#also it would fit it with the examples above being specifically characters

[nakanotamu]

Oh lmao I'm friends with both of the two (2) people who have wrangled wrestling the past four or five years now, so I'm not 100% sure of all the policies this is just stuff I've seen them talking about. Before them, all wrestling was unwrangled, which led to a lot of mess and bloat that's not 100% fixed, and before that the person wrangling it made a lot of decisions that ended up not being very practical based on a very different idea of how this stuff should work, but became "policy" and is difficult to change now. I would ask one of them to weigh in but I don't really think either of them want the potential heat associated with people knowing they handle the ao3 tags for all of wrestling but I'll do my best:

Ao3 has very specific rules for when and how to canonize tags, and they fit wrestling extremely poorly. It's two people doing their best to apply a system that is designed for cataloguing and permanence to the unbelievably ephemeral world of wrestling.

They both have very much more than a passing familiarity with wrestling, but that's not to say anybody knows every wrestler. Neither of them follow WWE. They both know how to do research and will spend fic writer amounts of time looking up every wrestler they don't know.

Nothing is automated. Every tag has to be dealt with manually. There are also rules about how many tags they're supposed to change all at once to not overtax Ao3's servers, so it's a balancing act of when to do big renames. Every time a WWE wrestler, especially a big one like Saraya or Edge, goes to AEW, it's a nightmare for them.

It's not based on who uses a tag first and it really shouldn't be. Like think about it, how many people do you know who would use the | format for a tag that wasn't already there? Also, think about how often wrestlers change their names. Do you think no one is writing fic about Jon Moxley | Dean Ambrose and using the names interchangeably on the same dude? Do you think those fic should all be kept 100% separate based on which name they used? How about Io Shirai | Iyo Sky, are those separate characters who shouldn't be findable in the same search?

Canonization is based on Rule of 3. Something is up for canonization once it has 3 uses, I think it has to be 3 separate uses I don't remember the exact details. Then, once canonized...

Synonymisation (synning) is when two tags are linked as, well, synonymous. This is the purpose of canonization, is having a canonical tag to syn them to, because the intent is that someone searching for one character can go to that canonical tag and find all of the works relevant to that search. So go ahead and use whatever tag for whoever you want, it'll get synned to the wrestler's canonical, that's the important part. Bc of the way Ao3 is set up it only recommends canonicals to you while you're filling them in but very few people actually write their tags like that.

Again bc wrestling is such a unique beast there isn't a hard and fast rule as to how that should be done. They're doing their best to sort through a combination of what is the nature of the characters vs how are people using the names.

Neither of them really loves the way wholly different characters played by the same wrestler get synned, but the precedent was established before them that they should be and there's significant enough writing for most examples like that that does treat them like the same person that they kind of have to go with that.

To specifically respond to the examples above, Swerve Strickland & Isaiah Scott are the same dude. Like that's one character. There's also a significant chance anybody searching his old NXT name would still want to see Swerve stuff too, or that people searching Swerve could be interested in the old fic that never originally got tagged that. So they get synned, even though probably everyone writing fic about him now just uses Swerve. Killshot probably doesn't have enough usage to warrant his own canonical, and also ambiguously is or is not kind of Swerve, so it probably got wrapped in and updated when the Swerve tag was canonized, but didn't have enough usage to just stay as Killshot. The Chuck Taylor one you're free to use but it would never get canonized because a) it's too long and b) nobody is using most of those names. It would get synned to the Chuck Taylor tag. Luchasaurus is not synned to Austin Matelson, I checked, it's synned to Judas Devlin, which was his name on the indies & in FCW pre-Luchasaurus. My guess would be there were tags used pre-AEW that included it and/or there's enough fic about him where they call him that that it warranted inclusion even if like 99% of the time it's just Luchasaurus.

Also it's two people with other stuff going on they just make honest mistakes sometimes.

Anyway I hope that helps, I may have some of the details a bit off bc I don't work on it myself I've just seen them talking about it like I said. If it really bugs you you're free to volunteer with ao3, anyone can and they need the help.

I love the way wrestlers gimmicks get sorted on ao3 bc it ends up being up to the discretion of the first couple ppl who write them what tag ends up being common. Half of wrestlers arent even marked the same guy as their name on the indies but according to ao3 canon the 64 million yr old dinosaur IS the same guy as that one big brother contestant that had an affair on the show

[tumblezwei]

Hold on

Acheron. One of the five rivers of the underworld from Greek mythology. Associated with misery or woe.

March's companion mission, whereupon being completed the player is given the achievement "The River Lethe's Taste is Bitter." Lethe. Another of the five rivers, associated with oblivion or forgetfulness.

There isn't a third yet, I can't set a proper precedent right now. But I'm thinking thoughts.

[angeltism]

ykw an entire love language is just. associating things to ONE being. only them! that concept? yeah that is Exactly One Being I Know. specific shade of that color? oh my god that's my buddy. a character? literally my bestie right there oh my goodness !! ^__^

[blindbeta]

Exploring How Toph Beifong Could Be Played By A Blind Actress and Refuting Reasons Some People Believe She Couldn’t

[Image Description: Toph Beifong from Avatar: The Last Airbender. She is waving her hand in front of her face after joking that she spotted the great library, tricking the Gaang only to remind them that she is blind. She rides on Appa who is flying above a desert landscape. End I.D.]

The live-action adaptation of season 2 of Avatar: The Last Airbender is underway. This means people are discussing Toph again, much like they did during pre-production of season 1. I have seen and even participated in promoting the idea of Toph being portrayed by a blind actress. Similarly, I have come across push-back against the idea.

Instead of if Toph Should Be Portrayed by a Blind Actress, Let’s Focus on How She Could

(should and could are bolded for emphasis)

This post will address common misconceptions that serve as barriers to the idea of a blind actress portraying Toph.

A Few Notes Before We Start

These points come from posts on online forums, YouTube comments on videos related to the casting of Toph, and tumblr posts. No one will be specifically called out here, as while these points may be attributed to certain individuals online, they represent much wider views that are shared by many, even without malicious intent. These common misconceptions stem from unchecked ableism and general lack of information. Keep in mind that my intention is not to call out any individual person, as ableism is a widespread, collective problem. The reasons I refuted in this post showed up repeatedly and were not isolated opinions of one or two people.

1. No, it would not be too difficult to find an actress who is Asian, blind, and the right age

[Image Description: Toph as The Blind Bandit uses earthbending to create three pillars of rock that shoot at an angle from the ground and smash into her opponent, throwing him against the arena wall. End I.D.]

This point suggests that it is difficult to find candidates fitting Toph’s description. I suspect this is due to racism and ableism, in that a white and abled person is considered default and therefore believed to be more common, especially by Western studio standards. This is not truly the case. People of color and disabled people are auditioning, especially for the comparatively few roles that seek them out specifically, such as Avatar: The Last Airbender.

Blind Asian people exist. Some of these people are also actresses. Some have backgrounds in dance or martial arts, especially because many actors do similar activities to increase endurance and versatility. Finding a pre-teen or teenager to play Toph would not be as challenging as many people believe, especially those who already underestimate the amount of blind people in the world and their abilities.

Those who argue this point may be under the impression that a blind actress would be out of reach due to low numbers and lack of interest in auditioning. Blind people are auditioning. The reason you don’t see them on screen is because most of them are ignored in favor of abled actors. For example, in this video, Molly Burke discusses not being chosen to play a blind character whom she was told was based on her own life. The actress chosen to play the character was not blind. You can watch it here.

Additionally, Netflix has the ability to hold a widespread casting call. They are not a tiny studio doing productions in someone’s backyard. They have access to a wider pool of actresses than the average person might think, particularly if said person is not familiar with the resources big studios often have at their disposal.

In fact, Netflix is doing just that. Below is a link to their casting call, which encourages blind and low vision actresses to audition.

Link to casting call here with alt text.

2. Some people believe Toph isn’t really blind and therefore the actress who plays her needs to be able to see

[Image Description: Toph as The Blind Bandit using bending, with shots showing her hands and feet. As her bare foot slides sideways across the ground, the camera zooms out to show her sensing vibrations. The image turns greyscale, with circles of white vibrations emanating from around Toph’s body, where they expand and flow outward. End I.D.]

The rationale behind this is probably the same as it is for Daredevil, meaning some don’t consider Toph to be blind because of the way she uses her bending.

An argument could be made that Toph’s powers erase her blindness or that her powerful abilities make her less relatable to the average blind person. However, I suspect that many sighted people engaging with these discussions of Toph’s casting are not also concerned with questions of erasure or relatability. In discussions questioning her blindness, the evidence given mostly centers on Toph’s physical abilities rather than relatability to real blind people.

Her bending aside, Toph is certainly blind. She experiences ableism from her parents and general community. Blindness shaped her life in a lot of ways, even with her bending, which is also influenced by her disability.

We see Toph being guided while running on the airship, needing assistance while walking on ice, and struggling to travel in a desert. She uses her other senses, including hearing and tactile senses. She has limitations regarding how she is able to interact with an unaccommodating world, such as inaccessible reading and writing systems.

There are also lifestyle and cultural implications of blindness extending beyond the inability to see. Being blind is not only about what one can and cannot do, which is true of Toph’s experience as well. Blind people may have different values, experiences with family and friends, different senses of humor, or may place higher value on other sensory experiences compared to sighted peers.

Whether or not Toph is good blindness representation can be argued. However, she is still a blind character. Her blindness influences her whole life, even as she is more than her blindness at the same time. Her life as a blind person is about more than limitations and abilities. Reducing her, and any blind person, for that matter, to only these facets of her experience oversimplifies what it is like to be a blind person.

