#acne representation

[rrcenic]

freminet redesign!!!

this took me an ungodly amount of time because i was a dork and instead of using the liquify tool i manually used the lasso tool and had to color in all the extra space 😭

details:

added acne and more freckles

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a necklace that matches gamings belt thingie (they are the boyfriends of all time)

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bright blue eyes, smaller irises, and more sharp eye shape/makeup!!

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healed s/h scars

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made this thing into the fatui symbol :)

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made him chubby because mihoyo hates diverse body types

[somewhereincairparavel]

headcanon that jason grace has rosacea, so his cheeks always look like mild blush is applied, but at times when he gets stressed (which is... a lot) he gets flare ups and his cheeks basically turn flaming pink. he's slightly insecure abt it but his friends and basically most people always tell him that it's endearing and adds to his charm (bc it does) and that it adds to his 'roman statue' handsome look. he gets really happy whenever he hears that.

[stillw4t3r]

QUICK BEFORE PRIDE ENDS POST THE RAREPAIR!!!!!!!!!!

[thequeenofcarvenstone]

Buck's acne scars and Eddie's keratosis pilaris 💗

[hinotorihime]

i don't talk a lot about the fact that i use a mobility aid but i've started getting into the sims recently and i have to say i'm really disappointed by how little support there is for canes and wheelchairs :( it feels like it wouldn't even be that hard to implement some extra walking animations, EA what are you doing

[starcures]

i would really like to see acne representation in things :):. <- smiling breaking out guy

[elite-immigration]

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[deliciousmicroplastics]

Fanart of link with t acne

[starsarestories]

This is why I love the marauders fandom. We have so much diversity and as someone who isn't stereotypically pretty or the "perfect" weight, I feel so comfortable in this fandom

A thing that annoys me in any fandom tbh is that ppl always depict the men as ripped and strong, or atleast looking like he works out. And same with the girls, always big boobs and rly skinny, and it's annoying bc that's not how real bodies look like and I think realistic would be more attractive then overrated beauty standards ://

[yardsards]

also. it's not nearly as bad as like, whitewashing a character, or making a fat character skinny, or erasing a character's disabilities, or anything like that. but. it annoys me sooo much when people change characters' designs to make them fit more conventional beauty standards.

like obviously people with acne/flat chests/big noses/crooked teeth/frizzy hair/wrinkles/whatever aren't exactly an Oppressed Minority in of themselves, but it still feels like you're erasing some kind of representation, y'know?

"oh but i draw her like this because i like making sexy art" if you can't find her hot without smoothing her out and stapling some DDs on her chest, that's frankly a Skill Issue.

[citrus-soju]

I love that MTL has so much representation. Not only do all the characters have different heights, body types and faces, they also have disabilities, illnesses, traumas, addictions, etc.

Nathan is very clearly autistic. Pickles has asthma that gets worse when stressed. They’re both severe alcoholics, Nathan even to the point where he regularly needs liver transplants. Toki has diabetes and PTSD. He gets panic attacks, age regresses and becomes mute around his parents. Skwisgaar is most likely also autistic, always stimming with his guitar, and experiences physical pain when he’s unwell mentally (also has a severe cilantro allergy lmao). Murderface is a depressed, suicidal IBS king with a lisp. He also seems to deal with cystic acne on his ass (which is SO PAINFUL).

And the side characters. Knubbler lost his eyes and had them replaced. Edgar is a paraplegic due to a car accident, completely wheelchair bound, delusional about his brother’s death (which he overcomes thankfully), and at the same time he’s one of the smartest people in the show tbh. General Crozier deals with PTSD related nightmares. The Metal Masked Assassin was born with albinism, he appears to have deformities, and wears a splint or support after getting his arm broken. Murderface’s grandpa, completely immobile and unable to speak after his stroke. Even Rockzo’s life went completely downhill because of his addiction tbh and I sometimes wonder what kind of person he would be without all the damage from all the coke.

I’m probably forgetting someone and please add on to the list if you want. But I’m just. I’m so impressed. So much representation in a show, and none of it feels forced.

[writingdirectory]

Notes from a 5-day creative writing course:

Motivation

Make it a habit. That way, each time that familiar voice of self-doubt makes its appearance, it’ll be easier to ignore it, because writing will become something that you do-your thing-and you’ll gain confidence in it.

Visit your novel every single day. It doesn’t necessarily mean that you have to write something every day. You could outline the plot, or write character portraits, or draw a special part of your world. Your subconscious will work on your story even when you don’t. So, each time you visit the story consciously, you’ll find that things have developed in the story.

