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she-wolf09231982 · 17 days

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Chapter 1-Black Penny

Summary: You grew up in the hustle and bustle of a city most of your life, so you packed your few belongings and headed straight to New Orleans. You hoped to live a simpler, quieter life on the Historic French Quarter. By day during the week, you helped manage Marie Laveau’s House of Voodoo Shop and by nightfall you tended bar at Black Penny on the weekends.

You were aware mutants existed, and believed them to be just as ordinary as you but only with extraordinary abilities. After living a few years in NOLA, you had a knack of picking them out in a crowd and treated them no differently than you’d treat anyone else. You had many run in’s with mutants on Bourbon Street, but none as impactful as the day you ran into Remy LeBeau.

A/N: Character Intro, She/Her Pronouns, GambitX!FemaleReader, GambitX!NonMutant, RemyLeBeauX!FemaleReader, Mutants, Post Deadpool and Wolverine, Post Void, New Orleans, Alcohol, Pining, Creole/French to English Translation

(f)- French

*I just want to disclose I am not a comic expert. Gambit/Remy LeBeau is very new to me and I’m doing my best to stay genuine to what I’ve researched online or from what I’ve seen in the D&W movie. I’m aware there was a HUGE controversy over his heavy accent/dialect and over his eye color in the movie, so I tried to incorporate both versions of each in my stories to satisfy everyone’s preferred Gambit/Remy style. (Personally, I loved Channing Tatum’s accent in the movie ☺️) I’m also cognizant that Gambit and Rogue are an item in the comics, but for sanity sake, Rogue will be a pastime only mentioned in passing if absolutely necessary so I don’t have to study in depth another character I’m unfamiliar with. (I need some brain space for real life stuff, too 😅) Anyway, I’m doing my maximum effort over here writing for Gambit/Remy, so when I do post my developing Gambit story, please, if you have comments or criticisms that don’t benefit anyone else’s appreciation of these fanfics, keep them to yourself and let the rest of us enjoy it. Thanks so much*

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It was a particularly busy night at Black Penny. As live bounce music and jazz blared from the stage, patrons dance and socialize carelessly with each other while you hotfoot from one end of the bar to the other serving up shots and beers.

You approach a man waiting patiently, his face downward hovering over a stack of playing cards.

“What can I getchya?” You ask him.

He began twirling an ace of spades between his fingers.

“(c) Kisa mwen ka jwenn pou ou?” You repeat.

The man lifted his gaze to meet yours with a mischievous grin stretching across his face. An eerie magenta glow softly radiated from his irises causing your jaw to drop. Your stunned reaction spurred him, causing his smile to widen and his eyes to glow brighter as the whites of his eyes began to blacken.

“….woah.” You say under your breath.

The man chuckled, “(c) Ou dwe padone Gambit, cheri (You must pardon Gambit). When his eyes see somethin’ so (f)dulcet (beautiful), it be hard to hide it.”

You shook your head to refocus, “No need to apologize. This is a safe space for everyone. Just caught me off guard is all.”

You flash him a smile and a wink as he returned one to you, the whites of his eyes returning to ‘human’ version of normal and his irises became a shade of icy green.

“Nobody be lookin’ at me like dat wit’out runnin’ off. You weren’t scared?”

“Of course not. Takes a lot more than a pair of flashy eyes on a handsome face to scare me away.” You state.

He laughed as he adjusted in his seat.

“Dats good, dats good.” He said as he leaned forward on the surface of the bar.

“What are you drinking, Gambit?” You ask again.

“Sazerac. (c) Mèsi, cheri. (Thank you, darling).”

You bring the gentleman a rocks glass fixed neat with the amber-red reserve bourbon. He gingerly raised the glass to his nose, inhaling the oak wood barrel scent with hints of cherry, caramel, apples, and tobacco.

He hummed with satisfaction, “(c) Manyifik (Magnificent).”

You nod, then turn to walk away.

“Remy.” You hear him call to you.

“Pardon?” You say as you turn back to him.