Claiming that she isn’t a blind character because of her ability to do x, y, and z can be incorrect for a lot of reasons.

Blind people are more than what we can do or what we produce. Our experiences are rich and varied. Our lives are inherently meaningful no matter our abilities or limitations. It is both ableist and inaccurate for sighted people to attempt to put us all into boxes.

Additionally, blindness is a spectrum. [Bolded for emphasis.] You can read about it at the following posts on my blog:

here

here

here

and here.

Here is a good list of legally blind YouTubers with various types of visual experiences.

According to various sources on the blindness spectrum, about 85% to 95% of blind people have some remaining vision:

93% according to RNIB

This Perkins School For the Blind fact sheet estimates about 90 to 95% of blind have some remaining vision

American Foundation for the Blind estimates about 15% of blind people are totally blind and discusses the spectrum of blindness here

The spectrum of blindness is important because our experiences become even more diverse when the spectrum is considered. This means that assumptions about what we can and cannot do become even harder for sighted folks to guess accurately.

This accuracy is important if sighted people are going to try to put limitations on blind people, which they have no business doing anyway. They are not the authority on what blind people can do, what we cannot do, or what is good for us. Only blind people can answer that for themselves.

Lastly, blind people are already used to navigating and interacting with their surroundings. They have had anywhere from months to a lifetime of experience, which would translate better to Toph’s ease with her blindness and confidence in her bending.

While an actor wearing contacts to obscure their vision might stumble around and have difficulty on set, someone who is actually blind could lend Toph’s character a much more relaxed, confident attitude in addition to possessing experience navigating in a way that works for her. She is used to being blind. Therefore, an actress who is also used to being blind brings a lot to the performance in terms of physicality, attitude, and the ability to focus on portraying the character, rather than simulating blindness.

Which leads me into the next point.

3. The idea that Toph doesn’t move like a blind person relies on stereotypes of blind people

[Image Description: A GIF from the episode “The Runaway”. Toph, Sokka, and Aang all con some con artists and cheer after their victory, Toph raising her arms high before snatching the prizes. They all run away. End I.D.]

There is no specific way of moving like a blind person. Like sighted people, the way blind people move may be influenced by many factors, such as level of vision, how long they have been blind, their mobility aid, navigation techniques, familiarity with their environment, level of confidence, feelings of safety, other disabilities, energy levels, cultural factors, and more.

While there are mannerisms that are recognizable to blind communities, there is no one way to move like a blind person. Just as there is no one way to look blind.

The ideas of “not moving like a blind person” or “not looking blind” come from stereotypes of blindness. In fact, these ideas can be so pervasive that blind people who don’t fit stereotypes may be accused of faking. I explore this subject here.

In this video, Sam from The Blind Life discusses the experience of performing blindness or being pressured to act more blind than he is. Link here. He explains while he has some vision, he uses his cane to indicate to others that he is blind. This is one of the main functions of a cane. Sam explains feeling pressure to adhere to certain stereotypes about blindness or risk being accused of faking.

Similarly, in this video linked here, Molly Burke discusses the stereotype that blind people’s eyes look noticeably different from sighted eyes. This includes the inaccurate belief that all blind people have cloudy eyes, blank eyes, eyes that are always closed, or eyes that simply must be covered in dark sunglasses to protect the sensibilities of sighted people. Molly explains that while blind people can certainly have these attributes, not all of us do. Molly laments that the phrase, “You don’t look blind,” is either used to invalidate her or to praise her for passing as a sighted person, which is ableist.

Just as blind people don’t look the same way, we don’t move the exact same ways either. That applies to Toph as well. For example, she prefers to keep her feet on solid ground for bending purposes, orientation, and possibly due to cultural factors valuing stability and connection to the earth.

4. The idea that accommodations would be impossible to provide is rooted in ableism

[Image description: A GIF of Toph and Zuko sitting beside each other on the floor at the Ember Island theatre episode. Toph punches Zuko’s arm. Metaphorically for the purposes of this post, she is punching ableist ideas that have nothing to do with Zuko. End I.D]

Here is a thread I shared in the early days of this blog, wherein the topics of blind actors and accommodations are discussed. The entire thread might also be helpful for this post, as I explore the same points, which shows how common these misconceptions are. While this may seem to be an isolated online disagreement, none of these arguments are new. That is why I believe this topic is important— these arguments about accommodations being too difficult or a burden on others also pop up in conversations about other workforces and other disabilities.

A blind character not being played by a blind actor is one thing. A blind person not being hired for a job they are qualified for due to resistance to providing accommodations is not so easy to ignore, not so seemingly isolated a concern. These barriers don’t only apply to blind actors looking for work. They apply to all blind people looking for work.

That means most of this isn’t really about Toph, nor the opinions of random people online. Instead, I hope to highlight common patterns in ableist thinking and dispel these ideas using a character people care about. This is, of course, in addition to my own desire to have a blind actress play Toph.

With that said, let’s explore what work accommodations might look like using examples of blind actors.

Dionne Quan is a blind actress who has an extensive filmography for voiceover work, including popular characters such as Kimi from Rugrats. In this article from when the character was first introduced, she discusses how she performs. Link.

Quote from the article: “Most of the recording was done in a studio with just a mike and a stand for the script. I had the lines in braille, and I would read them on the way over to get into character. You have to have your bag of tricks ready to go.”

Most of the work Quan discusses involves typical acting stuff. The accommodations given to her are similar to adaptations that might be made in an office setting. Additionally, with all the technology available now, it is easy to make a script accessible through large print, VoiceOver and memorization, Word document instead of a PDF, a Braille display, etc.

And as of August 2024, Quan can add adult Toph Beifong to her list of characters. Which is super exciting and, I thought, an appropriate fact to include in this post. You can read more here.

To continue the discussion of accommodations for actors, I would like to discuss Ellie Wallwork. Wallwork is a blind actress who has performed on Doctor Who.

She describes her experiences on set, such as blocking scenes and using tactile accommodations in this short video from the SeeSaw podcast. Link here.

Transcript:

Elie Wallwork speaking:

“Obviously, markers are just normally flat bits of tape on the floor. I had to have some sort of tactile ones so I knew where I was stepping onto. And it takes longer. It definitely takes a bit longer. I guess the thing that frustrates me about the industry is that sometimes casting directors will think, ‘Well, how could a blind person possibly do this, do that? How could they do stunts? How could they even navigate around set?’ But it’s perfectly possible if you— for example, with the crew that I had on all the productions I’ve been on, they’ve all been really kind, really patient with me and able to understand that, yeah, okay, it might take me five minutes longer to block a scene, but that’s fine because it means it’s authentic.”

End transcript.

You can listen to the full episode here.

Lastly, I find that many sighted people are not generally knowledgeable when it pertains to what blind people can or cannot do. Examples of this lack of knowledge include frequent questions about how blind people read, exist in online spaces, cook, etc—and these are simply from posts on my own blog.

Here is a link to a discussion thread that explores ableist assumptions people often make what blind people are or are not able to do. It particularly relevant for this topic. Link can be found here. Please remember that while I did respond to some folks who expressed opinions colored by ableist assumptions, that post is not about them. Just as this post is about addressing ableism in general rather than from a specific source.

The point is: consider why abled people are so comfortable stating what blind people can and cannot do, when one of the most common questions about blindness is still “how do you use a phone or the internet?”

People who aren’t blind often fail to grasp what our limitations actually are. Many people are still surprised to learn that technology or accommodations exist for us, despite having access to various forms of technology themselves. They struggle to understand that we can live our daily lives, possibly because they personally cannot imagine themselves without the vision they rely on, such as that time a professor asked blind content creator Stephanie Renburg [quote] “How do you live?” when the conversation was supposed to be about school accommodations [Link here].

This brings me to an assertion that is often made when sighted actors obscure their vision in order to play blind characters. It is often noted that it was too hard for them emotionally, mentally, and physically. Because of this reaction, the assumption is made that a blind person cannot possibly perform the role.

For example, in the article linked here, this is stated about Jamie Foxx in his role as Ray Charles. “Some actors, including Jamie Foxx as Ray Charles in “Ray” (2004, best actor) and Blake Lively in “All I See Is You” (2017), have chosen to wear ocular prosthetics, rendering them literally blind during their performances. But this creates a new problem: Unlike real blind people, who can spend years honing their orientation and mobility skills, the blindfolded sighted person becomes lost, confused and frightened with the sudden loss of sight — Foxx told interviewers he began hyperventilating as soon as his eyes were glued shut with the custom prosthetic eyelids that the filmmakers affixed over his eyes.”

Being blind is different from a sighted person temporarily obscuring their vision. Blind people have a better handle on being blind because we’ve been doing it longer. Blindness is part of our lives. Of course blind people are going to have an easier time portraying blind characters. This means most of the concerns people bring up when discussing sighted actors struggling with being unable to see won’t actually apply to blind people who have been at this for far longer.

I also wanted to address the idea that hiring blind actors would cost more, according to the assertion made in that thread about hiring blind actors, which you can read here if you haven’t already. While I can understand why someone might believe hiring a blind actor would cost more, I believe it would actually cost less.

Blind actors can use their own canes or other assistive devices used by the character, which saves money on expensive materials

Blind actors likely already have experience with O&M training, saving money and time that would otherwise be spent training a sighted actor, such as described here

Blind actors don’t need contacts or prosthetics, which may otherwise be used help an actor simulate blindness

And blind actors would have an easier time navigating sets, dancing, or doing required physical activities while blind, which reduces the learning curve that sighted actors with obscured vision need

A few Disclaimers:

1) Blind people learn from our communities and through life experience. While we naturally have more experience being blind, our knowledge is enhanced through learning from other blind people and participating in training designed to improve our life skills. I maintain that a sighted person obscuring their vision for a few hours will not have the same level of experience.