Manage the time of writing in a way that it is manageable for you. (It can be that one hour between classes or your lunch break or the morning before you go to work or at night before you sleep - Schedule it in a way that suits you and then, be serious about it.

Set a goal. For example, 100 or 500 words a day.

Character Development, Word Choice & Description

At first, characters incarnate ideas. A poor man who wins the lottery, a young boy who travels to a magical land. As we develop the story, they become people - real people with backgrounds and unique choices.

Ways we perceive character: through actions, thoughts (conflict), dialogue, interactions with others.

Bring intentionality to the representation of a character.  Don't give arbitrary information.

How a character reacts is a question of how you want to represent them through all those multiplicities that are dialogue, actions, interactions, etc.

Characters always want something. They are never static. With wants come obstacles and transformation.

Create tension between what a characters thinks, feels and says. For example, set external confidence and internal fear and then change that as the story develops. Characters can also be comfortable or scared depending on the situation.

Explore complexity. How a character talks to their lover is different from how they talk to their friends and family.

Give secondary characters a characteristic beyond their function to make them more prominent.

Make a hierarchy out of characters.

Exercise: Write the portrait of a character, how you would introduce them in the story and a description of them from a character that a) likes them and b) dislikes them.

Word Choice. When it starts sounding like writing, cut it out - Kill your darlings. Example: The car was spotted with rust - shows the car. As opposed to: The car was acned with rust - shows the writing. Sometimes a more refined word works against the object/image.

Description: Don’t just put in details. The details need to be significant for the image you want the reader to see.

Don’t use metaphors and lyricism in the expense of clarity. Be precise. Metaphors and similes should fit the narrative and not distract the reader. For example, saying “He barked like a dog” sounds fine, but if there are no dogs in your world, it is out of place and breaks the narrative. Be specific. Name things. Don’t be vague. Precision grounds your fiction.

Determine if you need static or lively description. Lively description is when you describe things through actions. Like “She passed her fingers through her blond hair”, instead of “Her hair was blond”.

Sense of authenticity. When you describe a place precisely, you gain your reader’s trust. A column is different from a golden column. That kind of attention gives a sense of authority and makes the narrative convincing.

Parts of description: smell, sound, sight, taste, touch, temperature, pressure.

Dialogue & POVs

Dialogue a) informs the character, b) moves the story forward, c) develops relationships between characters.

Dialogue isn’t just about how people talk.

What’s said can suggest what isn’t being said.

Use dialogue interspersed with description and visuals.

Choose the POV that suits your story.

(From David Lodge, ‘The Art of Fiction’.) A fictional story is unlikely to engage our interest unless we know whose story it is. Even with an “omniscient” narrative method, the writer should privilege one or two “points of view”. An objective approach may be a worthy aim in journalism, but not in fiction.

Pros and cons of 1st person POV. Pros: personal and direct, immediacy, intimacy, immediate credibility, easier to build character. Cons: limited, biased, unreliable, writing can become simplistic. When writing in 1st person, keep in mind that characters change, hence their perception changes. That has to be obvious in the narrative.

Pros and cons of 3rd person limited POV. Pros: thoughts can still be on the page, flexibility, wider view of the world, more complex language can be used (usually we think in simple words, so complex writing might sound pretentious and out of place in 1st person POV). Cons: distance (he/she).

GOD MODE. Or, commonly, 3rd person omniscient. You can jump in and out of characters’ minds, but there’s a danger when writing with such freedom. Be aware of structural harmony. Don’t write 10 pages in Sally’s POV and then jump into omniscient.

Use free indirect speech (1st person thoughts in italicized form, eg. No!) to eliminate the distance in 3rd person POVs.

Change POV with reason. Don’t suddenly jump to another POV just because it is interesting. Plan it. Make the change of the POV deliberate and make the reason clear.

Give equal weight to all POVs.  

Setting

The setting of a story is mediated through a character’s experience. It amplifies the theme. It shouldn’t be an arbitrary decision. The setting can make achievements more difficult for characters.

For children, places have magical properties, they are places of significance. The place of someone’s childhood can transform later in the novel, because the character has transformed. There’s a fluidity of meaning attached to places. But keep in mind that, places don’t change. Characters do.

How a character views a place is stated through the language we use.

When writing about a place that exists, have fidelity at the facts.

Editing

Be open to ideas changing.

If it’s not working after 3-4 rewrites, cut it out!

Make sentences active. Things don’t happen to characters. They do things.

Pay attention to rhythm.

Every sentence needs to have a reason to be there.

Usually, we overwrite in dialogue. Use context. Dialogue should be suggestive, rather than explicit.

Edit backwards, because perfectionism kicks in at the beginning.

