby and their opinions are having an outsized ripple effect across the nation. WE NEED TO MAKE THE VOICES SUPPORTING DIVERSE BOOKS AND OPPOSING BOOK BANS EVEN LOUDER. If you are able too, show up for your library and school board meetings when book challenges are debated. Send supportive comments and emails about the Pride book display and Drag Queen story hours. If you see a display you like– for Banned Book Week, AAPI Month, Black History Month, Disability Awareness Month, Jewish holidays, Trans Day of Remembrance– compliment a librarian! Make sure they feel the love stronger than the hate <3

Maia Kobabe, 2023

The Nib

#maia kobabe #banned books #library funding #comics #book challenges

[sebscore]

gen z!reader is this sweet, bubbly, bright ray of sunshine who could honestly do no wrong, so I'd love to see a fic where in a driver's meeting gen z!reader loses their shit and calls out the FIA for their blatant sexism and misogyny in front of everyone and everyone is shocked cause they've never seen them gets this mad before.

NO ONE LIKES A MAD WOMAN

pairings: f1 grid x driver!reader (+ cameos from brundle, susie and buxton) 

warnings: sexism. fia is fia'ing. swearing. my own unaccurate ruling of penalties (it's for the sake of the story, just go along with it). susie mothering. it wasn't sure to me who conducted the driver's briefing during this time so I just picked a random name from the many that I came across. 

author's note: less comedic one this time, hope you enjoy it anyway! 

masterlist

• • • • • • •

''Alright, thanks for clarifying, Checo.'' Derek concluded, glancing down at his journal to see what the next topic of discussion was. 

The director scratched his voice before addressing the drivers again. ''Uhm, we also wanted to remind everyone to be wary of what they say in the media regarding our organization,'' he stated, ''the FIA has the feeling that there have been deliberate attacks on them the last few weeks and they are willing to give out penalties if it happens again.'' 

The drivers looked at each other, confused by the sudden declaration that the FIA has been receiving ''attacks'' from the drivers. ''Can you give an example, because I think I speak for everyone when I say that I'm confused.'' George spoke up, the others nodding along to his question. 

Derek flipped through his papers, trying to find the notes his colleagues had given him regarding the ''offensive'' comments that had been made against them. 

''Oh, here,'' he put on his reading glasses, holding the piece of paper farther from his face, ''the comment they're referring to was one made by… Y/N at the previous race.'' 

The young woman's head sprung up at the mention of her name, clueless as to how she could have upset the FIA. ''What? W-what did I say?'' She managed to stutter out, all the eyes on her making her feel uneasy. 

''Uh, you were asked about the diversity in the sport and you said, and I quote: 'The FIA should do more regarding women in motorsport, there are still many things that need to be changed.' End quote.'' Derek answered her, putting his paper back in place. 

Y/N frowned at the man. ''I don't see what's wrong with that, to be honest.'' She told him, failing to see how the FIA would feel this was a ''deliberate attack''. 

The director sighed, already getting the suspicion the woman would not be happy with what he was about to say. ''Certain members of the board were offended by your words, because they saw it as you accusing them of being sexist.'' 

The silence in the room was deafening, every single person awaiting Y/N's reaction to Derek's clarification. The drivers took a glimpse at her, trying to read the indifferent expression on her face that didn't give much away about how she was feeling. 

''They think I'm accusing them of being sexist? What I meant was that they should take more actions in encouraging young girls to get into racing- I don't understand how that would correlate to me calling them sexist.'' Her usual cheerful tone was replaced by a monotone voice that almost scared some of her colleagues. 

Derek took a deep breath again. ''Well, they felt like you were insinuating it and they are offended by the alleged insinuation.'' 

''Just because they are offended doesn't mean they're right.'' She bit back, not missing a beat. 

''I'm simply delivering their message, Y/N,'' the director told her politely, wanting to remind her that he's not the person she should be upset with, ''anyway- if you go up there and apologize for your comment, they're considering leaving it as a warning for you and also the others.'' He finished the list of notes they had given him. 

The reaction from the room wasn't one he was expecting; absolute outrage. 

''She shouldn't apologize for that neither should she be penalized for it.'' Sebastian was the first one to speak up, directly looking Derek in the eye. 

The drivers agreed. ''Yeah, it's called freedom of speech.'' Max added, also not seeing why Y/N should go down there and say sorry to the members of the board. 

''Like I said earlier, I'm simply delivering their message.'' Derek repeated himself, feeling the tension and frustration growing in the small space. 

''But don't you see how ridiculous this is?'' Sebastian rebutted, hoping the man at the front could at least agree with them and say that it was indeed a weird request. 

Derek shook his head. ''I'm just the middle man, Seb,'' he sighed, turning his head towards the quiet female driver, ''Y/N, make it easier for yourself and go up there after the meeting, you don't want to receive a penalty for something like this.'' 

''I'm not apologizing.'' Her voice comes out strong, not in an aggressive way, but in a manner that lets everyone know she's not backing down. ''Give me as many penalties as you want, I'm not accepting them.'' She crossed her arms, indicating she was sticking to her words, almost stubbornly. 

The other drivers looked on proudly, glad she was standing by her belief and didn't give in simply because it would make everything ''easier''. Lewis gave her a nod, subtly letting her know he supported her and had her back. 

''Alright, then that will result in a fine of a number that is yet to be determined.'' Derek picked up his pen and wrote down that she would not come by their office, already knowing his colleagues wouldn't be happy with it. 

''Just so you know- I'm not paying that.'' Y/N said, matter-of-factly. 

Derek looked up from his journal. ''If you refuse to pay the fine, we can either add a grid-place penalty or a time penalty.'' He recited the rule as if he had done it a million times before. 

''Derek, this is stupid,'' Kimi decided to voice his opinion, ''the race shouldn't be affected, because of a comment she made that had nothing to do with racing in the first place.'' He defended her, allying behind her stance to not accept any of the penalties they give her. 

''I'm just doing my job, Kimi.'' 

''I also want to just do my job, Derek, which is racing, but these ridiculous rules to silence me prevent me from doing that.'' Y/N argued his response, just wanting him to see her point of view. 

The director's hand went over his face, seemingly wiping his agitation away. ''No one is trying to silence you, Y/N.'' He quickly answered. 

''That's why all the other drivers receive penalties whenever they question the FIA, right?'' Her comment must have shut him up as he solely put his pen down without saying another word about the matter. ''Yeah, that's what I thought.'' 

Y/N felt her presence wasn't longer necessary as she stood up from her chair, ready to leave the room and join her engineering team in preparation for the upcoming race. However, Derek felt different about that. ''The briefing isn't over yet, Y/L. Sit back down, please.'' 

''I'll see you at the next meeting, Derek.'' She ignored his plea and walked towards the door. 

The director stood up from his desk at the front. ''Y/N, if you leave before it's done, the board will-'' 

''The board can kiss my ass.'' 

''Y/N Y/L RECEIVES A 20-PLACE GRID PENALTY AHEAD OF THE 2021 SPANISH GRAND PRIX DUE TO DAMAGING REMARKS AGAINST THE FIA'' 

''FIA RE-EVALUATING Y/N Y/N's PENALTY AFTER BACKLASH'' 

''FIA SUSPENDS GRID PENALTY OF Y/N Y/L DUE TO AN ERROR'' 

The day after the driver's briefing had been quite eventful to say the least. As soon as the FIA announced that she had been given a penalty, the backlash from drivers, fans and reporters started. 

Lewis had condemned their decision claiming it was based on nothing and that nothing about her comment was an attack on the organization. His teammate, Valtteri, followed him in his opinion stating: ''Drivers should be able to say what they want to say, she doesn't deserve a penalty for that.'' 

Sky Sports F1 reporter, Martin Brundle, also came to the driver's defense. ''If we're going to punish drivers for stating their opinions, we might as well get rid of the entire sport, especially if what they're saying isn't far from the truth.'' 

After finishing P5 in the race, Y/N spoke to Will Buxton in her post-race interview. ''You must be very happy with your result today, considering you almost had to start from the very back of the grid.'' 

''I'm content with today's race, obviously would have loved a podium but Mercedes was better today,'' she chuckled, ''yeah, it wasn't fun waking up to that news, but I'm happy that it was reversed and the support I received was just- wow, I'm very grateful for everyone.'' 

''According to some sources, it got pretty heated in the driver's briefing on friday- would you like to clarify?'' Will asked her. 

A sarcastic laugh left her mouth. ''I would just like to forget about it, moving on is the best thing to do right now.'' She smoothly avoided the question, figuring she shouldn't make the FIA more mad by airing out all their business. 

''Alright, thank you so much for talking to us, Y/N and congratulations on your race today.'' He nodded, bidding her goodbye. 

On her way back to her team's hospitality, she was stopped by none other than Susie Wolff. ''Lewis told us what happened during the briefing- I'm very proud of you for standing up for yourself, not everyone could have done that.'' 

''It was so awful, Susie,'' Y/N hugged the older woman, ''it's like they just wanted to give me some sort of punishment- I don't even want to know what would have happened if I went down there by myself.'' Susie rubs her back at her words, also not wanting to think about what could have gone down. 

''It's okay now, honey,'' they pulled apart, Susie's hand staying on her shoulder, ''by the way- did you really say that the board could kiss your ass?'' 

Y/N laughed at her question, excitedly nodding her head. ''At first I wanted to say something like 'the board can stick that penalty right up their ass’ but I needed a cool getaway so I opted for something shorter.'' 