“The name’s Remy LaBeau.” He reiterated cooly after taking a sip from his glass.

He averted his eyes to you, awaiting your name. You grin back.

“Y/F/N.”

“(c) Kontan rankontre ou, Y/F/N (Pleased to meet you).”

You feel your face go red as you laugh nervously.

“Same.” You managed to say before scurrying to the other end of the bar to wait on other customers.

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Remy sat quietly in his spot at the bar the entire evening, only ever looking up from his deck of Mavericks to catch a glance of you as you pass him. The crowd started to thin out as last call was announced.

“One for the road, Remy?”

He beamed at you, “Oui, cheri. If you join me for one.”

You smile coyly, “I gotta close up, chief. How about this; I’ll bring you another Sazerac on the house, and I’ll take a rain check?”

You see the magenta glimmer in his eyes again.

“I like the soun’ of dat, cheri.”

You smile and nod then turn to the counter behind you to prepare his drink. You set it in front of him as he placed a $100 in front of you.

“You only had two. That’s too much.”

“(c) Pran li (Take it). For your generosity an’ da company.” Remy insisted.

You beam at him, “(c) Ou twò janti (You’re too kind).”

He stood up from his stool, and fixed his collar on his leather trench.

“Until next time, mon cher.” He said smiling while standing tall opposite you.

“Orevwa, Remy. I’ll see you around.” You reply sweetly as you feel your cheeks heat up again.

“(c) Mwen pwomèt ou pral (I promise you will).” He purred in his heavy honeyed Cajun accent.

He bowed, then turned on his heel to exit the bar. You released a deep exhale as if you hadn’t taken a breath since having met him that night.

♠️♥️♣️♦️

*I know this was a short one and I plan on a chapter 2. I’m just dipping my toe in the water here to see what feedback I get* 🥰

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worflesbian · 1 year

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Klingons & Racialisation - the Long Post

This post is an overview of the racial coding of the Klingons from their first appearance to the present day, illustrated by quotes from Trek writers, actors and crew members taken from the Memory Alpha article Depicting Klingons, with my own interjected summaries and explanations. It is by no means comprehensive (I likely missed some stuff), and does not offer critical analysis of the quotes provided, but nonetheless is intended to demonstrate irreproachably the open fact that Klingons have always been intentionally written and designed as non-white -- something that fandom consistently fails to take into account when perpetuating racist stereotypes and reiterating racist canon content. I recommend reading the whole article for a more in-depth understanding of the subject, as well as seeking out the existing writing of fans of colour. This post is primarily for reference purposes so I've tried to limit my own analysis and opinions, but I do post those in my Klingon tag as well as more general headcanons and worldbuilding and I'm happy to answer any (good faith) questions this post may raise.

As always, if I have overstepped in any way as a white fan in making this post, I am grateful to be informed and will make any required changes.

Content warning for outdated and offensive language under the cut.

The Original Series

"There is some suggestion that the Klingons represent a Cold Warrior's view of China in the 1960s – swarthy, brutally repressive." (Star Trek Magazine issue 153, p. 66) "And I think he was basing a lot of it on the kind of attitude of the Japanese in World War II...." ("Errand of Mercy" Starfleet Access, TOS Season 1 Blu-ray) The script of "Errand of Mercy" introduces the Klingon look by saying, "We see the Klingons are Orientals," "Spray my hair black, give me a kind of swamp creature green olivey mud reptilian make-up, and we'll borrow some stuff from Fu Manchu, and put a long moustache and eyebrows on me." ("The Sword of Colicos", Star Trek: Deep Space Nine - The Official Poster Magazine, No. 8) "I think the makeup was called 'Mexican #1 or #2.' That was the name of the original makeup foundation – they actually had kind of racist names at the time, like 'Negro #1' and 'Mexican #2' – which was the basis for the original Star Trek makeups." (Star Trek Magazine issue 172, p. 59) "In the original series, all they wore was a dark face and their black hair," Michael Westmore observed. ("Michael Westmore's Aliens: Season Two", DS9 Season 2 DVD special features) The Klingons' appearance changed within the original Star Trek series; although dark makeup and heavy eyebrows were the norm, the Klingons of "The Trouble with Tribbles" were much lighter-skinned and more Human-like in appearance.... He noticed that they are not only less like Mongol warriors by having less of a swarthy appearance but also by being slightly not as fierce... ("The Trouble with Tribbles" Starfleet Access, TOS Season 2 Blu-ray) "...they were meant to represent the Communist foes of the United States specifically during the Vietnam War, which was being controversially fought at that time. (Star Trek: The Original Series 365, p. 222) "...let us never set up a situation whereby those adversaries of ours [Klingons] give any indication of ever being anything but highly aggressive and self-seeking opponents." (These Are the Voyages: TOS Season Three)