Isolate. Edit single parts of the story. A chapter, a scene.

Read aloud. It will help find long sentences, pretentious words and unreadable language.

When words become over-familiar, put it down, give it to someone else to read.  

What to look out for: a) Character confusion. Make sure minor characters are introduced properly and find subtle ways to remind your readers who they are. b) Too much exposition. c) Plot holes, inconsistencies - there must rational reasons for coincidences, you must be able to provide logical and credible reasons behind the actions of a character. d) Over-written description.

What to do when editing: cut things out, put new things in, change sentence order and structure, look for repeated words, strengthen verbs (or prune), expand, trim, look for continuity errors, change order of events, introduce a delay in the reveals, rewrite using another POV or tense, determine if each sentence is pulling its weight.

Techniques: a) Prune. Delete text you don’t need. b) Isolate repetitions and delete or substitute with synonyms (look out for pretentious words). c) Cut and paste paragraphs to change order and rearrange. d) write a whole new draft, only looking to the previous one for factual material. e) Use a reader.

Bibliography

Hills Like White Elephants, by Ernest Hemingway (suggestive dialogue)

Concrete Island., by J.J. Ballot (how setting makes goals harder to achieve)

Driving Through Sawmill Towns, by Les Murray (lyricism, setting)

The Art of Fiction, by David Lodge (POV)

The Great Gatsby, by F. Scott Fitzgerald

On Writing, by Stephen King

[hondacivicbrain]

I’ve been seeing a lot of discussion about Clarisse’s casting in the PJO show that basically boils down to “anyone can be ugly if they have a mean personality.” And like yes, that’s true, but "ugly" people also exist (by ugly, I mean not conventionally attractive). let ugly people be ugly (so long as their ugliness is not a reflection of wider prejudice - ie, if only the evil characters are fat, that’s bad).

This bothers me especially because there is no representation for tall, broad, fat, “ugly” preteen and teenage girls, at least not any that isn’t centered around them becoming beautiful. I don’t think ugliness is a bad word on its own. making a character who rejects femininity and is described as ugly both pretty and feminine isn’t making some kind of statement about how pretty people can be mean too, especially because Clarisse is ultimately redeemed.

For her character to be ugly and mean at the start of the story and end still "ugly" (by conventional standards of femininity) and nice means that her character growth is about her personality - and that her looks were never a reflection of her morality.

It's true that you can be pretty while rejecting femininity, but the way Clarisse is styled in the show (in my opinion) is too feminine. Her appearance is too put together, too subtly feminine, for how she's described in the books. This is no shade to Dior! I actually think she does a great job as Clarisse and I look forward to seeing more of her. But tv and movies have a long history of casting attractive women only to call their characters unattractive, thus reinforcing harmful stereotypes about what is and isn’t beautiful, instead of casting actually *average* looking women.

THAT is the representation my middle school self is aching for. I want a middle schooler who’s taller than all her friends, who’s got a belly, who looks awkward in dresses because of her build, who’s wider than her male friends, who's going through puberty faster than her friends, who has acne and doesn’t wear makeup and doesn’t understand what femininity is and dresses like a Tom boy. These traits aren't ugly. They're normal. They're just not aesthetically attractive, so they are invariably erased from media.

Where is my preteen girl in basketball shorts because the shorts available to girls are too revealing for someone of her size? Where is my teenager who has been told, explicitly or otherwise, that she doesn't conform to beauty standards, so she refuses to wear dresses or skirts? Where is the girl who knows she's "ugly" and doesn't care? Where is the one who never cared until someone told her, and suddenly she wishes to be skinny and slender and not broad-shoulder and not tall and to look like her mom instead of being told she looks like her dad?

I'm all for diversity in casting because people are diverse. But body type - and not just visually appealing or acceptable body types - is part of diversity to. Annabeth’s appearance has virtually no impact on her character, and Leah carries her perfectly. For Clarisse and others like Piper, their appearance is INCREDIBLY relevant to their characters.

Let “ugly” girls be ugly. Combatting fatphobia - which also includes normal sized women and broad shoulders, because the fashion industry has labelled all non-models as fat - in media is not just about showing non-skinny people as attractive. It’s about showing non-skinny people as EXISTING. and being valid for that alone, outside of their moral or aesthetic value.

I can only think of one actress who’s roughly my build. I can think of zero times I watched media aimed for kids and saw a kid my size. Diversity is not just an aesthetic designed to be palatable. Casting characters with ugly personalities as beautiful people when the character in question will go through a redemption isn't the slay some people think because it's still reinforcing the idea that looks have moral value. I rarely see characters without aesthetic attractiveness nowadays, not ones who are on the hero's side; when it comes to children, when I say attractiveness I mean the way a child in a clothing ad looks cute and cheerful, not romantic/sexual attractiveness. For children especially, body positivity is far less important than body neutrality - the idea that their bodies don't have morality or attractive value attached.