''Atta girl'' 

taglist :: @i0veless @missskid @missthem @rosesintj @evans-dejong @thehistoryone @dreamycloudsworld @formulazeesworld @muushmeg @topguncultleader @the-great-adventures-of-me @love13tter @xcharlottemikaelsonx @kiwisa @starkwlkr @nora_moon @princesselle2111 @valluvsu @thatsadsmallchild @babyyoda89 @milkbreadforlife @fxllfaiiry @hc-dutch @its-ash-not-grey @princessbetsy123-blog @mehrmonga @nyenye @screechingtrashkid @ahnneyong @holybatflapexpert @itsnotgray @beautycinders @scuderialavender @rowansshit @uhhevie @revengze @nylaslife @majx00 @multi-universe21 @jaydensluv @isasalom @gentlemonsterjennie1 @appledashhh @breathinfive @lighttsoutlewis 

if you want to be added to the taglist, fill in the form!

#f1 fic #f1 fics #f1 x reader #formula 1 fic #f1 x oc #f1!drivers x fem!driver #f1 female driver #female f1 driver #formula one fics #formula 1 oc

[phantomarine]

Clam's Quick Tips for Starting Your Very First Webcomic

Howdy! Here are the three bits of advice I tend to give people who ask me about getting into webcomic-making. Maybe they can help you jump into the fray with a little less fear.

1) Make Your First Chapter a Pilot Episode

You will be told by webcomic veterans to start with a short, simple comic idea first - which is wise - but if all you can think about is your big magnum opus, then you might as well hop in, right? Otherwise you'll just be glancing back at the other cooler project forever.

But if you can't start with a small simple story, start on a small, simple part of that larger story. Your first chapter should be a snapshot of the main conflict - show us a simple scene with few characters, ease us in slowly, keep things clear and focus on emotion/impact/clarity. Get the audience to care by offering something easily digested, but full of promise.

Once you're done with that 'pilot' chapter, and you're feeling more comfortable with the whole comic process, you can open the gates and show us the larger world. At that point, you'll be way more ready.

2) Simplify Your Art Style For Your Own Sanity

Always try to make your webcomic's art style as simple as possible - the standard rule is to use only 75% of your artistic skill for every comic page you make. Otherwise you will burn out quickly and terribly.

But you also need to be PROUD of your art style. If you're really feeling itchy, add a couple bells and whistles to your style so you can look at the finished page and say "Yeah, looks cool." You'll find the right balance the more you draw.

Also, don't be afraid to change your art style as you go along. Ultimate consistency is often impossible in webcomics anyway - so embrace your desire to try new things, streamline your work, whatever you feel needs to happen to be happiest. Sometimes the coolest part of reading a webcomic is noticing that style change - so don't hesitate to embrace it!

3) Resist the Reboot! RESIST!

The curse/blessing of drawing the same things over and over is that you'll inevitably get better at drawing those things. The trouble comes when you look back at old stuff and start thinking "Damn, I could draw that way better now."

You must recognize that this feeling never goes away. Not after a hundred pages. Not after three hundred. Not after a thousand.

I think everyone should be allowed one soft reboot for their first webcomic. Redraw some panels that bother you. Change up some dialogue if it doesn't make sense with your new story ideas. Do maintenance, basically. One of the beauties of webcomics is that they can be easily edited, without reprinting a whole book or remaking a whole game.

But if the ultimate purpose of a webcomic is to tell a story, then constant reboots will just be retelling the same story - slightly better each time, but the same at its core. We've heard it before. Most audiences would rather you save your strength and just keep going, rather than circling back year after year and going "Wait wait wait! I'll do it better this time."

Reboot early, not often, and only when you absolutely must! You're a storyteller, and you're constantly getting better at telling your story. Don't be ashamed of it - look back how much ground you've covered, and keep walking!

---

That's a good start. Happy webcomicking - don't be afraid to jump in, but be prepared to learn a lot very quickly. And if this advice doesn't work for you or adhere to how you did it, that's absolutely fine - webcomics are diverse by nature, and so are their creation processes. Feel out what works best for you, and good luck!

#phantomarine #webcomic #advice #just talking #writing

[creatingblackcharacters]

"Defying the Default"- Skin Tones and the Presence of Black Characters

Okay, this one is going to be half lesson and half a thought experiment- it may get a bit frustrating, as conversations like this often do- but remember, discomfort is not always a bad thing! So I ask that you walk with me for this one.

It’s also interesting, because I’m going to direct this towards everyone (readers included!), but specifically towards my fanfic writers of media with no visual medium, as I’ve noticed this pattern there, and it makes up a good amount of creators on this site. Okay? Okay.

Behold! Many shades of brown!

I had to wade through a lot of colorism for this, and even this link is subtly racist in its introduction- the idea that brown is ‘unexciting’ 🙄.

Anyway, you know where I’m going with this:

"Chocolate and Coffee"

Even the link above pulled this! Writers who use this... they’re not ‘wrong’ per se but… often uninspired. It feels... Lazy. When you can tell an author has put no thought into the brown of choice, it makes Black readers feel like you believe these are the only shades of brown- that that’s all we look like. Even chocolate is more diverse (white, milk, dark, marbled, cookies and cream?) Coffee can come in numerous shades as well (light, medium, dark roast? Type of bean?)

My first direction to help with this: make it a point to know what shade that character is (whether canonically, or if you're the original creator, look at a reference and write it down) and find a name! Be consistent! Find similar browns to one another. If the canon Black character's skin color is done poorly, find something similar and use that! (I'll get more into this in the next lesson!)

Our skin colors may modify as we age, it changes over the seasons/presence in the sun, and some people even have vitiligo! But we're not gonna be “dark roast coffee” one morning and “light milk chocolate” suddenly. We're not chameleons lmao.

And you know what? That shade you choose might very well be 'coffee'! But it's not going to be because you didn't look and assumed we're all some random brown! That’s the intent showing! If we can find endless ways to describe the beauty of white/pale skin, we absolutely can for brown! Be willing to unpack why you may not believe brown to be capable of beauty, and work through unlearning that- it will show in your writing! One way is by pausing with yourself, and recognizing when you had a biased thought. Even by this, you’re learning!

Here’s where I want us to get into the thought experiment:

I want you to think about the description of characters in stories (as a whole). Challenge yourself- in the fics and stories you read, how often is anyone blatantly labeled 'White'? Read a story or fic; how long can you imagine them as not-White before it's ever clarified? Because not even 'pale' automatically implies a White person!

You know how I’ve mentioned before that 'Black people are not a monolith'? I can find you at least some examples of Black people fitting some of the common descriptions of white characters.

"Brunette with brown eyes"

(Fun fact: I actually learned back in my Masters program that genetically no one has ‘black’ hair- our eyes are processing it as black, but it’s really just dark brown due to eumelanin. Regardless, if you stand us in the direct sunlight, you will see that our hair is usually just dark brown!)

"Red hair with pale skin"

“‘tanned’ skin with hazel/green eyes”

“blond hair" (period!)

Now, I’m not saying that blond haired Black people or Black folk with albinism are overly representative of my people. What I AM saying is that it needs to not be taken for granted that a reader is automatically assuming a character is White in your piece of fiction- I can assume your character looks like anything if it's not stated! Especially if the OG source is a book or a podcast! We’re just used to assigning these features- and characters- as white until ‘proven not’! The default!

I am guilty of this too! Even still, I reread many of my works and go ‘ah, I didn’t clarify.’ And I have to work on doing better at it. This is having intent for your Black characters, but really, it’s having intent for all of them!

(This doesn't mean going “the Black man said,” the way sometimes people say “the Chinese said” (which…. Tbh we should all stop doing that anyway, it's weird and racist))

My Next Challenge:

Some people may disagree, but- Ahem:

Say BLACK!

Breathe lmao! Take the time to recognize that it's OKAY to introduce a character as Black, to say Black, it's fine! Obviously be sensitive about it, don't shove it in there to “win your diversity points”, but like… People are Black. It's not a bad word. What matters is the context in which you used it!

You don't even have to say it every single time. Really just the first, introductory sentence will do. For example:

“[Character A], a bright, young, Black girl with knotless braids to her mid back, glittering hair clips matching her bright green t-shirt, and a brilliant smile that shined against her bistre skin.”

I recognize that some might argue that by saying “bistre”, you don't need to say Black. But 1) you don't have to be Black to be brown or dark skinned, and 2) There's a social stigma behind even saying Black- of discussing race in general, because it leads to discomfort. Race (as a sociological construct) exists. When we say nothing about it, allowing Whiteness to be the default, we're still emphasizing race, however silently! If you're already doing it... Why not mention it? 🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️

(here's a good clip of Ijeoma Oluo discussing the difficulty of discussing race; while I highly recommend the whole thing, the relevant clip is 4:25-5:39)

Maybe they're in the Black student organization in a lead position, maybe they're in a Black main cast of a play- it's okay to have those things in the story to help develop the idea that your Black character is actively Black! Just do your research to make sure you’re not leaning into stereotypes!

“There’s no races in my fantasy/future world!”

That’s fair! But I want to give you an example of how people will still project these identities onto your characters anyway:

No one has an explicitly stated 'race' in Avatar: The Last Airbender (afaik); they’re all divided by element culture. YET, many people were offended that a mixed-Korean actress was cast in her role in the live action- they ‘just didn’t see it’, because subconsciously they'd imagined her ‘face claims’ as WHITE, despite it never once being mentioned in the canon! (there’s also a firm sexualization and east Asian fetishization argument to be made about it, but that’s not within the scope of this particular conversation.)

Point is, if you are including humanoid characters in your fantasy stories, fine. You don't need to say ‘Black’ outright. But, that just means that you’re going to have to be even more detailed in your description. Because if I were watching a TV show and a Black actor shows up as an elf… I know what features I’m seeing! Entire protests have occurred over the casting of Black actors in a role ‘meant for a white person’; so... everyone sees it!

Conclusion

This is another reason why intention in character design and writing is important! Context clues and socialization help me understand who your character is. If it works like this for white characters, it can work like that for everyone else! You just have to know enough about me to write it in (and that's where the social and societal bias lie, because how much do you really know about me?)