2) Reminder that blindness is a spectrum that a blindfold cannot replicate.

and 3) This post is not to say that sighted actors cannot do well or cannot put effort into their performance. According to the article above, Charlie Cox won an award from the AFB for his commitment to portraying Daredevil. However, just because there are sighted actors willing to put in the work does not mean blind actors can’t. I wanted to include this disclaimer in case someone sees the AFB article I shared and worried I’m trying to disparage actors who have already portrayed blind characters and happened to do a good job. After all, I love the original performance we received from Michaela Murphy, who originally voiced Toph. That doesn’t mean studios should not make an effort to cast more blind actors moving forward, nor does it justify any of the silly or explicitly ableist reasons people give for why sighted actors must be chosen over blind ones.

Let us return to refuting those excuses with the last thing I wanted to address.

5. Some people are concerned that a blind person might get hurt doing martial arts, but so can literally anyone else

[Image description: GIF of Toph dressed in Fire Nation attire. She punches through a rock.]

Kids can get hurt in any kind of sport, yet society doesn’t try to keep children from these activities for their own safety. However, disabled kids—and adults for that matter—are often reminded that we are being kept out of spaces for our own protection. Which we didn’t need, nor ask for.

This need to protect disabled people can be not only infantilizing, but hypocritical as well. For example, a blind person might be discouraged from playing recreational sports in a misguided attempt to protect them. Conversely, structures that keep blind people at risk are allowed to stay firmly in place, such as discrimination around transportation, inaccessible infrastructure, and poverty.

Blind people play sports anyway. Often, these sports carry their own risks of injury, as most sports do. Blind people have the agency to understand this and consent to it. Examples include blind football [link] and goalball [link].

Here is a video of Sadi the Blind Lady discussing goalball with Eliana Mason, a Paralympic athlete who plays goalball professionally.

Transcript: “Goalball is sport for blind and visually impaired athletes. It was created after World War II for blinded veterans and is now a Paralympic sport. The coolest thing about it is that everyone wears eyeshades so no matter what your level of vision loss is—because blindness is a spectrum— it equalizes it. The ball has bells in it and the court is straight with tape over it. It’s on a volleyball sized court. It’s three on three. And basically in offense, we are throwing the ball as hard as we can with a lot of technique involved, about 30 to 45 miles an hour to have it hit the ground and roll and hit the other players on their bodies. And on defense, you are throwing your body out and diving in front of this 3 pound ball and blocking it. So essentially you want to get hit with the ball.”

End transcript.

Getting hit with a ball, especially in the face or stomach area, is going to hurt. That is okay, because as long as safety precautions are taken, pain might be part of the experience depending on the rules and anticipated possibility of injury.

Martial arts and dance, which are backgrounds sought specifically in the Netflix Toph casting call, can also lead to accepted forms of pain or discomfort. While one could argue that sports injuries could and should be preventable, this post is more concerned with the expectation of pain, injuries, and what steps are taken to prevent them, such as protective gear or an experienced coach / teacher.

A blind person auditioning for Toph knows that martial arts will be involved. She will spend time learning choreography, building trust with co-actors, and figuring out works best for her. This structure is similar for blind people playing football or goalball or tennis or fencing or whatever else they want to do.

Lastly, people who aren’t blind also experience pain or injury during sports. Same with martial arts or dance.

The actress who plays Toph might get hurt. She might not. Some pain might even be an expected part of training. That is no reason to exclude a blind person from participating. That is no reason to say Toph couldn’t be played by a blind actress. [Bolded for emphasis]

Lastly, anyone training actors on fight choreography already knows how to do so safely. That fact that this is choreography is also helpful, allowing for memorization of actions and reactions. Conversely, the sports and physical activities I listed above are not choreographed, with the exception of dance, and are therefore less predictable. Therefore, if blind people can get head injuries playing on a recreational blind football team, a blind actress can handle fight choreography.

Closing

Thank you for reading all of this. My points still stand whether or not a blind person is actually cast for Toph.

Too Long, Didn’t Read:

Unchecked ableism can lead to oppression even if it is unintentional

Blind actors exist

A blind actor would better capture Toph’s ease and confidence with her blindness

Blind people can do a lot more than sighted people usually think they can

Blind people also face discrimination and limitations that sighted people may not have considered

Blindness is a spectrum and most blind people can still see something

There is no one way to look or move like a blind person

Accommodations are not that difficult to provide

Hiring a blind person would actually cost less money

Most of the popular reasons people believe Toph cannot be played by a blind actress are rooted in ableism

This post is not only about Toph or actors, but an example of how unchecked ableism can be harmful

For example, low employment rates for blind people, inaccessible online resources, or Toph-related posts shared without image descriptions

Toph Beifong could totally be played by a blind actress

[cripplecharacters]

Alright, I'm just gonna bite the bullet. Worst that can happen is I make a fool of myself. I've been working on superhero stories, versions of the same universe since I was in 8th grade and what I want more than anything is to modernize superheroes, create a world where they act for all people's social good and take representation to the highest level I can think of. From your position of expertise, what can I do with the creation of disabled characters that would buck the trend, do some good, and show a good side. The non-prosthetic and non-corrected for disability rep in the genre is basically nil, I have no ideas and nothing to draw on. I guess I just wanna know what disabled audiences might like to see for once in their lives.

Hello!

Disabled superheroes are awesome. There's really few of them but the ones that we do have are often really important to us - you can look at the reactions to Sun-Spider being first introduced to the Spiderverse, back then I couldn't open my fridge without seeing that one panel where she explicitly says she has hypermobile Ehlers-Danlos.

Here are a few suggestions of what I'd like to see in the superhero genre:

Superheroes with facial differences. Comics love to use us for their ugly disfigured evil villains but not much else unfortunately. I'd kill for a superman type hero who saves people with a smile and a facial difference on his face. Especially for superhero stories that are geared towards kids and teens, we just desperately need something to help with shifting the public perception of people with facial differences from "evil and ugly" to "people that can be awesome". A hero with burn scars, with Treacher Collins syndrome, Bell's palsy, neurofibromatosis... anything.

Superheroes who use disability aids (and still need them when doing their job). Sun-Spider is an awesome example, she swings from her crutches and has a spider wheelchair. That's cool as hell. But even a less in-your-face aid would be great. A superhero flying above the city with her ankle-foot orthoses visible would go really hard. Also, superheroes who are concerned on how much these things cost and try their best to make sure they're still functional while they save the city.

Heroes with different causes of their disabilities. The vast majority of morally good disabled characters were involved in An Accident or some sort of Attack that disabled them. That's not bad or wrong at all, but I think in media is kind of oversaturated with this specific portrayal when a lot of people have progressive or congenital conditions. We need more stories that show those who were born disabled as heroes equal to those who were born abled and spent most of their lives abled. Superheroes with cerebral palsy, chromosomal disorders, congenital rubella, achondroplasia, all the disabilities that tend to get ignored despite so many people having them. Same for really common chronic illnesses, diabetes or COPD are criminally underrepresented.

Disabled superheroes that aren't saints because of their disability. This is the whole "disabled person can do no wrong" trope that appears sometimes. I'm mentioning it since superheroes are more "perfect" than most characters in other genres, so try to not make it so the disabled ones can do no wrong. Disabled people can still make mistakes that are their fault, make poor decisions, or just simply be angry sometimes.

When there's no active superhero action going on, show the normal human parts of the disabled experience. Depending on the demographic you're writing for it would be different things, but there are some fairly universal concepts like inaccessibility, microaggressions, or just boring things like the prosthetic leg no longer fitting well after the character gained some weight. If your characters are from the US, don't be afraid to mention that their insulin costs are barely affordable with their superhero pay. Show how the common everyday kind of ableism affect them when they're in civilian mode. This will make it much more authentic to disabled readers.

These are my suggestions, and I hope they are helpful. My last advice is to have multiple disabled characters, and in different roles. Maybe a character with ALS can no longer do superhero fighting, but he can still be a wonderful parent. Maybe the character with Usher syndrome is more interested in the hero than being a hero themselves (disabled heroes in relationships!). Maybe the character with phocomelia can't be a hero yet because she's six, but she can train hard to be one when she's older. Keep it varied, have them come from different life situations and have different goals just like abled characters do.