What's most important to me is that "ugly" and unfeminine preteen and teenage girls see themselves represented neutrally, in a way I can't recall ever seeing myself.

I don't mean to hate on Dior. I really do think she's excellent as Clarisse. This is just my perspective, as an "ugly," tall, broad-shouldered, chubby former middle school girl who would've loved to see someone who looked like me.

[percabeth4life]

PJO Represenation Critic Masterlist

Disclaimer: The posts linked do not necessarily reflect all of my own opinions. These are linked to allow easy access to a variety of opinion on the representation that Rick included in his works.

Mixed Race Rep Science behind Skin Tone Sadie: One || Two Gods Race: One || Two

Black Rep Elvis: One || Two Hazel: One || Two || Three || Four Troglodytes: One || Two

Native Rep Piper: One (+GR) || Two || Three || Four || Five || Six || Seven || Eight || Tristan McLean: One || Two Response to Rick: One || Two || Three

Latine Rep Leo: One || Two || Three || Four || Five Reyna: One Mexican Rep: One

East Asian Rep General: One || Two || Three

Muslim/Middle Eastern Rep Samirah: One Medusa: One Arabic: One || Two Arranged Marriage: One || Two || Three Response to Rick: One || Two

Antisemitism General: One || Two Lavinia: One

Paolo One || Two

Mallory One || Two

General Racism (GR) One || Two || Three || Four || Five || Six || Seven || Eight || Nine || Ten || Eleven || Twelve || Thirteen || Fourteen || Fifteen

Queer Rep Reyna: One || Two Alex: One || Two Nico: One || Two || Three || Four || Five Hunters: One

Disabled Rep Nico: One || Two Percy: One Clovis: One ADHD: One || Two || Three || Four || Five || Impact of the Mist: One || Demigod "Strength": One || Two Physical Disability: One

Misogyny Aphrodite Cabin: One || Two General: One || Two

Fatphobia One || Two || Three

Acne One || Two

[dreadsuitsamus]

hi! i’m not sure if you’ve done this before but.. could i please request a vegeta x human!reader who’s heavily tattooed (legs, arms)? i have no real idea for a plot line for it but gather it’s not something he’s seen a whole lot of since coming to earth - if at all! happy for either SFW or NSFW, completely up to you if you don’t mind the idea? have a lovely day!

For Fun | Vegeta x Reader |

author's note: this idea has absolutely made my day. it just begs for a sweet little vegeta learning moment, since normally it's him explaining saiyan culture. i have chosen the sfw path here! it's also funny bc i've been contemplating tattoos lol and a vegeta tattoo has been on the brain for some time now. thank you for your request!!!! 🩷🩷🩷

pairing: vegeta x fem!reader

warnings: sfw, reader has tattoos, some nudity but no smut or anything remotely nsfw, post-namek but pre-androids and cell

You can feel Vegeta's eyes on you as you work on his suit, Bulma's lab being the only place you feel comfortable sharing space with him in— the racket of the tools at the very least would alert somebody of something nefarious happening. Your dear sister just had to have a soft heart (or rather, quite the boner) for the Saiyan, and now it's you that suffers the consequences while you patch up the blue suit with a precise needle and thread.

"I'm not going to ruin it." You snark at him, not exactly happy to be in his presence. He's a murderer! "I've fixed it for you before without an issue." Bulma's doing her best to copy whatever material this suit is made of, but she's having trouble competing with alien technology— though she'll certainly have it figured out soon. She's a petty thing on the regular, but test her intelligence with a challenge like this and she's more stubborn than acne on an asscheek.

"Mm." He never talks much, at least. But as you stretch your arm out to pull the thread taught, Vegeta moves to take your wrist in his hand. While strong and easily capable of smashing your poor bones to smithereens, his touch is on the softer side.

"What in the world are you doing?" Are aliens unaware of personal space??

Ignoring you initially, Vegeta's gloved fingers curiously glide along your forearm, eyes focused on the artwork adorning your skin. "Your tattoos make little sense. What sort of culture is this?"

"Culture?" You repeat the word dumbly, fighting the urge that lingers just under your skin, heart rate picking up as you will yourself not to shiver at his touch.

"These flowers and symbols, what do they represent? I've been on Earth long enough to know the culture here is nothing like these— furthermore, the lab rat has none at all."