A way to better understand this is reading books by Black authors (for fantasy, I would highly recommend Raybearer by Jordan Ifueko and Children of Blood and Bone by Tomi Adeyemi) as well as Black literary classics! Finding and reading Black fic authors in fandoms with Black characters! By learning how we describe ourselves and our skin colors, you’ll learn and practice how to appropriately describe us!

Now I can't make you do any of this! But I do want you all- writers especially- to start noticing our bias, how we may default to the experience of whiteness- and how that affects the way we write. When we have Black characters, and really any character of color, we need to start paying attention to how often their features, culture, and activities are emphasized, even for what we may consider to be 'background' details. That’s how we normalize creation and understanding, and become better at writing!

It’s just something to practice; remember, it’s the thought that counts, but the action that delivers!

In addition, if you are interested in a simple read into why approaching race is so uncomfortable as a whole, I've attached Robin DiAngelo's book here! Thank you to the PDF guru @toiletpotato for the link!

#creatingblackcharacters #character design #black characters #black writers

[greekmythcomix]

How I teach the Iliad in highschool:

I’ve taught the Iliad for over a decade, I’m literally a teacher, and I can even spell ‘Iliad’, and yet my first instinct when reading someone’s opinions about it is not to drop a comment explaining what it is, who ‘wrote’ it, and what that person’s intention truly was.

Agh. <the state of Twitter>

The first thing I do when I am teaching the Iliad is talk about what we know, what we think we know, and what we don’t know about Homer:

We know -

- 0

We think we know -

- the name Homer is a person, possibly male, possibly blind, possibly from Ionia, c.8th/9th C BCE.

- composed the Iliad and Odyssey and Hymns

We don’t know -

- if ‘Homer’ was a real person or a word meaning singer/teller of these stories

- which poem came first

- whether the more historical-sounding events of these stories actually happened, though there is evidence for a similar, much shorter, siege at Troy.

And then I get out a timeline, with suggested dates for the ‘Trojan war’ and Iliad and Odyssey’s estimated composition date and point out the 500ish years between those dates. And then I ask my class to name an event that happened 500 years ago.

They normally can’t or they say ‘Camelot’, because my students are 13-15yo and I’ve sprung this on them. Then I point out the Spanish Armada and Qu. Elizabeth I and Shakespeare were around then. And then I ask how they know about these things, and we talk about historical record.

And how if you don’t have historical record to know the past, you’re relying on shared memory, and how that’s communicated through oral tradition, and how oral tradition can serve a second purpose of entertainment, and how entertainment needs exciting characteristics.

And we list the features of the epic poems of the Iliad and Odyssey: gods, monsters, heroes, massive wars, duels to the death, detailed descriptions of what armour everyone is wearing as they put it on. (Kind of like a Marvel movie in fact.)

And then we look at how long the poems are and think about how they might have been communicated: over several days, when people would have had time to listen, so at a long festival perhaps, when they’re not working. As a diversion.

And then I tell them my old and possibly a bit tortured simile of ‘The Pearl of Myth’:

(Here’s a video of The Pearl of Myth with me talking it through in a calming voice: https://youtu.be/YEqFIibMEyo?sub_confirmation=1

And after all that, I hand a student at the front a secret sentence written on a piece of paper, and ask them to whisper it to the person next to them, and for that person to whisper it to the next, and so on. You’ve all played that game.

And of course the sentence is always rather different at the end than it was at the start, especially if it had Proper nouns in it (which tend to come out mangled). And someone’s often purposely changed it, ‘to be funny’.

And we talk about how this is a very loose metaphor for how stories and memory can change over time, and even historical record if it’s not copied correctly (I used to sidebar them about how and why Boudicca used to be known as ‘Boadicea’ but they just know the former now, because Horrible Histories exists and is awesome)

And after all that, I remind them that what we’re about to read has been translated from Ancient Greek, which was not exactly the language it was first written down in, and now we’re reading it in English.

And that’s how my teenaged students know NOT TO TAKE THE ILIAD AS FACT.

(And then we read the Iliad)

#man this week has been hard for classics teachers #Iliad #greek mythology #tagamemnon #greek myth #odyssey #homer #greek myth retellings #comix #greek myth comix #classics teacher #teaching #myth #history #ancient greek history #horrible histories #the idiots #teaching resources #teacher rant #Youtube

[charmedreincarnation]

My sucess story

Trigger Warning: Abusive, homophobia, mentions of suicide

Hey there, Maya! I just had to take a moment and express my appreciation for all the fantastic posts you put out. I can now confirm, without a shadow of a doubt, that shifting is real, manifesting is real, and so is the void. Our desires and ambitions aren't in vain.

I've been part of the shifting community since 2020 when it exploded on TikTok. It might not matter much, but as a gay man, I rarely saw other guys in the community (though Reddit and Amino have a more diverse crowd). I've always felt more comfortable in women-centric spaces because they tend to be less judgmental.

I never saw success stories from guys, especially the kind I wanted to see - like waking up in a new world, not just manifesting money or a girlfriend (or boyfriend in my case >.<). I've always been spiritual and interested in witchcraft, voodoo, deities, and now manifesting and shifting. But it felt like nothing would let me shift.

Growing up with homophobic and physically abusive parents, struggling with poverty, depression, homelessness, anxiety, suicidal thoughts, and more, I began to feel like you could only manifest and shift if your life was okay. I didn't have the luxury of time or safety to practice methods, constantly dealing with noise, verbal abuse, or physical violence.

Then, I read this post

https://www.reddit.com/r/shiftingrealities/comments/14v4lw3/how_to_shift_the_next_time_you_go_to_sleep/?utm_source=share&utm_medium=ios_app&utm_name=ioscss&utm_content=2&utm_term=1

It led me to your Tumblr because OP used some of your old posts and talked about the concept of the void. All searched lead to tumblr. A couple of months ago (2.5 ish) after one of the worst days of my life, I went to bed sobbing, trying to block out the noise around me, praying and crying for anything - death, shifting, a new identity...

Everything around me started to fade - it was as if I was being engulfed by a white, serene blanket of nothingness. It was completely silent, and I couldn't see or feel anything. The only thing that seemed to persist was my awareness.

Now, I've read about the void before, but mostly in the context of it being a black, empty space. So, I'm not entirely sure if what I experienced was indeed the void or something altogether different. The concept still baffles me a bit, but I'm learning and growing through these experiences.

Regardless of where I was, my heart was set on reaching my dr.I kept praying and hoping, to wake up in my DR.

I woke up in my Twitch streamer DR! I found myself in a completely unfamiliar yet perfect place. My room was equipped with a high-end PC, top-notch gaming gear, and quaint decor items. Milo, my dog, was there too. I was sharing a mansion in LA with my boyfriend and four other streamers. The house was beyond my imagination, and streaming here was a dream come true. As night fell, my friends and I explored the vibrant LA nightlife, creating lasting memories.

After a week, i can’t lie I almost forgot I had shifted here. Then, I set an intention to shift back into this reality but where I had moved out, lived with my best friend and their supportive parents, mastered shifting and manifesting, had my desired looks, and money came easily to me. And it worked!

Since then, I've been living my best boujee gay life, and I shift all the time. I even created a waiting room where I'm immortal and use it whenever I need a break. I wish I could offer better advice, but like everyone says, there isn't a key to shifting. It's different for everyone. But you can and will shift. You can manifest your dream life. You can and deserve to be happy

Oh my god, I'm so happy for you, love 💕💕. I also completely related to what you felt. I know it can seem like your circumstances are holding you back, but believe me when I say this - that couldn't be further from the truth.

It's that same resilience, and your ability to persist despite the odds, that paved the way to your dream life. There’s nothing, I mean nothing that can stop you. Not wavering, crying, or doubt. Nothing. If you want it, it’s yours.

#law of assumption #manifesation #manifesting #void state #reality shifting #shiftblr #void success

[fuckyeahisawthat]

thank you so much for that excellent chani post. i've seen some annoying takes on twitter about how not making her totally devoted and subservient to paul makes her 'unlikeable' and i'm like. buddy. i think that speaks more to how you see women. than anything about her. this chani is very dynamic and interesting to me.

i'll be honest and say i've not read the books. this is me speaking from what i've seen of summaries, but i think giving her a real cause to fight for yet also genuinely loving paul gives her an interesting struggle, and also plays into how the portrayal of the fremen (seems to me to be) more diverse and nuanced. as in, the fremen themselves seem to have more of a push-and-pull to them. the clarification of how different fremen believe differently (the south being more fundamentalist) is a very important thing to include in a movie where you can run into the danger of saying that all adherents to a foreign, islam-adjacent (in coding) religion are all fundamentalists. that can (in less nuanced hands) be a pretty irresponsible thing. so showing that there's also more secular/pragmatic/less dogmatic sectors of the culture seems a pretty good counterweight.

so yeah. this is how i processed it as a movie-goer. and having chani represent that aspect (believing in people over prophecy, action over religion) and having stilgar as the humanized face of the southern peoples (showing that yknow, regardless of being fundamenist beliefs, theyre still PEOPLE with the capacity for love, friendship, honor) makes total logical sense. you're not just "telling" us that there's different aspects to fremen culture, you're SHOWING us by showing different characters who represent those aspects, without demonizing either or turning either into a one-note stereotype.

Thank you! I'm not someone who was a long-term fan of the books before the movie came out (I tried reading Dune as a teenager when I was reading a lot of classic sci-fi but found it too boring) but I did read Dune and Dune Messiah after the first movie came out, both because I wanted to know what happened next and because I wanted to have an opinion on how the movies worked as adaptations.

(book and movie spoilers below and also I basically ended up writing a whole essay in response to this)

My single biggest frustration with the book is that after they arrive at Sietch Tabr and Jessica drinks the Water of Life and becomes Reverend Mother...the book up and skips two years of the story and when we next see Paul he's already got Fremen followers who are ready to die for him and he's in an established relationship with Chani. Oh I was SO MAD when I got to this part. I was like FRANK. FRANK!!!! Did you seriously just skip two years of the most interesting part of your own story???