I hope this helps,

mod Sasza

[saintsenara]

Why Harry being short and frail (or even petite and delicate) past puberty is such a popular take these days? Sure, he is not bulky, but don't we know from Voldemort himself that James was tall and don't we know that Harry was exactly the same height as James during the final battle? Don't we know that Harry works out 3 times a week and is generally athletic? Is it the same thing that is happening with fanon Sirius or is it something different? Is it because he was short as a child and grew up in a cupboard, thus unlikely to end up like he did at the end of the series? What do you think about it? How likely is it? I keep seeing it in many slash ships and I am genuinely baffled. Is it me who has it backwards? Please solve this mystery, dear Asenora!

thank you very much for the ask, anon!

i think several things are at play, tbh - some of which are more understandable than others.

the first is that daniel radcliffe genuinely is short [for a british man, at least] - his height is given online as 165cm [or 5'5], but looking at pictures of him leads me to suspect that's an exaggeration - and was, unsurprisingly, even shorter when he was a teenager. many of the other actors in the films are much, much taller than him - especially people like alan rickman and david thewlis, both of whom were over six foot - and since the films inevitably influence how people picture the characters physically, the height differences we see on screen end up becoming part of that.

the second is that, while harry is described as "tall" in canon, that term appears to be doing a fair amount of heavy-lifting. numerous male characters are described as taller than him in both half-blood prince and deathly hallows - with the example which always stands out to me being the fact that fred and george weasley are said to "shrink" when they polyjuice into harry before the seven potters chase. fred and george - like charlie - are described in canon as being noticeably shorter and stockier in build than bill, percy, and ron. unless ron et al. are so tall that it would be thought of as really unusual - let's say above 6'6/198cm - harry probably isn't over 6'0/182cm tall.

thirdly, it's worth saying that what is meant by "tall" is culturally contingent. i've said that daniel radcliffe is shorter than average for a british man - and that's true - but his height isn't going to be thought of in that way in different parts of the world. similarly, there are parts of the world where describing a man who was, say, 5'10/178cm as "tall" would be considered quite strange - but i don't think the uk [where the average male height in 1998 was just over 5'8/174cm] is one of them. certainly, i picture harry as around that height [allowing characters like ron, sirius, dumbledore, and voldemort - who are all described as such - to be noticeably taller than him, but not so tall that their height would be considered abnormal], and i don't think it precludes him still being thought of as "tall" within the context in which he lives. but an author from, for example, the netherlands - where the average male height is 6'0.5/183cm - would probably think differently.

[there's a point about cultural contingency in the quip he makes about being short because of the cupboard too: i would read that as a dark joke which he doesn't actually think has any truth behind it specifically when it comes to his height, but which nonetheless expresses that the dursleys abuse him generally and this abuse has had a long-term impact upon him; readers from other parts of the world take it more literally.]

and finally, harry is definitely physically fit and - of course - works out a lot as part of playing quidditch, but both he and james are emphasised in canon as having slender builds - and it's also implied in the text that seekers are generally slim. harry doesn't need to be seen as any less sporty if we presume that he has the physique of a distance runner or triathlete rather than that of a sprinter.

however, there are definitely some aspects to the tendency for harry to be written as short and slender which do bother me a fair amount - and i do think that these have something in common with what we see with fanon sirius.

that is, that harry and sirius aren't written as short and slender because the author wants them to just happen to be short and slender. they're written as short and slender because the author wants them to be passive. their height/build is emphasised in the story in order to hammer this home - and it's often accompanied by them being assigned other aspects of physical appearance, personality, dress, or manner [especially ones which might be considered as "effeminate"] which, once again, aren't intended to communicate anything other than this passivity.

and - of course - in the writing of vast amounts of slash, any indication of passivity, submissiveness, or femininity - and the physical traits which end up equated with them - is taken as an indication that the character in question would be an exclusive - and submissive - bottom, who defers to the whims of their partner, an exclusive - and dominant - top.

and - unsurprisingly - topping ends up being associated with masculinity - and the personality traits and physical characteristics - above all a tall, muscular build - which are equated with that.

frail!harry seems to be most prominent - in my experience - in ships like tomarrymort, not so much because people really care about the implications of harry's characterisation, but because they're hugely opposed to the suggestion that characters like tom riddle would ever bottom [since - of course - they associate the act of being penetrated with femininity and femininity with weakness...]. great lengths have to be gone to, then, to emphasise that voldemort - or whoever else - is powerful and proud and authoritative and masculine and tall. and, for some reason, this is apparently incompatible with the idea that he might also like to get railed... which means that harry has to make sure nobody is in any doubt about who's the woman bottom by becoming as teeny tiny as he possibly can...

[loveless-arobee]

Writing Loveless Characters

(Pt: Writing loveless characters)

Because I want to see more of them but non-loveless people often don’t have any idea where to start, or how to write them respectfully.

Loveless / heartless people are welcome to add their opinions! This is by no means a complete post, I'm just trying to give a starting point.

I’ll also discuss the decentering of love in stories a bit, even if there’s no explicitly loveless characters present. So if you’re interested in that, read on!

Definition

(Pt: Definition)

Let’s start with the simplest bit. What does it mean to be loveless (or heartless)?

Being loveless means not experiencing anything that could be described as love, feeling a disconnection from the entire concept of love, and/or it refers to the rejection of the idea that people need to experience love.

A lot of people who use the loveless/heartless labels are also neurodivergent and may feel a connection to this label because of that, but not all.

Being loveless can mean multiple things for one person, too. If you want to read more about the meaning of being loveless from a loveless person (me) you can read this post (link), or scroll a bit through the loveless aro and heartless aro tags.

What is love?

(Pt: What is love?)

Because we can’t go on without clearing up what this word actually means.

Love is just a label for an emotion. Nothing more. Love is not an action, actions are actions. Love is not a choice to care for some one, that is simply the choice to care for someone. This choice can be made completely without love, for example out of compassion, or because of a feeling of responsibility.

So, in short, "love" is just a label that a lot of people have decided to use for a specific emotion, and that label might not fit everyone.

Building a character

(Pt: Building a character)

For this, I can’t give a 100% conclusive answer, obviously, because all loveless people are different. Here’s just some things to keep in mind:

To respectfully write a loveless character, you should just throw out the idea that feeling love is necessary to be a good human, to care for other people or animals, or that not feeling love makes one immediately an asshole who doesn’t care for other people’s feelings.

Being loveless, in and off itself, says nothing about how a person acts. It only means that they don’t experience love (or any other part of the definitions above).

Things to avoid:

I can only think of two things you should definitely avoid doing, and that is connection lovelessness to being evil in any way, shape, or form. Also, avoid making your loveless character non-human if the rest of you cast is human (if all your characters are fantasy-races, that’s fine, probably just have a character, even just a minor one, of that same race who isn’t loveless, just to show that this isn’t a trait of this species that differentiates them from others, or make that very clear in the narrative.)

Yes, your loveless character can be evil, or morally complex, but you shouldn’t explain their villainy with them being loveless.

Yes, your loveless character can be emotionally distant, cold, or un-empathetic. Those words mostly describe me in some way. But again, you should decouple all of those things from being evil. Empathy doesn’t make a good human, and not experiencing empathy doesn’t make a bad person. Same with having shallow emotions.

But with all of this, you should still think about why you want to write them in this way. For example, do you want to write a loveless character with low empathy because you want to represent people like me, who are neurodivergent and don’t experience much empathy, and are also loveless? Or do you want to write them because those are things that make them more unlikable, or show their villainy?

Do you want them to experience shallow emotions to represent people who feel that way, or to explain away their lovelessness with "no normal person would feel this way"?

Do you want to write a loveless villain because it makes them more complex, and allows you to explore their emotions to a deeper level, or because you equate not feeling love with being evil and being evil with not feeling love?

Because there’s a very big difference, and your intentions matter a lot here, because the way you think about your character influences the way you write them.

Things I’d like to see / ideas to include

Besides "really, any loveless person who isn’t demonised" ofc.

- characters being open about not experiencing love, and not being judged or "fixed" for it.

- The narrative not treating lovelessness as a bad thing, and other characters just simply respecting their boundaries.

- A character with boundaries around the word love in general, doesn’t have to be loveless, and them being respected. Some people just don’t like hearing "I love you"s all the time.

- Just generally decentering love from the narrative (see more below)

- ND loveless people who fit the "bad stereotypes", turning them on their head (like me, hi.)

- not repeating respectability politics ("I might not feel love but I still care for people, I’m just like you!") This is not to say that loveless people don’t care for other people, just that it shouldn’t be shoe-horned in as a way of "showing that they’re still a good human being, despite not feeling love". They can just care for other people normally, without making it seem like something special or strange because they don’t feel love.

Questions to ask

To get a better understanding of your character:

- Why does this character identify as loveless, or could be identified as loveless? What does it mean to them, personally?

- How does being loveless affect their relationships?

- How does being loveless affect their view of the world, and other people?

- How important is their lovelessness to them? Is it something they’re proud of and show openly, or just something that’s a part of them that comes up when it gets important, but is otherwise just "background noise" for them?

- How do they feel about being the "target" of different kinds of love? Does love in general make them uncomfortable, just specific kinds, or do they not mind other people’s feelings towards them?

- Adding to the point above: Do the other characters respect their boundaries? If not, why? Does it add something important to the story?

That’s the most important points I can think of rn.

Decentering love

(Pt: decentering love)

Even if you don’t have a specific loveless character, this can still be done and often times make for some more interesting stories and characters that mostly haven’t been told before.

What do I mean by that?

Well, first off all, almost everything in most modern books is about love, contains love, or centers love in some way. There’s barely any new books coming out that don’t put the main characters in romantic relationships, even if they’re not in the romance genre, and if they don’t, these books are usually about the importance of platonic (or familial) love instead.

Im not saying these books shouldn’t exist. What I mean is that not everything has to center around love when there’s so many more emotions and experiences that could be written about, but instead we have millions of books that basically have the moral "You’re only worthy of humanity in the context of you relationships to other people, your only importance comes from finding people who love you / who you love, or character finds happiness through love (either their ~one true romantic love~ or platonic love)", because they obviously couldn’t learn to be happy with themselves, or that they didn’t need to center other people in their life constantly, or that they can be a complete and happy human on their own, too.

People can exist without basing their whole self worth on other people’s emotions towards them, and their emotions to other people.

To decenter love, you need to take the concepts, and ask "Why?" Why does this character need to be taught to accept themselves by falling in love? Why does this character need love to be happy, why can’t they just be happy as they are? Why should not loving make their life miserable, and why is the only way to fix it to find love, possibly even change themselves to finally be accepted by other people, instead of accepting themselves as they are, and finding community, if that’s important to them, as that?