Here it is explicitly stated that the Klingons were based on various Asian cultures, with the USSR also being mentioned heavily in the article. This influence and the use of "yellowface" is covered more comprehensively in this youtube video Klingons & The History Of Racial Coding. However, the video has some notable gaps which I hope to cover in this post.

Post-TOS (movies)

The Star Trek III portrayal of Klingons took inspiration from Japanese history. "Harve [Bennett] had the notion that the Klingons were like Samurai warriors," explained linguist Marc Okrand. (Star Trek: Communicator issue 114, p. 27) Robert Fletcher agreed with Bennett, later saying of the Klingons, "I always liked to think of them as authoritarian, almost feudal, like Japan had been." (The Making of the Trek Films, UK 3rd ed., p. 52) Regarding the make-up, Michael Westmore observed, "Until now, Klingons were brown. Some had a bony ridge running down the middle of their foreheads, long black wigs and facial hair." (Star Trek: The Next Generation Makeup FX Journal, p. 28) "I thought it was an ideal way for us to have our closure too, because the Klingons for us have always been the Communist Block, the Evil Empire. It just made sense to do that story." (The Making of the Trek Films, UK 3rd ed., p. 100) "Gene was really bothered by the Klingons in VI [....] [They] were, in his words, 'too civilized, too decent, too much of the good guys in the story.' [....] [The Klingon detente] was not the way Gene would have handled it. He would have reversed it, he would have had the Klingons being the ones who couldn't handle the peace, with the Federation saying, 'Come on, let's try and work this out.'" (Star Trek Movie Memories, hardback ed., p. 289) "The story never explored the Klingon culture the way I'd hoped it would [....] I was hoping for greater insight into the Klingons." (I Am Spock) Nimoy hoped, in specific, that the movie would provide some important insight into why the Klingons had "always been so angry, such nasty, vicious murderers." Nimoy wanted the insightful knowledge to be an intellectually transformational force, changing the thinking of Kirk and the audience. (Star Trek Movie Memories, hardback ed., pp. 287-288) In an interview in the DS9 Season 7 DVD, Robert O'Reilly observed that a long-running joke among actors who have played Klingons is that they do not want to appear in the Star Trek films as, he believes, the only purpose of a Klingon in one of the films was to be killed off.

Although these last three quotes may not seem relevant, I believe they highlight an important facet of the racialisation of the Klingons. It reads as though Gene Roddenberry was against depicting the Klingons in a more sympathetic light than the Federation, and considering that the Klingons are intended to be non-white, refusing to give depth or motive to their anger in favour of keeping them "nasty, vicious murderers" comes across as fairly racist, especially when these kind of reductive and harmful stereotypes could've been challenged as Nimoy suggests. The treatment of Klingons as disposable villains is also concerning in this context.