The thing is, even though I know that Frank Herbert's intention was to write a critique of the idea that oppressed people need an enlightened external (white) savior to liberate them...if you don't provide an alternate explanation for what's happening then you end up falling into some Orientalist tropes anyway. And because, in the book, we don't see the process of how your average background fedaykin comes to trust Paul as a military and political leader, there is nothing in the text to counter the idea that the Fremen are a bunch of unquestioning religious fanatics easily swayed to do violence by belief in a prophecy.

My second biggest frustration with the book is that we're given no reason at all why Chani would fall in love with Paul. While she has some memorable scenes, she doesn't have a lot to do as a character in the book, and she's missing from a whole chunk of the end...because she's in the south...because she and Paul have a baby, Leto II, who's then killed off-page when the sardaukar attack the south. (I'm honestly really glad they cut this from the film, because it never seemed to be given the narrative weight it deserved in the book.)

So you can imagine how happy I was when the Villeneuve movies figured out how to address both these frustrations by tying them together. The fedaykin don't just blindly accept Paul because of some prophecy. They come to trust him because he proves himself as a fighter, and because he starts out from a place of genuine solidarity and humility--which it is possible for him to do because he has no structural power over them at that point. And Chani falls in love with him for the same reason, in that heady environment of fighting side by side for a political cause, and maybe for the first time in a while starting to believe that you can win.

I think the Villeneuve movies improve a lot on what's in the book in terms of how the Fremen are portrayed...when we're with the fedaykin and/or Chani and Stilgar. There we see political debates and discussion and the fact that not all the Fremen think the same way. And we also see little humanizing moments of folks just hanging out, celebrating after a victory in battle and just shooting the shit and being friends.

I do wish the movie had extended this to more parts of Fremen society. If there's one thing I could have added, it would be seeing more of daily life in Sietch Tabr. It makes sense that when we're seeing things from Jessica's POV, she is more distant from and suspicious of the Fremen, seeing them as a force to be manipulated, but I wish we had even one or two scenes of people just being people in the sietch. It felt kind of weirdly empty and not particularly lived-in as a place, and I think they could've easily countered this, with scenes from Chani, Stilgar or Paul's POV, and that would have made it hit even harder when the sietch is attacked.

If there were two things I could have added, I wanted more exploration of the people of the south. Why are they more fundamentalist than the Fremen who live in the north? (We get one line about how "nothing can survive [in the south] without faith" but I wanted more than that.) While I think the movie did a fantastic job of humanizing and differentiating the Fremen we see around Paul, when we get to the south it does backslide a little into "undifferentiated mass of fanatics." Surely the people of the south also have some diversity of political views.

I think there are some interesting threads they could have pulled on in terms of how proximity to direct colonial violence shapes people's ideology. Sietch Tabr is one of the closest Fremen communities to Arrakeen, the seat of colonial control. They have probably had to mount some kind of armed resistance for generations just to keep from being wiped out. I can see that producing skepticism of the prophecy ("well I can't sit around waiting for a messiah but I do have this rocket launcher") as well as resentment at the idea of someone swooping in and taking credit for a struggle that you've put your life on the line for, and probably a lot of people you know have died for. There seem to be some generational differences, too, where young people of Chani's generation put less stock in the prophecy, while the true believers are mostly older. I can see faith in the prophecy coming out of despair--when you've been fighting for decades with no change, maybe you draw the conclusion that only an outside power coming to your aid will make a difference. While the people of the south are still under colonial rule, maybe being generally outside the reach of direct Harkonnen violence (the Harkonnens don't even know they're there) makes the concepts of both oppression and liberation feel more abstract and more receptive to being filled in with Bene Gesserit mysticism. It seems absurd to want more from a movie that's nearly three hours long already...but I wanted more of this.

Still, I do think they managed to improve on a lot of things that frustrated me or are simply dated about the book, while keeping the political thriller/war drama/epic tragedy elements that I think are the heart of the story, and in some cases drawing them out more clearly and effectively than the book did. The best kind of book-to-film adaptation imo is one that has a strong point of view in terms of what the story is About, on a large-scale thematic level, and is not afraid to change individual elements of canon in service of telling that story the most effective way possible in a cinematic medium. While there are always things I want more of, I feel like Denis Villeneuve really, really understood the assignment in terms of the overarching themes of the the story and he delivered so fucking well.

#dune #dune spoilers #dune part two #dune part 2 #dune 2021 #dune books #chani kynes #asks answered

[midnightechoes]

Five years ago today, She-Ra and the Princesses of Power premiered on Netflix. I had seen a few preview articles about it, and liked what I saw. Those articles mostly focused on She-Ra’s, Adora’s, Glimmer’s, Bow’s, and Catra’s redesigns, and I thought they were fabulous. I loved Adora’s new red jacket and bouffant hair style. Glimmer’s entire redesign was inspired, and I loved that they made Bow black so we could have more diversity in the main cast.

It was She-Ra’s and Catra’s redesigns that caught my eyes the most, though. They made Catra an actual catgirl, and not just in the anime sense where she's just a cute girl with cat ears and maybe a cat tail. She was a full-on furry. It was a brilliant design choice. Honestly it’s no wonder that so many were instantly drawn to her.

And of course, She-Ra herself. I loved her new look, and her huge ass new Sword of Protection. In fact, I loved it so much that I drew this picture of her before the show even came out:

Then the show came out, and needless to say, I fell in love. And honestly, it changed my life.

I know, I know. That sounds very hyperbolic, and to an extent it is, but in a lot of ways, I’m absolutely serious.

Alright, I have to back up a little. Back when I was in college, and for a few years after, a couple of friends and I tried to make a webcomic called The Devil’s Gate. It was minorly successful but eventually floundered. Then I met some people and we tried to make a video game, which also failed. After those few years, I found myself on my own and trying to rework the concept of my webcomic. Making comics, creating stories, those have always been my dream, and I was desperately trying to figure out a story I could make work, something that I believed in. But it never truly got off the ground. By the end of 2015 I had given up on the comic, realizing that after working on it for years in different forms that I needed to step away from it.

I didn’t really know what to do after that. I was still doing my quick daily doodles, but I wasn’t writing, I wasn’t drawing anything of note. I felt emotionally and physically drained of my creativity. I was honestly getting to the point where I thought it might be time for me to give up on trying to be creative or making things all together.

She-Ra and the Princesses of Power came out on November 13, 2018, but despite looking forward to it, I didn’t actually watch it when it came out. It wasn’t until that weekend that I decided to check it out.

I was instantly hooked. I binged through the entire season in two days, and did plenty of crying and cheering. And then rewatched it immediately. I was in love. I was obsessed. It had been a long time since anything grabbed me like SPOP did. I loved the characters. I loved the colorful, sci-fi-fairy tale world of Etheria. I loved how unapologetically feminine it was. And most of all, I loved how queer it was.

I hadn’t done a ton of shipping before SPOP. I’ve been down bad for harlivy for what feels like my whole life, and I was angry when Mika and HG didn’t get together in Warehouse 13, but more often than not I had just been conditioned not to look for queer things in mainstream culture, and even barely in subculture.

That is to say, when I was smashed in the face with Catradora I was surprised how much I glommed onto it immediately. I was absolutely taken with Adora and Catra and their relationship. Both characters were so relatable, and despite not quite being text (although the subtext was so loud and obvious it might as well have been text), it was impossible to not read their feelings for each other as romantic.

It wasn’t just Catradora, even if that was a lot of it. Spinnerella and Netossa being canon from the start was wonderful. How much Glimmer and Bow screamed “BISEXUAL DISASTERS” from the start was adorable. Scorpia’s crush on Catra was as cute as it was sad in its one-sidedness.

I had never really been in a fandom. That is, yeah I’ve liked things, loved things even, but I never found other people to talk about it at length, never found discords just for that thing, never read or wrote fanfic, barely ever drew fanart. 

But, I watched SPOP, and then I watched it again. And then I drew Catra. And then I drew Adora. And then I drew them again. And suddenly I was on AO3, a site I never frequented, reading Catradora fics. And then I had an AO3 account. That December I participated in Catradora Week 2018 (I’d never heard of this kind of thing) and drew two pictures for it and wrote my first fanfic.

By the end of February I had drawn more in the three months since the show had premiered than I had in the previous year. I was working furiously on a long, multi-chapter fanfic, and writing more words than I had in the previous couple of years combined.

I was inspired again.

In the 18 months that SPOP ran for, I drew more than I had in years, I wrote hundreds of thousands of words. I felt so rejuvenated and happy about my creativity and free for the first time in years.

It’s hard to put into words exactly how it felt. I was so close to giving up my art and writing, which honestly, would have been giving up a part of myself. An important part of myself. It’s not overstating that SPOP saved me, or at least my creative spirit.

I also learned about the wonders of being in a fandom and fandom things like fan weeks, big bangs, zines. And I made some wonderful friends that I cherish to this day.

Even as I inevitably moved onto other hyperfixations, my love for She-Ra hasn’t diminished. Plushie Catra and Adora sit next to me on my desk every day. Catradora art still hangs on my wall.

The inspiration that SPOP ignited in me hasn’t died either. It’s carried me through a tremendous level of creativity that I’ve been riding since the premiere. It let me create a ton of fan art for SPOP, and then RWBY and then the Witch From Mercury, and I’ve written a ton of fanfics for RWBY and Supergirl. And perhaps the best, that inspiration has helped me create more OC stuff in the last couple years than I had in a long time.

I owe She-Ra and The Princesses of Power so much. I am so happy that it exists and that it happened when it did. I’ll always cherish it.

And for real, Netflix, SPOP spin-off movies WHEN?!