You can even write about human connection without centering love, or about love without centering it, and portraying love as this universal, perfect good thing that makes us human and that everyone experiences. That is completely possible!

It can be just simply making sure that the narrative makes clear that this is these characters experience, and not a universal one. That there’s people who don’t feel this way. People who don’t love, don’t need love, and feel happy as they are, without relying on other people to make them happy.

Decentering love can also be about finding other ways to explore human connection. Relationship that are deep and emotional, but the characters don’t use the word love do define it; characters who are looking for community, for support, and giving community and support to others even if they don’t love them, maybe just because it’s the right thing to do, or because it’s the way they’d want to be treated, or because they have a deep seated care for humanity as a whole that they don’t describe as love.

There’s so many more emotions, so many more types of relationships, that deserve to be explored. Don’t limit yourself to just love and romance, or just (queer)platonic relationships as an aspec writer. You can write about sexual relationships, or about completely non-typical relationships that don’t really have a good term to describe them.

Write about relationships based on compassion, on sexual attraction, on mutual interest in the same topic, on what ever other emotion you can think off. I’ve once read a fantasy book where two off the main characters were different species, and mostly interested in each other to find out more about these species, and that was interesting; wonderfully written and it’d be awesome to have something that focussed on such an absolutely non-normative bond.

Don’t limit yourself to just "love", to just what society has put on a pedestal as the best and solely most important thing that connects everything and everyone. Think of all the other things that exist. Be creative.

Have fun creating!

(pt: Have fun creating!)

If you have any questions, feel free to ask me.

Thank you for reading this. Have a good day, and happy writing!

[hollowed-theory-hall]

Regarding the Canonicity of the Harry Potter Games

Like, I love Hogwarts Legacy. I played it through to completion 4 times (I played a few sections more than that). But even though I really liked the game, and many of its characters, and I enjoyed playing it, I can't help but not consider it truly canon in the same universe of the books. I consider it, like, an alternate timeline than the books; where some of the worldbuilding elements and characters are canon to the books, but otherwise the story and many aspects of it (such as some of the worldbuilding and characters in the game) are not canon for me since they outright contradict the books.

(I would love to talk about Hogwarts Mystery and why I don't take its story and various game elements as canon either, unfortunately, I got too frustrated with the energy mechanic and didn't even finish 3rd year in the game so I don't feel like I know it enough to make a comprehensive post).

The main reason is that there are things that outright contradict what's written in the books. Such as the placement of certain locations in the castle (the castle in HL is gorgeous though):

1. The potions classroom isn't located in the dungeons near the Slytherin common room.

2. The greenhouses are referenced as being outside the school and not connected to the castle the way they are in the game:

Harry, Ron, and Hermione left the castle together, crossed the vegetable patch, and made for the greenhouses, where the magical plants were kept.

(CoS, Ch6)

4. The Owlery is inside the school, in the West Tower, specifically, and not a walk-off from the school (that's also a movies issue):

Harry He then climbed out of the portrait hole, up through the silent castle (held up only briefly by Peeves, who tried to overturn a large vase on him halfway along the fourth-floor corridor), finally arriving at the Owlery, which was situated at the top of West Tower.

(GoF, Ch15)

5. Many classrooms and offices aren't located correctly. For example, the DADA and the Transfiguration office windows should face the Quidditch Pitch:

dreadful though his final detention with Umbridge was sure to be, he had a distant view of the Quidditch pitch from her window and might, with luck, be able to see something of Ron’s tryout

(OotP, Ch13)

“Hmm ...” Professor McGonagall stood up and stared out of the window at the Quidditch field, just visible through the rain. 

(PoA, Ch9)

6. The above is also a problem with the location of the Quidditch pitch which should be near the lake:

Harry walked slowly along the deserted corridor, peering out of windows as he went. He could see people messing around in the air over the Quidditch pitch and a couple of students swimming in the lake, accompanied by the giant squid.

(OotP, Ch38)

7. The library in the game is on the ground floor (or below, since there are staircases going down to the library) and the restricted section is even lower in a basement level below the library. In the books, the library is on the 3rd and 4th floors, and the restricted section, specifically, is located on the 4th floor.

8. Again, this issue is also in the movies, but the doors to the Great Hall should be located to the right of the Entrance Hall. The Entrance Hall is described in quite detail in the books actually:

The entrance hall was so big you could have fit the whole of the Dursleys’ house in it. The stone walls were lit with flaming torches like the ones at Gringotts, the ceiling was too high to make out, and a magnificent marble staircase facing them led to the upper floors. They followed Professor McGonagall across the flagged stone floor. Harry could hear the drone of hundreds of voices from a doorway to the right — the rest of the school must already be here — but Professor McGonagall showed the first years into a small, empty chamber off the hall. They crowded in, standing rather closer together than they would usually have done, peering about nervously. [...] Feeling oddly as though his legs had turned to lead, Harry got into line behind a boy with sandy hair, with Ron behind him, and they walked out of the chamber, back across the hall [Enterence Hall], and through a pair of double doors into the Great Hall.

(PS, Ch7)

9. In general what's on each floor is incorrect. The one-eyed witch statue isn't on the third floor. The astronomy tower isn't the tallest tower (the headmaster's tower is taller). Myrtel's toilet should be near the DADA office on the second floor, not in the dungeons, etc.

10. You'd also notice in the game all the castle's windows are painted glass and you can't see outside through any of them. They are gorgeous, and it's definitely helpful for the sake of game performance, so I get why they did that, but in the books, it isn't so. Harry mentions looking out windows and seeing the grounds a lot.

(I would like to share the closest to canon map of Hogwarts I could make (which I made). It's an amalgamation of design elements from the movies, Hogwarts Legacy, and every quote I could find in the books regarding placements of various locations. Tumblr is just really bad with large high-resolution images 😭)

Then there are inaccurate world-building elements. (I'm not gonna count Basic-Cast and Levioso which are not real spells since they are clearly gameplay mechanics and aren't trying to be world-building accurate):

1. Horklumps are used in the Wiggenweld Potion in-game, even though Fantastic Beasts and Where to Find Them clearly states that Horklumps are useless as potion ingredients:

The Horklump is a favourite delicacy of gnomes but otherwise has no discernible use.

(Fantastic Beasts and Where to Find Them)

2. Matilda Weasley's existence makes no sense. By her red hair, Gareth Weasley's dialogue, and in-game letters, Matilda is stated to have been born a Weasley and didn't marry into the family. Hogwarts Legacy's art book confirms this. The reason this doesn't make sense is that Ginny Weasley is referred to as the first female born weasley in several generations.

Matilda is a professor who doesn't look very old in 1890, so she would've been born around 1,850s, let's say. Gareth is her brother's son, born in 1975-ish. In the game, a letter states Gareth has a sister, so that's zero generations with no female Weasleys. Septimus Weasley was born in the 1910s (his wife, Cederella, was born between 1915-1919). This makes him and his 6 older brothers, the next generation after Gareth, and the first generation no female Weasleys. Septimus is Arthur's father, making Arthur, his brothers, and his cousins the second generation without female Weasleys. And Arthur is Ginny's father. Two generations without female Weasleys wouldn't make Ginny the first female-born Weasley in several generations.

So, in the books' canon, Matilda and Gareth's younger sister, can't exist.

3. The entire Goblin Rebellion. Such a big, historical event would be remembered and referenced in the books the way other goblin rebellions and Grindelwald's war are mentioned. Not only that, but the ministry during the game has no reason to hide a goblin rebellion. It's a plot element in-game that makes no sense. It's not at all the same situation politically as in Harry's fifth year and the Ministry has no reason to cover it up (unless Rookwood is bribing someone, maybe?), so I don't get it at all.

Also, remember, Dumbledore starts Hogwarts in 1891, a year after the game. If this rebellion happened and the MC existed, Dumbledore would've likely known about it. A story like the MC's isn't just forgotten about over the course of less than the average wizard's lifetime. Not to mention the MC not being anywhere in canon or being referenced at all.

(what I'm saying is that the game should've chosen to take place further in the past and it would've solved a lot of continuity issues).

4. Ancient Magic. I know this is a game mechanic, but it's also a big part of the game's story — and it makes no sense with how we see magic in the HP books. When characters in the books refer to Ancient Magic, the kind of magic we see in the game is not what they are referring to. At all.

“ ‘Dragons are extremely difficult to slay, owing to the ancient magic that imbues their thick hides, which none but the most powerful spells can penetrate ...’ But Sirius said a simple one would do it. ...”

(GoF, Ch20)

Ancient Magic can refer to the natural magic of magical beings. The kind of magic that exists as part of nature and isn't wieldable. It's "ancient" since it's old and part of the natural world.

“But how to get at Harry Potter? For he has been better protected than I think even he knows, protected in ways devised by Dumbledore long ago, when it fell to him to arrange the boy’s future. Dumbledore invoked an ancient magic, to ensure the boy’s protection as long as he is in his relations’ care. Not even I can touch him there. ... Then, of course, there was the Quidditch World Cup. ...

(GoF, Ch33)

“But I knew too where Voldemort was weak. And so I made my decision. You would be protected by an ancient magic of which he knows, which he despises, and which he has always, therefore, underestimated — to his cost. I am speaking, of course, of the fact that your mother died to save you. She gave you a lingering protection he never expected, a protection that flows in your veins to this day. I put my trust, therefore, in your mother’s blood. I delivered you to her sister, her only remaining relative.”