The laugh that bubbles from your chest is easy. Perhaps Earth is the only planet, or one of few, with inhabitants that indulge in tattoos for pleasure rather than cultural representation. "They aren't part of any culture, Vegeta."

"Then what are they?" His brow furrows rather adorably, his lips pulling into a pout as you laugh at his ignorance.

"For fun."

"You marked yourself permanently for fun?"

"Sure did. I got tons of 'em. Some of 'em mean somethin', but for the most part they just bring me joy."

Vegeta releases you finally, shaking his head in a way that reminds you of your father when you first started inking up. "Silly Earth woman…"

"Oh come on. Tell me they aren't pretty." You smirk softly, eyes glittering with the twinkles of mischief. This is a new light on Vegeta, one that perhaps drew Bulma's generosity his way in the first place.

"Tch." A blush rises to his cheeks and he looks away, staring a hole into the wall. "They're not ugly."

A not-so-pretty snort escapes you as you resume patching the suit up, tying and clipping off the end of the thread after the hole is closed up. "I got my first tattoo when I was seventeen. I was young and dumb and in love with a guy I thought I would be with forever." You murmur softly, pulling up the leg of your sweatpants to show off the heart by your ankle. It's old and faded by now, but your lips still pull into a smile at it.

Vegeta takes the moment to examine it, brushing a curious knuckle over the tattoo. His curiosity is sweet, and this must've been on his mind for ages now— it's not like him to get handsy or remotely talkative at all. "Saiyans never took part in these."

It makes all the sense in the world; from what you've pieced together by Vegeta's quiet, rarely spoken about tales of home and with the love for fighting that gushes from both his and Goku's hearts, Saiyans aren't exactly sentimental. "Well… You're on Earth now. You could get a tattoo just for the hell of it."

"I have no need." Vegeta looks away again, and you shrug to yourself.

"They're not for everyone, I guess." You hold the repaired suit out, feeling a tad bummed out that the sight of him in a tank top and sweatpants will be gone soon, but a lilt of surprise thrums in your heart when he sets it on the table and looks at you instead.

"Do you… have more of them?"

You laugh and tug at your t-shirt, pulling it off in the face of the blushing prince and revealing several more tattoos, most of which he's never seen before. "You got time?"

"You could certainly warn a man before you start stripping." He grumbles out, forever the prude even in the face of a gorgeous woman and her body.

"So sorry." Your tease bounces off of him as his curious fingers run along the lines on your tummy, sides and just below your breast. You're bare to him almost entirely, as you've never worn a bra at home and certainly didn't intend to start just because a man moved in, though his eyes and touch are calmly curious and genuinely interested in the artwork you're laced with, rather than the perky breasts and soft skin that would have most men acting a fool by now.

It almost has you feeling ugly, though that near-permanent tint of red that dusts his cheekbones reminds you otherwise.

"Don't forget the one on my back." Your murmur is gentle, only there to invite him further into the journey without jostling his concentration too much. And he takes your advice, stepping behind you while tracing the intricate linework of the massive tattoo, pausing at the sight of the gorgeous mural on your back. You've spent quite a bit of money on this, suffered the pain of the needle piercing and permanently scarring your skin to the patterns that'll forever mark you, and the admiration Vegeta has for your commitment alone is monumental.

Even gloved, his touch warms your skin in the lab's cool conditions and that little spot on your back, the one that had you shaking and embarrassed as your tattoo artist that, bless his resilience, dealt with with more care than a fucking surgeon to properly tattoo, flutters against the accidental tickle. You shift, muffling a laugh into your palm and there's a pause before Vegeta drags his fingertips over the spot again, and then once more.

"Your laugh isn't ugly either." He mutters and steps away, the warmth of his proximity erased and goosebumps covering your body now.

Standing ten toes down and looking over your shoulder, your lips twist in gentle glee upon catching his dark eyes with your own. It's taken some time, but you've finally found what Bulma saw in Vegeta that allowed him into your shared home.

He's flustered by such intimacy and he quickly snatches his Saiyan suit up before rushing towards the door. "Put a shirt on, you vile woman, or you'll catch a cold." Vegeta grumbles out, hightailing it towards the comfort of his gravity room and far away from whatever the hell just happened.

"Must be the first time he touched a woman." You snicker, tugging your shirt on and cleaning up the mess, lest your sister properly bitch you out for it later on.

The ghost of his touch remains, and even under the duress of several times Earth's gravity, Vegeta's palms fondly remember the feeling of your skin.

[bearsspace]

He's really special to me.

I put acne on teen Jason cause I think he looked cute and you know, bit of representation is nice, this one goes for my people out there.