#art #she ra #adora #catra #catradora #sk's art #shera #spop #she ra and the princesses of power #shera and the princesses of power #she-ra and the princesses of power #she-ra #fifth anniversary #netflix #netflix she-ra #wlw #lesbians #sapphic #lesbian love #lgbtq+ #lesbian

[blindbeta]

Why Writers Should Consider Giving Blind Characters Canes, Guide Animals, or Other Mobility Aids + How To Choose One

(Note: This post is admittedly long and full of information. Make use of the headings to read the parts you are interested in. I have provided many links, which you can read as you go or save for later. I suggest saving this post and taking your time with it. I am also willing to answer any questions for people who have difficulty reading long posts. While I considered breaking this post into parts, I decided to keep all the information in one place for ease of sharing and reference, especially because multiple sections of the post refer to other sections contained within it.)

When I read for blind characters, my most common suggestion for writers is to give their character a cane, guide animal, or utilize another mobility aid. Most stories I beta read feature totally blind characters or people with very little vision, such as only seeing colors. Despite this, it is extremely common for me to suggest giving them a cane or guide animal because they are rarely portrayed using mobility devices. Because this is such a common suggestion, I wanted to create a post about it.

Most of this will be about mobility aids for people who aren’t familiar with them or are still deciding what tools are best for their character. It will also be mostly for modern, realistic, or semi-realistic stories. I will create a separate post for fantasy and science fiction mobility aids, use of magic or magical items, and writing stories set in or inspired by times before formal mobility tools existed. However, I believe this post can benefit anyone who is writing a blind character or anyone who wants to learn more about blindness. Mobility tools are a big part of blind culture, blind communities, diversity of blind experiences, and accessibility.

Learn About Mobility Aids

Here is a comprehensive post by visually impaired fiction writer and blogger @mimzy-writing-online which contains information about canes, O&M, guide animals, etc. If you are not familiar with canes, start there. It contains helpful information for body language, use of canes, and resources for descriptions that any writer will find valuable. The post also has a section on guide animals and sighted guide.

Here is a post I made about crafting fictional guide animals, although I have no experience as a guide animal handler myself. I made sure to research and include links, so it should still be a good starting point. It also has information about differences between service animals and emotional support animals.

Sighted Guide / Human Guide

First, terminology discussion. Sighted guide is a more common term and more examples come up when I search this term. Sighted guide refers to when a person with vision helps guide a blind person. The guide can be abled or also blind themselves. I have guided my friends before and they have guided me. I have often said that, in a way, sighted guide is a misnomer because someone who has less vision or no vision can also guide someone with more vision just as well.

The term human guide makes up for this misnomer by being more accurate. A TikTok by AskABlindPerson or @askablindperson on tumblr, explains this well. Here is a link to the video. The video states the following:

“I’m blind and I definitely prefer to say human guide rather than sighted guide because you don’t inherently need vision to guide and a blind person can do it too. And it doesn’t have to be that the blind person who’s guiding has more vision than the other person either. It can just be that they know the area better than the person they’re guiding, or it could be that they just have better cane skills or independent travel skills than the other person. Because not everybody has equal access to the same exact opportunities for training. So a blind person can also guide, which is why I like to say human guide because it’s more inclusive.”

Not everyone minds which term is used, however. Some people also only use one term because it was taught to them first, rather than because of any particular meaning.

Below are some examples of sighted / human guide and when it is often used.

Here is an article titled How to be a Sighted Guide

Here is another helpful page with information on certain situations such as narrow spaces.

Here is a video by London Vision.

While human guide can be someone’s main mobility aid, it is often used according to the situation.

Situations in which your character might want to use sighted guide include:

-crowds, where a cane might be difficult to use or someone has a companion they would like to avoid being separated from

-while in lines, mostly to provide descriptions of what happens around them or to let them know when to move forward in the line

-ground that is uneven or steep may cause someone to want to use sighted guide rather than a cane, although this will depend on the person. Using a guide and a cane is also possible. A guide animal may go around the obstacle

-when going inside an unfamiliar house or indoor location, usually for locating a specific room

-navigating unfamiliar areas

-public transport

-guide animal handlers may choose to either do traditional sighted / human guide while using the guide animal or give the command for their animal to follow the person without holding onto them

Guides allow the blind person to gain additional information about their surroundings through conversation with the guide. Human guides can also aid in navigation by providing helpful directions or landmarks. Human guides can be used with a white cane or guide animal. They can also be used without any other mobility aid.

People from cultures who place high value on interdependence, especially on family, may wish to use more human guides. People who have anxiety or disorientation may prefer to use human guides or simply travel with someone else for security. Other people who might tend to use more human guides include: people who have moved to an unfamiliar area, people who are losing vision, people who have recently become blind, people with other disabilities or health concerns, or people who prefer the company of others.

In stories, human guides can portray character relationships, establishing trust and respect. Perhaps a character already knows how to guide, showing familiarity with blindness. This mobility tool can display the helpfulness of a stranger or be the start of a meet-cute. Additionally, showing how good or bad a character is at guiding can show compatibility between characters. I also believe that writing guides into a story can allow for detailed visual descriptions or conversation between your characters.

Imagine character A slowly learning to trust character B, culminating in letting that character be a human guide.

Sonar Devices

I wanted to include a section for these because they aren’t often discussed.

Sonar devices are intended as a supplement for use of a cane or guide animal. Unless the sonar and cane are paired together, such as with the WeWalk cane. While they could be used by themselves, this should probably only be with the addition of a guide and in non-crowded, familiar area.

Here is a video review of the Sunu Band by TheBlindLife.

Here is another review comparing two devices: the Sunu Band and the Buzz Clip.

Note how the devices are used, especially with a cane. The cane is used to detect objects from the waist below, whereas the sonar device is used to detect objects above the waist. This includes objects like tree branches.

Sonar devices work by detecting objects in front of the user and giving a tactile alert, such as a vibration. Vibrations increase the closer one gets to the object, giving a continuous vibration when right in front of it. Moving away from the object, such as stepping to the side, will stop the vibration.

This device could allow blind characters to be more active an create interesting opportunities for descriptions.

Why Does My Character Need a Cane, Guide Animal, or Human Guide?

A few reasons include:

1. It will be more relatable for blind audiences if characters move through the world like they do

2. It is more realistic for stories set in our world or worlds meant to be realistic save for a few elements

3. It allows audiences who aren’t blind to understand how blind people move through the world. In the case of sighted guide, it also offers depictions of politely and efficiently offering help to a blind person, which may include not offering help at all.

4. Canes and guide animals give your blind character some visibility, as the cane, and to some extent the guide animal and harness, signify to others that a character is blind or otherwise disabled in some way. As for sighted / human guide, it offers an extra voice for advocacy purposes or the added visibility that someone is being helped.

5. Mobility tools allow blind people to participate more in a world that is rarely accessible for them at a basic level. I almost always find this is true in books as well unless the writer makes a point to include universal design.

6. Mobility aids improve navigation, increase safety, and increase interaction with the world.

Why Would Anyone Need To Know My Character is Blind?

Safety is a big factor.

In this video titled Using A White Cane While Legally Blind by Cayla With a C, Cayla discusses some of the benefits of using a white cane. One of these is that the cane works as an identifier, letting people know the person using it can’t see so other people need to watch out for them. She mentions it is also important for cars and bikers to know cane users can’t see them well or at all, meaning they don’t expect a cane user to move out of the way.

Both Cayla and Molly Burke share in their videos that people are more likely to offer help when they use a cane.

How Do Mobility Aids Help Blind People Navigate?

It depends on what mobility aid is used.

Canes offer more tactile information and direct contact with the environment. Canes allow someone to feel changes in the ground, such as going from carpet to tile. They make it easier to feel steps or broken sidewalk. They allow blind people to be aware of obstacles, such as a chair, rather than simply going around them they way they might with a guide dog. They help blind people locate landmarks they need in order to be oriented in their environment and navigate their way to different places. For example, they may search for a bench, knowing a drinking fountain is across from it.

As for guide animals, because I am not a guide animal handler myself, I wanted to include quotes from a few sources.

The Guide Dog Foundation says the following in a very useful Q&A:

“In short, guide dogs are taught how to find and follow a clear path, maneuver around obstacles, and stop at curbs. They follow their teammate's directions, and they know that they can disobey only in the face of danger.”

And according to International Guide Dog Federation:

“A guide dog is trained to guide its owner in a straight line unless ordered otherwise. The dog will avoid any obstacles en route, above or around you. It will stop at stairs, doors and kerbs. The dog will not decide where to go; it is up to the vision impaired person to instruct the dog on the direction for the dog to go and the dog will safely guide the person as instructed. The vision impaired person will already be familiar with regularly travelled routes and the dog will quickly become familiar with these too.”

And International Association of Assistance Dog Partnership has a page that explains the categories of tasks performed by guide dogs, as well as other types of assistance dogs.

Sighted / human guide can be used with a family member, friend, or helpful stranger. It can be a primary mode of O&M or used when needed, meaning it be used even if someone already has a cane or a guide animal.

Usually, human guide involves contact with the guide. It can also include the guide orienting the person they are leading by describing surroundings such as “there is a bench to the right” or “we’re near the door” or it can involve telling someone where steps are.

How Do I Know What My Character Should Use?

What your character chooses will depend on their lifestyle, level of vision, age, where they live, culture, religion, and their needs as a blind person.

In the post on guide animals, I went over a few reasons someone might choose a guide dog or a guide horse.

Here are some articles about canes vs guide animals. Although the ones I found focus on dogs, I believe many points made about guide animals can be applied to miniature horses as well.

Guide Dogs vs White Canes: The Comprehensive Comparison

The link above includes the following:

“One of the biggest and most obvious differences between a guide dog and white cane is that a guide dog is trained to avoid obstacles along their pathway. A white cane helps locate impediments so that the blind person can decide how best to maneuver around them.”

Another article that may help:

White Cane vs Guide Dog: Why or Why Not?

White Canes and Guide Dogs - What’s Actually the Difference?