(OotP, Ch37)

It can also refer to magic any powerful enough witch or wizard could do that was mostly forgotten. Both Voldemort and Dumbledore refer to the blood wards Dumbledore set up after Lily's sacrifice as "Ancient Magic" and I'm certain Dumbledore doesn't have the same abilities the MC in HL has — because no one does. These abilities don't exist in the books.

The ward is referred to as ancient magic becouse that's what it is — a mostly forgotten spell from very long ago — not a different kind of magic. Just old.

“Secondly, the castle is a stronghold of ancient magic. Undoubtedly Voldemort had penetrated many more of its secrets than most of the students who pass through the place, but he may have felt that there were still mysteries to unravel, stores of magic to tap.

(HBP, Ch20)

This again, uses the term "ancient magic" to refer to old forgotten magic (such as the Room of Requirement or the moving stairs at Hogwarts). Hogwarts is referred to as a stronghold of ancient magic not because the founders were like the MC in HL, but because they were very powerful wizards using magic that has been mostly forgotten since then. Any magic using runes (like a pensive) would be considered "ancient magic" in the book's universe because it's old. That's literally all ancient magic in the books means. Either "old and mysterious magic" or "natural magic of the world". It is not something a select few wizards can see and wield or a different type of magic.

5. The little hamlets around Hogwarts. I get why they are there (so the game could promote itself as an open-world) but they don't make sense. In canon, we are repeatedly told there aren't many wizard-only settlements and Hogsmead is one of the only ones. These little wizard hamlets make zero sense. Like, the very small ones which are basically two farms are fine, I can see wizard family farms like these existing. What I can't see is a larger hamlet, like Upper Hogsfeild existing so close to Hogsmead. It would not exist.

Before the Statute of Secrecy, most wizards lived in muggle towns, and after it, they still mostly stayed in muggle towns and the few wizard-only ones. The amount of wizard-only hamlets around Hogwarts in the game is honestly ridiculous for the books' world-building.

Again, I love the game, I'm writing this because I decided to boot HL up again to run around Hogwarts, but the game is not really canon. So, for the sake of analysis, I often discount the various games for this reason. They contradict book canon, and book canon comes first. Anyone can obviously do whatever they want, I'm just explaining why I occasionally discard game evidence, which is when it contradicts the books.

(There are world-building elements in the HL I do like, though. Such as the Hufflepuff Dark wizard who married a disowned Black daughter, I consider them canon since they're fun and don't contradict canon either, so they're fine).

[howtofightwrite]

Do you have any advice for writing an intense, overwhelming chase scene?

So, this is a little unusual, in that it's something I haven't really thought a lot about.

For a real world situation, the process is to identify or create an opening, and escape. Usually this advice is more focused for situations for situations where someone's cornered you.

Also, the real world advice is to avoid a chase if at all possible. You don't want to get into a situation where you're directly testing your endurance against your enemy.

As for writing a chase scene. This is one of those times when you want to be efficient with your words, keep things as concise as possible. When you get more verbose it “slows down” the scene because it is literally slowing your reader's progress down.

Chases can be very logistically intensive for you, simply because you need a fairly coherent mental image of how the locations in your story fit together. Maps can be extremely helpful for this, whether you choose to share them or not.

I don't think I've talked about this on the blog, maps can be very helpful for getting a concrete image of how your world is put together, though, they can also, easily, start soaking up more time than the value they offer. That said, even pretty crude maps could be very useful in planning a chase scene. This is one of the times when your world needs to lock together into a unified space, instead of being able to move characters between loosely connected locations.

If you want the reader to have a detailed mental image for the locations, then you should probably have them in those spaces before the chase. Though, this is a situation where some, “stock locations,” could work for you. Liminal spaces can work pretty well for this, because most of your readers are going to have a preexisting basis for understanding what those areas look like. For example: even if their image of an airport causeway is different from yours, you'll both be close enough to the same space that you shouldn't run into many problems where you need to define the entire area.

It's also worth considering that as the chase progresses, it's possible to get gradually more verbose. As mentioned above, this will slow the reader, and as a result the scene, but it can convey the loss of inertia as your character tires or finds themselves having to slow down because they're now in unfamiliar (and possibly unsafe) territory, without being extremely direct about your character's exhaustion. This is an area that can benefit from some pretty careful word selection to hint at fatigue without outright stating it.

I do apologize that this is all pretty high level, concept advice, and a lot of this can be applied in other contexts. And, a lot of the above advice are things to keep in mind for all of your writing, but chases do stress these specific parts of your writing and world building.

Beyond that, it's the normal advice: Remember your world is a living place, so other people would be going about their daily lives while the chase rampages through. Remember persistence consequences, such as prior injuries, or injuries inflicted during the chase. Chases might lead into situations where other kinds of consequences might become unexpectedly relevant, such as your character being forced to run through the territory of a gang they angered earlier in the story. This is an opportunity to bring in unexpected consequences. Even if you don't stick to it, at least have an initial idea for what you want from the chase, then let the sequence play out as you go. (Cleaning this up is what rewrites are for, but it is important to let the chase flow, before you go back and worry about cleaning it up.)

Like I said at the beginning, this is something I don't generally think about, so it's been a bit before I could get back to this question, and I hope this helps.

-Starke

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[samd1o1]

The Disability Coding Of Aphelios

Hey everyone! Today I thought I'd write a little post about my comfort character Aphelios; The Weapon Of The Faithful from League Of Legends!

Specifically I wanted to talk about the disability coding of Aphelios. For those who don't know; coding means the character is written to be an allegory for a life experience. It's about the closest you can get to canon without being necessarily canon. Many stories in magical fantasy universes use this technique. The most common reasons are for hiding from censorship and backlash, and creativity. I personally find coding way more interesting because of all the ways people can think to use magic as an allegory. But I also understand the importance of canon representation. Luckily, Aphelios does both!

So let's start with base main universe Runeterra Aphelios. To be able to talk to his sister and access her weapons he has to drink a special moon flower poison. This poison causes him immense constant pain. It also renders him mute. Obviously he isn't technically disabled. He can choose to not drink the flower (though that would be a dumb decision). But the fact he *must* drink it to save his people and it leaves him to chronic pain and muteness to the point of becoming numb to the world. That screams chronic illness's that cause pain.

Now many League lore nerds are always quick to do an "uhm actually" when you call Aphelios mute. But they're not thinking of the coding of it. Like I said earlier; fantasy stories using coding is very common for many types of minorities, not just disabled people.

My favorite example of disability coding is Hunter from The Owl House. Hunter lives in a world full of witches but he has no magic. He struggles at times but is able to find a way to navigate the world. He uses his palisman as a disability aid and makes do.

Now I'd understand some people not seeing this or just denying it. But what they did with HEARTSTEEL Aphelios basically confirms to me the disability coding was intentional (or at the very least something they're sticking with).

HEARTSTEEL is a boy band in the League musicverse. If there was ever a time to make Aphelios speak, it would be a boy band that sings. But no they didn't do that. In fact they understood the music verse is a more grounded universe (hinted to be our own even) so they made him CANONICALLY disabled.

When Aphelios was younger he had nodes in his vocal cords and they had to be surgically removed. Aphelios never fully recovered and lost his singing voice and the majority of his normal voice. He can't really speak above a whisper. In interviews he whispers to his sister Alune and she answers for him. (Someone teach this poor man sign language).

Another thing I find cool about HEARTSTEEL Aphelios is how he copes. Aphelios is the lyricist of the band. Kayn and Sett's verses are very in character for themselves but K'sante's fits Aphelios as a character way better.

"They wanna kiss me long good night with a rose

Hoping that the Eiffel falls, of course

You don't understand the life we chose

(On life support, life goes)

I need my silence, my privacy so I can heal

And even rockstars got feelings that they feel

In reality, this just repeats like a drill

Always"

This verse shows Aphelios struggle with being disabled. He didn't choose this life, but life goes on. The best part of this verse is that his friends are his voice. The fact K'sante sung his lyrics is very powerful. Shown in the music video, his friends metaphorically (and literally) saved him from drowning.

I can speak from experience that friends are very important. They really can help you through the toughest times and save you from drowning.

(I also feel it is important to mention; that while it's beautiful that someone sung Apehlios thoughts for him. It is suspicious they chose the ONE black champion in the band. The other two who sang solo verses got to have screen time all to themselves for their verses. K'sante isn't present at all for his verse and it is instead Aphelios and Yone.)

Anyway that was a little infodump about Aphelios and why I love his disability coding. I really appreciate that Riot are keeping him mute in all universes so far. (My worst fear is a legendary skin where he speaks.) Riot has stated that while champions are different people with different life experiences in the alternate universes that the champions will keep their core identities. They were mainly referring to LGBTQ champs in this statement, but disability is also a major part of identity. I'm sure it applies here too. Sona has also stayed mute in all universes as far as I know (she just uses aids like telepathy and text to speech).

Anyway see you all later on the rift where I will OTP HEARTSTEEL Aphelios and maybe some Sett support because I'm gay.

[witchesoz]

The Wicked Witches of the West (2)

Of course, when talking about the most famous Wicked Witch of Oz, we HAVE to go by the 1939 "The Wizard of Oz" movie, the MGM production that ended up making Oz a worldwide phenomenon and shaped pop culture's view of the Land of Oz to this day, overshadowing the original Baum novels for many, many decades, up until... Well up until today.

The 1939 movie is also a crucial part of the development of the Wicked Witch of the West's design, as the MGM's Witch played by Margaret Hamilton became THE most famous face of the character, and a defining visual for basically most witches in pop culture. The black dress with the pointy hat, the long chin with the hooked nose, the sharp fingernails, the broomstick, the wicked cackle and above all the green skin - all of this became utterly iconic, despite none of these elements being present in Baum's novel.