The Next Generation

African-American actors were often cast as Klingons in TNG and subsequent Star Trek productions. This practice wasn't racially motivated but was instead carried out because it lessened makeup time, as the performers already had a brown complexion without having to have their skin painted that color. (Stardate Revisited: The Origin of Star Trek: TNG, Part 2: Launch, TNG Season 1 Blu-ray) Tony Todd, who portrayed the recurring Klingon character Kurn, stated, "I don't look at the Klingons necessarily as African-Americans, but it's about tapping into something–they're certainly an alienated people, so maybe that's why African-American actors can identify with those characters. But that doesn't mean it's exclusive to them." (Star Trek: Communicator issue 116, p. 54) Michael Westmore actually changed the Klingon facial design in numerous ways, though. He stated, "I added a Shakespearean style of facial hair and a forehead bone structure based on dinosaur vertebrae and I was able to modify motion picture Klingons for television." (Star Trek: Aliens & Artifacts, p. 59) In "A Matter Of Honor", the Klingons were intended to be used to shed some light on a common social problem prevalent at the time of the episode's making. This was, namely, what it was like to be the only person of either white or black skin coloration while surrounded by people of the other color. The Klingons were selected to illustrate this theme as a spin on the usual arrangement of a predominantly Human crew serving aboard the Enterprise-D alongside Worf. (Captains' Logs: The Unauthorized Complete Trek Voyages, p. 176) Two historical societies, the Samurai and Vikings, served as other inspirations, Moore perceiving about Klingon culture, "There was the calm, elegant reserve associated with the Samurai but there was the 'party-down' like the Vikings." (Star Trek: Communicator issue 114, p. 58) "I stopped thinking of the Klingons as the Cold War adversary," he explained. "I didn't think it fit [....] The place where the Russians were when I was doing the Klingon shows just wasn't as relevant any more." (Star Trek: The Magazine Volume 1, Issue 19, pp. 64-65) "The Klingons are not evil, tyrannical pirates bent only on pillage and plunder. They have a strict, almost unyielding code of ethics and honor and take their responsibilities as rulers seriously." Following a description of the Klingon homeworld, the memo continued by saying, "Klingon society could most closely be compared to that of Sparta or feudal Japan." ("Sins of the Father" audio commentary, TNG Season 3 Blu-ray) Having recently seen the film Malcolm X, he imagined the Klingons in the "Birthright" duology as metaphors for black people. (Captains' Logs: The Unauthorized Complete Trek Voyages, p. 274; Star Trek: Communicator issue 105, p. 16) "There's a certain way you have to carry yourself. You have to really be able to project the violence and the anger [....] All you have to do is think of the Spartans. They say, 'They'd rather have you come home dead on your shield than come home a coward.' [18]

This is where I feel the video essay previously mentioned falls short -- in the next gen era, Klingons are now explicitly black-coded. While some Asian cultural influences are still cited, they learn more towards the historical and are intermixed with other historical European influences (Spartans, Vikings, Shakespeare) rather than being fueled by contemporary prejudices towards the political enemies of the US as they were in the TOS era.

Deep Space Nine

Fields also generally based the Klingon group on American Western prototypes from the film The Magnificent Seven or, to a lesser extent, Japanese prototypes from The Magnificent Seven's movie source material, Seven Samurai. (Star Trek: Deep Space Nine Companion (pp. 131-132)) "So, the hair [...] was permed. So, it had more of a curl instead of the straight type look, and by perming it, they were able to kind of give them larger, bigger hair, so it was more like a mane." ("Michael Westmore's Aliens: Season Two", DS9 Season 2 DVD special features) "I don't know how you could equate Klingons with what's going on in the world today," he admitted. "I think the intention was to make them like samurai. That hairdo they gave them is very much a samurai hairdo. A lot of the fight sequences, the moves with the bat'telh, are very much taken out of the Asian martial arts [....] It's very romantic you know, these three old guys, the Klingon over-the-hill gang." (The Official Star Trek: Deep Space Nine Magazine issue 15, pp. 17-18) "It was different for them to get into this makeup, because [...] [the makeup was more elaborate and] the beards were bigger, and they were greyer, and they had curls to them, and the moustaches, they had the Fu Manchu look to them. So, they weren't used to sitting that long to be a Klingon." ("Michael Westmore's Aliens: Season Two", DS9 Season 2 DVD special features) For recreating some old-style Klingons in "Trials and Tribble-ations", the Klingon-playing actors had to be made up with the same swarthy, shiny brown makeup as used in the original series. (The Magic of Tribbles: The Making of Trials and Tribble-ations) ...he had them unite in song, thinking this was "just the kind of thing that Klingons do" because they are, in his opinion, similar to Vikings. (Star Trek: Deep Space Nine Companion (p. 449)) "I always saw the Klingons as a combination of Japanese Samurai who haven't had their morning coffee (or tea!) and African Zulu warriors." [25]