Here are some videos:

Guide Dog vs Canes - Pros and Cons by Molly Burke

White Canes vs Guide Dogs by Challenge Solutions

White Canes vs Guide Dogs - Which is Better? 21 Pros and Cons by Unsightly Opinions

Guide Dog vs Cane, Which is better? by Ashley’s Advice

I also wanted to discuss a few more points.

1. Multiple disabilities

People with multiple disabilities may prefer different methods. For example, those who use a stabilizing cane may have different reasons for choosing their mobility aid. I went into that more in this post here.

It would be difficult to cover all other disabilities here, but I will attempt to include some things to consider.

Consider any pain, weakness, or other difficulties your character may have around their hands, wrists, arms. Canes require repetitive use of these areas.

Consider any sensory issues your character has. Sensory issues may come into play with cane vibration and the tactile information given by canes, especially as it differs between surfaces. The video by Challenge Solutions listed above discusses pain caused by vibration and repetitive movement, for someone who already deals with this. It goes into more detail, mentioning that a dog may lessen this difficulty compared to cane use.

Consider phobias or traumas that may make service animals, especially dogs, a bad choice for the character, their loved ones, or community. In contrast, consider how a service animal may help provide comfort to characters with traumas unrelated to animals

I hope that provides a starting point for thinking about how other disabilities may impact someone’s choice when deciding what mobility aid is right for them. I hope this is helpful is choosing a mobility aid for your character.

2. Financial Considerations

Consider financial difficulties. While guide dog schools often provide highly trained dogs, weeks of training, a harness, and some essentials for free, it depends on the school. Some schools may cover the dog’s veterinary care, while others may not. Some may provide one bag of food. Some may cover costs of transportation to the training school, but may not cover the cost of missed work. Challenge Solutions lists several costly areas that go with having a dog, such as grooming or toys.

The amount the training schools cover is so varied that one cannot assume anything about how the blind person keeps up with care of their dog. They may have trained with a school that covers the most costly things, leaving them to buy the occasional treats and toys, while other schools may not cover much after the dogs and handler leave the school, causing financial difficulties that may or may not have been fully anticipated. Financial situations of blind people with guide animals cannot be reliably assumed.

Canes, on the other hand, are a one-time payment per cane, if they aren’t already free. While canes do require replacement tips and while people do go through canes quickly, the cost is not comparable to that of caring for a guide animal.

For writers, it may make sense to have your fictional world contain schools that continue to cover costs over the guide animal’s life. Or perhaps veterinary care is free in that world. Either way, this may be something to consider. The character’s financial situation can show a lot about them and the world in which they live.

3. Additional thoughts about safety and discrimination

Safety has many different connotations in blind communities. Some people consider safety to mean social safety, as alerting others to blindness may explain any behavior that would be considered strange or rude.

Some consider safety to mean physical safety from tripping, falling, running into objects or people, or having them run into you. This is especially important with vehicles.

Still others consider safety to mean being able to navigate and orient oneself, such as when traveling alone.

Some people consider safety to mean interpersonal safety and the fear of being harmed due to being perceived as vulnerable.

Molly Burke mentions this particular subject at around 19:22 to 20:47 in her video here. To paraphrase, she says that having a big dog with her makes her feel safer as a blind person. Molly states that the white cane may increase her vulnerability as it identifies her as a potential target due to her blindness.

I mentioned that it is helpful for people to be identified as blind, such as with a cane and, to a lesser extent, a guide dog. That is still true. This may provide protection by alerting others that they may need to look out for a blind person instead of expecting that person to avoid them or their vehicle.

On the other side, a cane may alert others to vulnerability in a way that is harmful to the blind person. Due to this factor, blind people may feel safer with a guide dog because the presence of a dog may make others hesitate before doing them harm. I am not sure if the same can be said for those with horses, but it is possible horses may still act as a deterrent. In the video by Challenge Solutions, Caitlyn says that while guide dogs are not trained to be guard dogs and should not be aggressive by nature, it can feel safer to travel with a guide dog. Caitlyn says the following: “They are dogs and I would like to think that they would have a protective instinct if a situation arose where that was needed.” She adds, “I think there is more of a protective aspect to guide dog usage than white cane usage. At least I always felt a lot safer with my dog than I do with my cane.”

I also wanted to include thoughts about discrimination.

Some blind people may worry they will experience more discrimination using one mobility aid over another. This may influence their decision. To give brief examples, people with service animals may be turned away from places they are allowed to go. They may need to advocate for themselves more because of this. Another example might be feeling like people judge them or stare at them more when they use a white cane. They may be grabbed or shouted at more often when using a white cane, as described by Challenge Solutions, or they may be ignored or go unnoticed in other cases. In fact, some blind people are only spoken to in public because of guide dogs acting as a conversation starter.

However, feeling invisible in society seems to be a common issue for many disabled people. Some people also talk about being invisible in some areas and uncomfortably visible in other areas. While a blind person’s choice of mobility aid may influence this, the common disabled experience of both invisibility and hyper-visibility might still follow them.

Additionally, myths about blindness, which I wrote about in this post here, may also cause people to accuse cane users of faking if they have residual vision, which can lead to them feeling unsafe or like they cannot use their residual vision without receiving negative attention. This may cause some people to want a service animal, as in the case of a guide dog, some people may assume they are simply walking their dog or training a guide dog. This may be a way some blind people try to avoid being accused of faking blindness. However, blind people with guide animals may also be accused of having a fake service animal or be accused of not really needing their service animal. Additional barriers may include general public ignorance about laws around service animals or differing laws around access per country.

All of the above can put a lot of strain on people who are just trying to get from point A to point B.

Sighted guide may come with some issues as well. Finding someone who is willing to guide and a helpful guide may be challenging unless a blind person is already using a trusted friend or family member. In social situations, other people may misunderstand use of human guide, believing that they should address the guide rather than the blind person. Use of this mobility aid may also come with judgment from others about the blind person being incapable, lazy, or a burden on others. None of these are true, but they can be judgments people make.

Sighted / human guide may be a preferred form of O&M for people who have recently gone blind or are in unfamiliar areas. Additionally, blind people who come from cultures where interdependence is valued may prefer to use a human guide with or without another mobility aid. It is also important to note that the nature of the blind community also celebrates both interdependence and dependence, and these may not always mean the same thing as they do to people who aren’t blind. This is also true when it comes to using mobility tools and techniques.

What Should My Low Vision Character Use?

The majority of blind people have some residual vision, including low vision. Which is part of why most of the blind community doesn’t use canes, along with lack of training. Unfortunately, many people with residual vision are, however subtly, turned away from using canes or other mobility aids. Based on stories from friends, suggestions in this post by @mimzy-writing-online, my own experience, and information online, I will suggest a few reasons this might be the case.

A big reason has to do with believing they have too much vision to require a mobility aid. The idea of not being disabled enough is both an internal an external issue for people with residual vision. This is because people often claim that if a person can see some, they must not require mobility aid. Mobility aids are seen as a last resort, rather than a way to make life easier. This can lead to self-doubt, confusion, or guilt for a blind person. They might feel as if they are ungrateful because they believe other people have it worse. Conversely, some people may have been taught that relying on a mobility tool is shameful, giving up, or reveals a lack of independence. And sadly, some blind people with residual vision may be afraid of rejection or standing out from others.

This leads me into another reason, which is: believing they will experience more discrimination or social exclusion when using a cane. Unfortunately, this can be true. However, it is also true to that not using a cane can cause others to judge someone for things they do or don’t do as a blind person.

Disclosure is an option that works for many. However, blind people cannot always disclose to everyone they interact with, such as to strangers spotting them outside. Disclosure of blindness can also be fraught with accusations of not really being blind, not looking blind, or not being blind enough to count as blind. These accusations sometimes happen when using canes as well. Denial of help, denial of accommodations, and accusations of faking are common.

In some circumstances, the opposite can happen. Instead of being accused of faking, the choice to use a mobility aid might bring about helpfulness from strangers or concern from loved ones. There may be concern that the vision loss has progressed or that something is wrong. After all, suddenly using a mobility tool can inspire alarm in people who aren’t used to them, because the prevailing thought is that mobility tools are only for totally blind people. And the incorrect message behind this is that being totally blind is negative.

Characters choosing to start using a mobility tool could ease themselves and loved ones into it by being open about their plans. They could experiment with cane use, marginally increasing use over time. Or they could simply use a cane as often as they need to, addressing concerns as they are brought up. Portrayal of communication about mobility aids between a blind character and their family could be a lovely addition to a story.

Lastly, blind people are expected to rely on residual vision for as long as possible, in as many situations as possible. Even if it causes pain, disorientation, or anxiety. Even if seeing is exhausting or frustrating. Even if it isn’t safe. However, the other side of this is that many blind people with residual vision enjoy seeing colors or shapes. They may enjoy being able to describe things to friends with less vision.

But their sight may not always be enough to forgo using a mobility tool safely.

It is my opinion that anyone on the blind spectrum or with declining vision can benefit from use of accessibility tools, whether it be learning Braille or training with a cane.

People with low vision can use canes when they feel it is necessary. Examples may include times where they may need extra visibility or extra contact with the ground as they walk. They may choose to use a cane when crossing the street for added safety. Same applies to using stairs. They may bring their cane only to unfamiliar environments or out with them at night. They might feel like using it one day or in one place and not the next. They may have a condition that is not stable from day to day. Overcast weather or dim lighting could make it necessary to pull out a cane. They could simply want to use their cane or decide to leave it at home because they felt like it.

A blind person does not need to a full-time cane-user to be allowed to use one. It doesn’t have to be all or nothing. If they need it, they need it. It is that simple. It will be the same with your low vision character.

Characters may also switch up mobility tools depending on what is best for where they’re going and what is accessible to them. For example, someone may use a human guide for extra safety while in a new city.