Of course a huge part of the success of this specific incarnation of the Witch was Margaret Hamilton's performance. She famously played back the Wicked sorceress a few times - never actually putting back the exact same makeup or outfit, but still carrying on the spirit of the character throughout various media.

The most famous example being the Sesame Street episode considered "lost" for a very long time and that the Internet has been so obsessed about. There Hamilton plays back the Wicked Witch, though in a more disheveled version and with as an added touch a green lining on the cape:

Hamilton would also play back the Wicked Witch of the West on the "Paul Lynde Halloween Special":

Several other media were created as a direct follow-up or continuation of the 1939 MGM movie, and as such reuse the "MGM design" of the Wicked Witch, though with various modifications. For example I am thinking of the 1990 cartoon series "The Wizard of Oz", an animated direct-sequel to the MGM movie, where the Witch reappears with some design change (the facial features are more bulbous, the pointy nails are painted red, the outfit is purple instead of black)

A more recent example would be the children cartoon "Dorothy and the Wizard of Oz", another serial-sequel to the MGM movie and where the witch makes recurring appearances. Though the design was made to fit more Hamilton's makeup and outfit, the purple touch remains, to help with the natural difficulty of animating an all-black outfit.

And, of course, you also have the infamous "Tom and Jerry and the Wizard of Oz"

A much more well-received and famous revival of Hamilton's character, however, was the 2011 musical "The Wizard of Oz", a stage transposition of the MGM movie by Andrew Lloyd Webber. The witch in this production, while taking back all the MGM-specific traits (the green skin, the black outfit, the broomstick), also has personal features that make her stand out - notably the heavy use of feathers in her outfit, and the evolution of her hair, which goes from a spiral hairdo evoking both a witchs hat and a tornado, to an "exploded" form more reminiscent of a storm cloud. This results in a more "aerial" witch with a strong sky-motif to her (plus, she also falls into the "sexier take on the witch" category, but that's for another post)

[ausantana]

The Role of The “Weird Girl” in Movies

Written by: Au, also known as @ausantana on tumblr

click below to read more! ↓

Introduction 🪱

Nowadays, the trope of weird girls in movies has begun to become more visible, and as a society, we are beginning to increasingly normalize teenagers who identify themselves as "weird" or "awkward" and there is nothing wrong with both words unlike how they used to be used previously.

Types of weird girls ⭐️

There are various types of "weird girls", however they are usually categorized into 5 types (although in my opinion the complexity of each person goes far beyond each of these labels, and although we as teenagers try to fit into a specific type, we will always have characteristic features of each of these characteristics and personalities)

The goth

Known for their dark ways of dressing and acting, they mostly have alternative and gothic tastes.

Moodboard!

Characters: Lisa Frankenstein, Lydia Deetz, Nancy Downs & Morticia Addams

The Smartass

They are known above all for being sarcastic and having a great sense of humor, they tend to be the intelligent and smart ones.

Moodboard!

Characters: ‘Lady Bird’, Janis Ian, Robin Buckley & Kat Stradford

The Awkward

They are known either for not talking much or for talking too much, they are usually introverted for the most part and overthink all the time.

Moodboard!

Characters: Melinda Sordino, Carrie White, Juno Macguff & Nadine Franklin

The Basket Case

Normally, they tend to be girls who go through such a strong trauma that they express an unhealthy obsession through competitions, whether it be a frustrated dream or substance abuse. They are also called "the lost cause."

Moodboard!

Characters: Nina Sayers, Pearl, Daisy Rondone & Marla Singer

The Space Cadette

Those girls who are given the term "weird" for being daydreamers and being in their own world, are usually absent-minded.

Moodboard!

Characters: Luna Lovegood, Cassie Ainsworth, Cecilia Lisbon & Davina

Movies and Series with the weird girl representation on it 🎥

- Dinner in America (2020)

- Juno (2007)

- Lisa Frankenstein (2024)

- The Perks of Being a Wallflower (2012)

- Lady Bird (2017)

- The Edge of Seventeen (2016)

- Fleabag (2017)

- The Craft (1996)

- Beetlejuice (1988)

- The Virgin Suicides (1999)

- Little Woman (2019)

- Speak (2004)

- Girl, Interrupted (1999)

- The Diary of a Teenage Girl (2015)

- Garden State (2004)

Songs attributed to “weird girls” on social media at the moment 💿

- The Promise - When in Rome

- Teenage Girl - Cherry Glazer

- Watermelon - John + Jane Q. Public.

& more!

Video in representation → millionhawks on TikTok has perfectly represented the feeling of not fitting in anywhere, the typical attitudes of this trope such as awkwardness, overthinking and other things are also present in this video!

Which I absolutely love, as it also represents weirdness from a real point of view by adding characters from movies known to audiences familiar with this topic.

(Click on “video in representation” so you can watch the video!)

So this is my third post on this blog! I hope you liked the brief analysis I made about this plot, because I am another example of a weird girl.

I would like to encourage you to follow this blog if you want to see similar content, because even though I am not very well known on this platform, I would like to create a space full of people with the same tastes and interests as me, feel free to comment, give your opinion and ask questions in the comments of this post and any other!

I have a question for you readers! So feel free to reply: What kind of weird girl are you?

I myself am the composition of the 5 types, but above all, the awkward and the space cadette.

Xoxo, Au.

[project-sekai-facts]

Do you have info on commissions in general? such as 2dmvs, songs, etc. Anything released by the devs about stuff like what it takes to commission artists for content that’ll be used ingame, how long in advance the creator that’s being commissioned has to be contacted, have there been any rejected/remade commissioned songs, etc etc.

I’m particularly wondering if there’s disclosed info about the song Order Made and any other commissioned songs that had the Sekai version vocaloid tuned by the producer, because how would the game’s management arrange for that?

Here's some stuff I know

Most of this is taken from the Corocoro producer interviews, and you can find them all here. I mainly just skimmed them for trivia, but they're worth a read and there's probably some stuff I missed.

According to devs, the process of commissioning and producing songs can take around 8 months, though according to individual producers, the production of the song (not including recording vocals and mixing) can take anywhere between days and about a year. Producers are given a story summary, along with some words and phrases that staff would like to be reflected, and then given free reign on the rest (though management does oversee things)

In addition, event plot outlines have to be finished by the time the producer is commissioned for the event song, although this definitely didn't seem to be the case earlier on in the game, as you'll see further down this post.

According to Project Message vol.15, earlier commissions would have their SEKAI version Virtual Singer picked based on the producer. This is why Nijiiro Stories has two Virtual Singers, as staff decided that MEIKO and KAITO fit the image of OSTER Project best.

Both TONDEMO-WONDERZ and Showtime Ruler had their first drafts scrapped. Tondemo was because Sasakure didn't like his early drafts, but Showtime Ruler's first draft was rejected by staff because they didn't think the style was right.

Surii actually made two versions of Kagirinaku Haiiro e. He asked staff to pick which one they preferred and that's the one in the game.

DIVELA wrote two songs before Tenshi no Clover

Depending on the artists, the song can take a matter of days to compose, or months. For example, DECO*27 composed needLe in 3 days, but it took Giga 6 months to finalise Ready Steady.

Here's an interesting one. Karasuyasabou looked at fans talking about WxS stories to help him with writing the lyrics to Showtime Ruler, alongside reading the stories himself. He describes the song's lyrics as being "written with the fans".

There's a bit of a grey area in how things were handled early on. For example, DECO*27 mentions in his Corocoro interview that he was given character illustrations and he talked about story, suggesting that he was given something to work with there. However, PinnochioP mentions only being given the prompt of "abandoned theme park" and some character designs, and NayutalieN mentions only being given character designs because things weren't set in stone at the time (I think NayutalieN was approached very early).

So yeah, MORE! JUMP! MORE! was written with no knowledge of story. NayutalieN was informed of things as they progressed, but it was still vague details that he was given. Also mentioning fragments of feelings in the lyrics was a complete coincidence.

OSTER Project mentioned in her interview that On A Holy Night, This Singing Voice had not been completed when she was commissioned, so she also worked from very vague details.

40mP was another producer who was approached long before release

SEGA specifically asked 40mP for a song with a "serious story" but "not too dark" (same link as above)

Meanwhile, HachiojiP was advised to add classical elements to RAD DOGS fit the event story

Ayase was contacted long before the release of the game as well, despite his song not releasing in-game until quite a while after release.

Ayase also was given the privilege of choosing what unit he got to make a song for. He chose VBS because he thought they fit hit vibe most and because he thought they were cool.

Police Piccadilly was requested to make a song that wasn't "too agressive or over-the-top"

Aqu3ra was given a bit more free will though, and was just told to make their comm sound how they wanted it to

They also made two demos, and after consultation with staff, chose one of the demos to finalise

TOKOTOKO was told to make "a song that would be exciting in live performances". As you can probably tell at this point the prompts received can vary greatly between producers.

there's not a huge amount of information outside of the corocoro interviews, and they've only done up to Yuukisan (Mirai) so far, so there's limits on how much i can tell you. Also not every song got an interview, so now Nulut, no Mafumafu, no Neru unfortunately. I suggest to keep an eye out for new interviews if you're interested; they seem to be going at a pace of one or two per month.

[ethanscrocs]

Six of Crows Playlists 🐦‍⬛

Edit: Check the notes for more!

I made some Six of Crows playlists, forgive me for the sheer amount of songs, I listen to a downright obnoxious amount of music. I was also legally obligated to include some very 2016-2018 "edgy" music that was typically associated with these books back in my fandom days. The middle school nostalgia aspect really got me.