In DS9 the only inspirations cited seem to be historical, once again leaning towards feudal Japan and the Vikings. Interestingly although the Klingons here are predominantly dark-skinned, I don't think that J.G. Hertzler, who is white, had his skin significantly darkened to play Martok (at least, not compared to the obvious brown makeup worn by other white actors playing Klingons). Having a white actor play a Klingon without dark makeup could've set a precedent decreasing the use of such practices later on, but no one seems to have picked up on it.

Enterprise

The Klingons of ENT: "Sleeping Dogs" were based on the crew of the Russian submarine Kursk. "For me," said Dekker, "the point was to acknowledge the Klingons as 'people' – to find them in a clear position of distress [....] The idea to 'humanize' their plight was mine, and it wasn't anything I thought about as far as canon. It just seemed right." (Star Trek: The Official Starships Collection, issue 41, pp. 10-12) In the final draft script of "Affliction", the altered Klingons were initially referred to as "fierce-looking aliens" and were further described thus; "The aliens have a swarthy complexion, and dark facial hair... they could easily be mistaken for Humans. We'll eventually learn these are Klinqons... but their cranial ridges have disappeared."

At this point in time it seems the Klingons had essentially done a 180 from one-dimensional villains to sympathetic fan favourites, while still retaining the skin-darkening aspect of their makeup and "barbaric" characterisation. Although this is not mentioned in the article's section on the Abrams films, the images provided do demonstrate a level of skin darkening for the Klingons' brief appearance in Into Darkness.

The final section of the article is incomplete, meaning I don't have a lot of information for Discovery's redesign of the Klingons. The sources I can find cite ancient civilisations such as the Byzantines as well as Islamic architecture as inspiration for the set design, with a baroque influence on the costumes. I have heard rumours that the crew of Discovery have cited North African cultures as their inspiration for the Klingons but I can't currently find a source for this. Despite the lack of direct quotes, it's visibly clear that the Klingon makeup is still darkening the skin of white actors, although this time also to non-human blue and purple colours, as well as altering certain features in a racialised way. To elaborate: Mary Chieffo, who plays L'Rell on Discovery, is white and has a very thin nose and small lips, but in costume these are broadened in a way that seems imitative of African ethnic features.

As of the making of this post (early August 2023) I haven't seen any of Strange New Worlds, but from some cursory research its latest episode (Subspace Rhapsody) seems to have put a white actor (Bruce Horak) in brown makeup to play a Klingon. I am deeply disappointed that on a television set in 2023 people can still be darkening an actors skin like this without questioning the racial implications of what they're doing.

Thank you for reading to the end of this post. Please feel free to link to it if you found it useful enough to cite in another context. I would like to reiterate that I am white and while this is an issue I care deeply about it is not one I have an emic understanding of, and if anything I've said here is inappropriate I would be very grateful to be made aware.

#ive tried to make this like. really formal to cover the fact that im fuckin Ragin at snw for doing literal fucking brownface in 2023 #next up top ten things fans should Fucking Reconsider saying about klingon characters #anyway #i feel like as a white trekkie who's big into klingons there's this insane blindspot when it comes to The Racism #that ive only ever seen fans of colour talk about #so if i have one goal for this post its to try and reduce that blindspot a bit and give people something concrete to point to #when some fuckwits in their notes acting as tho ~theyre aliens so it cant be racist~#tlhIngan #ghItlhpu'wIj

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