Why I Want More Mobility Aids in Media

This is just my opinion, but I would like to see more characters using mobility aids blind people use in real life. This helps to normalize use of these tools for people who are not familiar with blindness. This allows blind people representation that is more true to life. It also adds more detail to stories that wouldn’t otherwise be there.

There is also something off about blind characters who don’t use anything, specifically because most portrayals of blindness involve characters who are totally blind. Why are these characters walking around absolutely everywhere with no familiar way to navigate? Why are tools used by the blind community rejected when it comes to stories about blind characters?

I suspect it is because of a few factors:

1. Not knowing how mobility aids work. Another deterrent could be the difficulties of research and, in live-action media, wanting to avoid training usually sighted actors in use of these mobility tools.

2. Not wanting the blind character to seem too hindered

3. Wanting the mobility aid to be cooler or more interesting if it does exist. This varies by genre and the period in which the piece of media is set.

I find it strange that most stories about blind people do not feature blind characters using tools or techniques blind people use in real life. It sometimes feels as if blindness is a decoration writers add to their story without thinking about how it would impact their character.

My suggestion is to consider the amount of vision your character has, along with their lifestyle, and choose a mobility tool that works for them. I know that some of you are writing characters who can technically move through life without using a mobility aid full time. In these cases, it would be fun to see characters who are transient mobility aid users.

Closing - Not Everything About Blindness is Difficult

I hope this post was informative. I know that some of it may feel contradictory in nature, but that seems to be part of diversity of experience people have with mobility aids. Not everything has to be true for your character or will be true to their experience. Additionally, don’t feel pressure to portray the difficult aspects of mobility aids or being blind in public spaces; it is good to have stories where blind characters are treated well by everyone. There are days when blind people have nothing but lovely interactions with others and when safety is not a concern.

While I mentioned some negative aspects of being blind in this post, there are many positives as well. This can include opportunities to meet new people and have conversations. This can mean getting the chance to use cool gadgets other people don’t get to use. It can also mean being able to experience the world in unique and fun ways, such as noticing little details about the world. It can mean appreciating colors, lights, smells, sounds, or sensations. It can also mean cool navigation tools and techniques.

I will post a part 2 soon. It will include information for writers of science fiction, fantasy, and stories set in historical times. As always, if anyone has anything feel free to share. I will add any responses here as edits to this post.

If you found this post helpful, my pinned post has many more links. I accept asks or messages with questions. I also offer beta reading for blind characters.

-BlindBeta

#blind characters #writing blind characters #ableism #accessibility #white canes #guide animals #sighted guide #mobility aid

[inkskinned]

it's the levels of scrutiny too.

a movie that has a largely-female cast has to be well-written, well-shot, well-acted, well-advertised. people will spend 2 hours on youtube talking about a single plot hole; about a moment of bad pacing, about a singular background character's poor scripting. if there isn't something obvious, they will say - well there's nothing specifically bad, but it wasn't specifically good either.

they will turn out another all-male movie, and it's just a movie.

a book that has queer representation in it has to defy every convention of writing while also being true to traditional plot, structure, format, and pacing. it must have no boring chapters, no missteps, no awkward dialogue. it must be able to "prove" that any queer relationship "makes sense", their sparks must fly off the page and their love must be eternal. the writing must be clear and beautiful, the storyline original and fresh, the values traditional but with an undercurrent that is modern and saucy.

they will turn out another book without queer rep, where a man and woman just-fall-in-love, and it's just a book.

i am latinx. i am queer. i am nb & neurodivergent. my father said to me once: you will need to be exceptional to be just-as-good, and you will need to be beyond exceptional before they see you as just-a-person, and not your labels.

i am not beyond exceptional. i am a human person. i am skilled because i worked my ass off to be skilled.

i am currently reading a book that's so-bad-it's-good about a girl that falls in love with a vampire. i was 64% of the way through the book before she figures out tall-dark-fanged is not natural. i like books like these, i like letting myself relax while i just enjoy the read. but i do spend a lot of time wondering - would this have been published if it was about queer people? would this have gotten past the editors if the characters weren't white and sexy?

i want to write a movie about being a woman in a male space, and i want to start that movie with a 10 minute scene where the woman is lectured with the exact same whining that occurs in the youtube comments of even the trailers for those movies: "haven't we had enough diversity?" "we've had enough girl power movies" "sorry, this is just pandering. it's boring."

here's what's fucked up: it shouldn't matter, you're right. my identity shouldn't fold after my name like a battalion of stars: a cry of what i've gone through. what we all know i had to move past and through. i should just be a writer, plain and simple, without my work being shifted through with tweezers - i know everything i make, always, i am incredibly responsible for. beholden to. i don't like knowing that if i fuck up, i am also fucking up for every person like me. every person in a community i belong to.

once, back in undergrad, i wrote a short story about a girl who had been kicked by a horse. it was my first time writing about my experience with my ocd; i felt proud of it. the story was mostly about grief and slow recovery. the queerness of the main character was not important to the plot, my main character was just-queer. there wasn't even a romantic interest in it.

i remember one of my classmates being disappointed. "i just feel like you always write about girls who like girls, and i'm bored of it," he said. "you're a beautiful writer, but i'm like - oh, at some point, it's gonna be gay again." during the workshop, he folded his hands over my story and said, "and okay, i'm just going to say it. she's ocd, she's gay, she's depressed - it's a little much for me to believe is all happening to one person."

it is a little much to be that person (and more besides). i have therapy weekly, after all.

over and over, belonging to exception.

#spilled ink #poetry #prose #warm up #idk what this is #maybe more of a confession #btw the book is called crave it's OKAY #it's very straight #main character keeps being like totally okay with situations where dude is DEF #being a stalker villian #she's known him for a WEEK and shes like #'hes all that matters' #girlfriend ur parents only died a MONTH ago #there's a lot about timing in that book im like .... did this author ever have any #actually bad experiences #like main character being like ''i shouldn't cry over them it's pathetic'' a mONTH after her parents die #btw this isn't bc she's in denial/suffering/etc it's bad writing #the narrative is instead like #'' .... bc the author doesn't want to remember to discuss it'' #she forgets she has a sprained ankle a lot #tbh im THIS close to saying ''fuck good writing'' #and writing my OWN stupid supernatural school YA romance #and YES!!!!! IT WOULD INDEED BE GAY #''oh this school? we're all... different here....bc... of the witches??oh . i mean yeah but no actually we just really believe in a diverse

[chochuuya]

manga genres.

matsuno chifuyu x fem!reader

disclaimer/note: lots of bickering, chifuyu is a hardcore, he called you a dork and actually roasts you bad but.. finally breaks his christmas curse? (｡- .•)

wc: 1.6k [1668]

you both can never get along when it comes to your manga preferences.

“shut up.” chifuyu sneers.

“no, you shut up!” you say in return.

it’s been about 30 minutes since you first started arguing. chifuyu is a softie at heart, and enjoyed the romance genre. while you were a person of action, enjoying the thriller genre much more.

“the art style is so much better. i don’t even know how you can read a story with such bad flow!” he argued.

you scoffed, turning your head away for a second before looking back at him.

“bad story flow? how dare you. as if your fav isn’t so predictable and mundane, chifuyu. trust me, action is sooo much better than romance.”

“well at least my favourite doesn’t have bad character development! at least they have likeable characters with diverse personalities, compared to your fav show where everyone is plain and boring.” chifuyu says, clearly not going to budge.

“oh, and your fav also has shitty romance.” he adds with a smirk.

he’s getting annoying, you swear you could punch his dumb face but you decided against it.

“well, at least my manga has plot twists and actually keeps their audience wanting for more! your romance? twelve episodes and we’re done. you can just read another of the same genre and you’ll get same plot every time.”

“oh no plot twists, huh?” chifuyu retorts gleefully.

“like who died in the latest chapter or some other bullcrap like that? i rather read and watch something where i can relax and enjoy.” the blond says, “you know, something that doesn't overstimulate your brain.”

“and plus, with romance i get to enjoy some sweet and spicy scenes that i like so much.”

he adds cheekily, “besides, i hate waiting a week for the next chapter. romance is much better than that.”

you scoffed in disbelief. the audacity and ego of his is something else.

“maybe your attention span is just too short to be watching or reading action, chifuyu!”

“and maybe your brain is a bit too simple compared to mine.” he retorts snarkily, “maybe you need constant action and stimulation to keep you entertained, because you get bored too easily.”

“and, it doesn’t matter how long a manga or anime is, it’s the enjoyment and the quality of it that counts. and clearly romance does it best.” he adds smugly, knowing he’s won in his eyes.

you actually rolled my eyes at his reasoning.

“maybe your authors keep dragging the story because they know romance and slice of life is just too simple without any action in it! yeah, what about that?”

“not to mention some of your favourites are quite questionable, chifuyu. what was it again.. oshi no ko? fruits basket? yuck!” you added.

chifuyu chuckles in amusement at your annoyance.

“you know what else is funny? i bet you can’t watch a romantic comedy without feeling cringe or getting embarrassed. and i mean real romcoms, like wotakoi and kaguya-sama.”

"and yeah, they’re my favourites, the anime just elevated them more. i mean come on, they’re cute and funny! and oshi no ko’s mystery and drama, even the comedy at times! how can you hate them?!” he states, annoyed.

“you bet i do, i don’t know how you feel all giddy inside when watching or reading them. maybe you’re just a hopeless romantic!”

you laughed wholeheartedly at your own remark.

“kaguya-sama? even i know better romances than you, ao haru ride and kimi ni todoke is so much better.”

“you know nothing, (y/n).” chifuyu says, amused.

“i admit kaguya-sama has its flaws, but it’s so damn good too. and ao haru ride is nothing but a sad, slow-burn romance that is painfully boring." he says, feeling a bit annoyed at your remark.

“and kimi ni todoke? again, slow-burn that is a bit too cliché.” he adds before saying, “i’d rather read or watch wotakoi. that’s a much better romance manga.”

you sighed in defeat. just hurts your throat trying to even get your argument against him.

chifuyu laughs, “told you! you clearly don’t know enough about manga and anime. you should learn from me, (y/n)!”

“and maybe, just maybe, if you try to change your tastes in manga and anime, you’d start attracting people who like the same thing as you.” he smirks, knowing he hit a nerve with that last comment of his.

you nudged him.

“you say that as if i don’t hear you complaining every christmas that you can’t get a girl, chifuyu. shut up!”

he goes silent, a slight redness creeping into his skin, “h-hey, c’mon! you didn’t have to point that out!” he says, trying to defend himself.

“besides, one day i’ll get a girlfriend.. just you wait—” he grumbles, looking away.

“yeah, whatever. i would probably be dead before you even can get yourself a girl.”

he goes silent again. his face seems to get redder, his annoyance clear.

“what’s that supposed to mean? you think i can’t have a girlfriend?” chifuyu retorts, annoyed.

he didn’t appreciate you mocking him like that.

“um, yeah. every time a girl talks to you, you chicken out. be grateful that i stayed.”

his face turns to disbelief at your words, still red with anger.

“i chicken out? chicken out?! that’s rich coming from you, who’s too scared to ask anyone out on a date.” he says, not backing down.

“and at least i’m not an introvert who gets anxiety whenever they meet new people, scared of embarrassing themselves and avoiding any and all social situations.” he adds, being as brutal as he can be.

your jaw dropped but you quickly compose yourself. don’t let him get to you just yet!

“h-huh? what do you even know about dating?! i bet i have more chance than you do, chifuyu.”

he chuckles in amusement at your outburst.

“oh you’re just all bark, no bite, (y/n). i’ve been on a few dates, sure maybe none of them really lasted, but at least i’ve been on some. you can’t say the same, can you?”

“and i doubt anyone would wanna go out with a dork like you anyway,” he adds with a smirk.

you had enough. you stood up from the floor of his room and exited the door. wow, so much of a hangout!

“hey hey hey, where do you think you’re going, (y/n)?” chifuyu taunts, standing up and walking towards you.

“the conversation isn’t over yet, now is it?” he adds.

“i’m going home.” you said plainly as you walk down the hallway.

“no, you’re not," he says, grabbing you by the arm and stopping you from continuing your walk.

“who says you can leave now?” he asks, annoyed and determined to carry on with his argument.

you nudged your shoulder, removing your arm from his grasp as you continue to ignore him.

coincidentally, baji came and opened the door. poor guy must be confused to see you leave right after. he stepped aside as chifuyu tried to chase after you.

“hey! what gives you the right to ignore me like that?!” chifuyu shouts, watching you walk out of the front door.

“damn it!” he yells angrily at you as you walk away with your nose in the air.

“way to go, chifuyu.”

“kindly shut up, baji-san.”

the next day at school, you were not in the mood. maybe his words got to you yesterday.

you stare into the void of your locker as you got your books out slowly.

chifuyu notices something is off with you. he decides to walk up to you as he sees you get your books out slowly, looking at you with a concerned expression.

he decides not to bring up the argument you had yesterday, for he knows his words can cut deep sometimes.

“hey (y/n), are you alright?” he asks quietly.

“hm.” you simply hummed in response as you shove your books into your backpack. you adjusted the straps before closing the locker and walks towards your class.

chifuyu follows you. he decides not to follow up with his previous question, and instead makes an attempt at being friendly.

“can i walk with you?”

“sure.”

he walks alongside you, feeling quite uncomfortable with your silence.

“so, um, do you mind if i ask what’s got you so down?” he asks, as he walks with you to class.

“was it that argument we had? or something else..?” he asks again, genuinely curious.

“maybe next time don’t call me a dork when you know i dislike it, chifuyu. i get it, i’m sensitive sometimes but—”

“that was yesterday, is that why you’re pissed at me still?” he asks, not fully understanding the situation.

“besides, i wasn’t being serious, (y/n)! we’re friends, you’re no dork.. i’m sorry okay?” he says, feeling a bit saddened.

“and besides, i like it when you’re sensitive. it’s adorable.” chifuyu says with a small smile. he felt that admitting that is rather embarrassing, but he wanted to reconcile with you.

you paused on your tracks as you look up to him. “did he just.. call me adorable?”

“come again?”

“you heard me.” he smirked.

“you being overly sensitive is such an adorable trait to have. not to mention, i would prefer my future girlfriend to be somewhat sensitive, instead of being a cold and mean person.”

he said it all so boldly that makes your mouth hangs open slightly. your cheeks are betraying you already.

“what..?”

he can see your cheeks getting slightly red tinted now. he was getting flustered himself.

“i.. uh..” he stammers.

“i mean, everyone would want their future partner to be someone they like. and i like you, (y/n).”

“plus, what i said is the truth. people do think you’re cute and adorable whenever you’re overly sensitive. even your anger is adorable.” he adds, giving it his all to persuade you into admitting you like him.

he’s clearly into you now.

and, you have no choice but to answer.

please do not steal, copy, translate, repost to other sites or claim my writings as your own. plagiarism is real!

chifuyu is so cute (i am biased) and a fluffy fluff is what he deserves (ง ˃ ³ ˂)ว ⁼³₌₃⁼³ i hope you like this one~ all reblogs & likes are vv appreciated!

#🐯 luna writes #🐯 luna's fics #tokyo revengers #tokyo revengers x reader #x reader #chifuyu matsuno #chifuyu matsuno x reader #chifuyu x reader #tokyo revengers fluff #tokyo revengers scenario #tokyo revengers imagines

[comicaurora]

Hello! I wanted to send my appreciation to you as a longtime fan of OSP and Auroura! I am an English Major with ADHD and your content always makes me inspired and my English Lit. Brain very happy with how good your storytelling is.

My question is what stories inspire you to write or make you want to sit down and tell a story? Your content makes me want to work on my projects, but my Adhd only last as long as I am not disturbed (i.e. need to eat or get up and move). You have always been upfront about your Adhd so my second question is how do you keep focused on your story and not burn out? (Talking as someone who is writing a novel as their thesis)

You have been a great inspiration over the years and someone I look up to as a storyteller! I wish you focus and luck! => 💝

Woo! Interesting questions!

When it comes to inspiration, I haven't really found a pattern for what works and what doesn't. The majority of the time, only new experiences/stories I haven't seen or read before work for me - rewatches and re-reads, while much more comfortable for my brain, don't tend to translate into creative inspiration for me - but it's not like a specific genre, or even a specific kind of relaxation, consistently work for me.

The way my brain works is a bit "no take only throw", as it were. I want to just sit down and make solid, steady progress in a predictable environment with a routine, but what I need is to try new things, go outside, take risks - because all those things give me new material to work with and refill the creative gas tank. When I'm stuck, I can't just hit the gas and punch through the block - I need to back up and try a new angle.

The good part of all this is that whatever engine that's running my subconscious is actually pretty good at signaling what it needs. The ADHD brain will be repelled by activities that aren't working for it and drawn to the things it needs at the time, whether that's creative energy or exercise or cleaning or doodling or listening to music or suddenly binge-watching a show that's not even all that great, and once it's got what it needs out of it - whatever that is - it'll be repelled again, either spitting out a sudden burst of creative energy or retreating to its den to chew on whatever it got out of the experience for a more slow-building reward. Little bursts of motivation and creativity pop up all throughout the day, and if you can pivot to the activity in question - or at least note down the idea you just had - you'll be able to harness that pretty nicely.

This "system" really only works for me because I have an extremely unstructured schedule and nobody relying on me to be consistent moment-to-moment. If I'm following the creative needs of my inscrutable Better Writer In The Back Of My Head, I can't be worrying about things like a consistent lunchtime or classes or a 9-to-5. All of my observations are caveat'd by the fact that I am ridiculously lucky to have the kind of freedom of movement and schedule that I can focus entirely on getting to know my brain better.

When it comes to staying focused on any one project, I've reluctantly concluded that the only way to win is not to play. Creativity needs time and diversity to recharge, and when you stall out in any given work session, it's usually because you're out of gas. This is why I maintain several projects in varying stages of "for my eyes only"-ness - a sketchbook, private writing projects, patreon doodles, music practice; even in the large-scale projects like the channel and the comic I have multiple angles of attack at any given time, where I can as needed switch between scripting, research, drawing frames, storyboarding more plot onto the end of the comic's current draft and lining/coloring/background-ing the finalized pages of the comic chapters earlier. This lets me maintain semi-steady progress on average, even if any one facet of the process is left by the wayside for potentially even weeks at a time.

If you're working on one writing project, one novel, I'd recommend giving yourself some time to do small-scale side-hobbies. It won't feel like they're helping, but they are.

I've started to think of inspiration rather similarly to the way I think about nutrition and digestion. It's a somewhat arcane process that, despite being a part of me, I don't exactly understand what's going on under the hood. If you eat only one thing, no matter what that one thing is, you're going to end up sick because you're lacking all sorts of niche micronutrients. If you parcel out a specific space of the only things you're allowed to eat, you might not get sick (as quickly) but you're likely going to become increasingly miserable as you think of the things you're not allowing yourself to try, or slowly build up highly specific forms of malnourishment by avoiding certain things entirely. But if you start listening to your body and try eating what it says it needs at any given time - oh, I could go for a rice bowl right now, oh I don't think I'm feeling something sugary today, man I could really go for some grapes - you're likely to hit a broadly good balance of health because you're hitting a broad range of things your body needs, even if you don't know all of their names or calorie counts, and your body is putting those resources to good use without your conscious input. Between my brain and my stomach, I only trust one of those to actually understand what a stomach needs to do its thing - and between me and my creative brain, most of the time it feels like I just work here.

I hope there was something helpful in all this!

#asks #not aurora #writing stuff