General book playlist, some of it is songs that fit all of the characters as well as book events, some of it is songs that fit the atmosphere of the setting.

My Jesper and Wylan playlist. I'd be down to make playlists for other specific relationships, they just happen to be my favorite. If that's something you're actually interested in, let me know, because I do have some ideas!

Possibly a collection of all my favorite love songs. They meant so much to me when I was 13, I have such a soft spot.

I'm most embarrassed by this one. It has a lot of the nostalgia element that was mentioned above. It was difficult to find songs that contend with the persona Kaz has so carefully cultivated. Forgive me for the possibly shallow reading of his character that it may convey.

There's lots to work with in regard to Inej. Her past as an acrobat, her future as a pirate, all on top of her character throughout the duology. I had fun.

Possibly one of the most conflicting and chaotic playlists on this list. Creating it really had me pondering Nina's writing. She's a lot more complex/multi-faceted than I'd ever given her credit for, haha!

I struggled the most with Matthias' playlist, I'm actually surprised it's as long as it is. I didn't connect with him as much as the others, especially during my first reading of the duology, but I've definitely gained some respect for his character and what Bardugo was trying to convey when writing him. Normally I'm drawn to characters whose experience parallels mine as a "cult survivor", but there's a lot of notable distance between our experiences.

Similarly to the Kaz playlist, I hope the "just vibes" theme of this playlist doesn't come across as a shallow understanding of Jesper's character. It's the longest playlist, he's my absolute favorite and it shows. I have a lot of respect for him!

A contender for the discordic energy of Nina's playlist. I intentionally leaned into this aspect. Wylan holds a special place in my heart, he helped me come to terms with a lot of things. I fear some of the self projection is clearly evident.

A couple of extra notes:

Expect a follow-up post soon. I very much need a Kuwei playlist, as well as a Kanej/Helnik/Ninej playlist. Perhaps one highlighting the friendship between Jesper and Inej as well, who knows.

If you're uncomfortable with songs with sexual or suggestive lyrics being applied to them, I totally understand and respect that. Those songs were included either because I found that aspect of them ignorable, because I think it matches their "energy" or is the style of music they might enjoy, or quite rarely because I'm specifically keeping the Shadow and Bone continuity in mind.

Example: ...Baby One More Time is a fairly suggestive song. But I'll stand by the fact that Jesper Fahey would listen to 90s pop artists over my dead body.

[bluerose5]

The Portrayal of "Bad Boys" as Good

Part 1: Zevran Arainai

Let me preface this by saying that I am not approaching this so much as to be critical of fandom spaces (okay, maybe a little /j) in regards to this. That's not my intent, but I want to approach these posts more in the sense that these are experiences and patterns that I have observed in various fandoms when it comes to what are popular romances (among fandom that is, not the overall gamer demographic). I would also like to mention that I am looking at male characters specifically because 1) this is a certain type of romanceable character I'm referencing and 2) I could get into how female characters with similar personalities and traits more often get villainized rather than romanticized but that would be a whole post on its own. Alright, let's get to it.

To start off, let me say that I'm going to simplify things a little by referencing DND's alignment system for this, since it fits well for RPGs and the characters therein. Specifically, I am looking at the good, neutral, and evil alignments. What I find interesting is that sometimes in fandom spaces, we have these characters who are kind of like the "bad boys", so to speak. Because let's be real for a second, Bioware and others have cracked the code on fandom. Outside of the Prince Charming types, if you give fandom that one hot, bisexual/pansexual, morally corrupt man —one with a tragic backstory and the potential to do good— then people are going to start foaming at the mouth over him. Guilty as charged! It is what it is.

However, there comes a pattern when these characters are sometimes developed and/or interpreted by parts of fandom to be good, or perhaps it would be more accurate to say that they are portrayed to have better intentions than what is realistic —for lack of better terms— for their characterization.

One such character is the man, the myth, the legend himself. When it comes to Zevran Arainai, our beloved former Crow, sometimes you'll encounter posts out in the wild that either turn their nose up at the thought of him doing bad things, or they're the other extreme where they flat out call him evil, both of which do his character a disservice. Overall, his alignment comes across as neutral with what we are presented in canon, which is why I am starting with him first.

First things first, Zevran is an elven man who enjoys killing, and he enjoys reaping the rewards of killing others. As much as people like to joke about certain characters being the "I can fix him" types, nothing the player character does changes this fact about him. Zevran tells the character that the assassin life is suitable for him. It's what he knows, what he is comfortable with, and that is what he wants to continue doing in the future with or without the Crows. He doesn't say, "Oh, I will only hunt bad guys." or "Oh, I will only hunt good guys." No, he says that he wants to continue in this profession where murder is the name of the game, and the only difference now is that he gets to do it this time on his own terms. He now has the luxury of denying contracts if he wants, and he gets to rake in all the profits to spend however he pleases, now that he is outside of the Crows' clutches.

While he is one who favors freedom and autonomy, his own especially, Zevran also favors practicality over emotional choices, even though he can be prone to the latter as well. One major example of this is how he encourages the return of the golems, which I personally don't see people mention as much compared to the moments when he encourages mercy. Of course, threatening to turn him into a golem changes his tune pretty fast, but he is not someone who is above utilizing unsavory means if it means getting the desired outcome.

On the other hand, we also see a more empathetic side to him in instances such as when he speaks out against the Circle's Annulment and when he sticks up for the Dalish in the Brecilian Forest. The latter of which, he has a vested interest in given his mother being Dalish, no matter how he tries to play the whole "I'm Antivan first and foremost" angle. These examples act as a good counter to those who claim he is outright evil; however, I would argue that they aren't enough to tilt him over to the "good" side of the mortality scale. I mean, let's face it. It's just basic decency to go "Hey, maybe we shouldn't kill this entire group of oppressed people with innocents among them because of the actions of one or a few." Not trying to downplay Zevran's responses, but come on, Bioware! Is the bar that low?

Now, in my opinion, if we had to pick one in-game set of approval and disapprovals that represents Zevran's morality the best, I would say look at his reaction to your handling of King Cailan's body in the Return to Ostagar quest. Zevran is the only one who approves of you leaving the body where it's at. Why? Because Cailan is dead. He died. There is no "honor" in that. His corpse is not anymore worthy of the time and effort of a funeral pyre than any of the other bodies that are going to be left there in the fields to rot, king or not. Again, there is that aversion to sentimentality, especially when applied to death. Likewise, he also disapproves if you choose to throw Cailan's body to the wolves. While he does not always go out of his way to do what others deem "right", he also does not go out of his way to commit acts of cruelty just for the sake of doing it. Not that he is above it. It's only that, if there is no purpose or logical reasoning behind doing so, then he does not approve of such actions.

At most, I would say Zevran is a "good-leaning" neutral character, and that's still being generous. At the end of the day, he's not completely good in terms of morality, and that's okay! This man was driven to the point of sending himself on a suicide mission because of the institution he grew up in and what he did in service to said institution. I think it's understandable that his first priority when it comes to approaching problems is to prioritize his wants and needs above others, even if he has these slightly hypocritical moments when he disapproves of the player for doing the same if there are emotional influences involved.

All of this to say that Zevran is a perfect example that, in order to preserve his characterization, it is important to realize that neutral and evil characters are capable of doing good things. Neutral and evil characters are capable of showing empathy and compassion and acting on it accordingly. Neutral and evil characters are capable of being counted among the heroes. However, that does not have to change who they are at the core of their character. Not to say that characters can't develop from one alignment to another. I'll get into that when I get to Astarion, but it can do a neutral or evil character an injustice to assume that, because they've had moments of growth and development throughout the journey, that it automatically turns them into these shining beacons of all things good afterwards. That they are suddenly the sweetest, most romantic men who scoff at the very idea that they could still associate with bad people or do bad things. Oh, no. Not them! Of course, if given the proper time and attention and context, I'm open to considering anything as potential to be "in character", but what I'm referring to is more when our resident bad boys are portrayed as good as soon as the curtain closes on canon.

Which will lead me to the next subject for the next part. Reyes Vidal.

[harocat]

Perhaps this is inaccurate, but does it ever feel to you like general cdrama fandom takes the FL being a “mature” character as the end-all indicator of the show’s quality? Recently with legend of Shenli I see quite a few people start their praise along the lines of “unlike those other garbage xianxia with their annoying FLs”. And often it becomes clear they’re trashtalking Lbfad specifically

This is not just Cdrama fandom, it's fandom on the whole; the girlbossification of female characters.

I've generally always favored characters that get this treatment. Riza Hawkeye (badass) vs. Winry Rockbell (immature), Sango (badass) vs Kagome (immature). Sorry those examples are anime, but they're very well known so 🤷

These are also often healer characters, which is a trope that tends to be... sort of maligned. How dare a women be relegated to just being a healer! But IDK, I'd rather have a well written healer than a generic, flatly written warrior any day. XLH would definitely fall under the healer class.

(One good thing I've noticed is that while all the above mentioned girls got a lot of hate back in the day, as time has gone on, they've grown to become beloved characters. You rarely see hate for any of them nowadays. It's great.)

Keeping in mind fandom's general disinterest in women, so naturally the appreciation that does exist is often extremely shallow. Characters that tend to catch their attention because of this are ones that are 'badass' or that they want to 'step on them' or whatnot. A character that starts out more mature is more likable to them because they don't need to look beyond the surface to see how 'cool' she is.

This is not an implication that Shenli is a shallow character (I am only on ep twelve, so I'm not here to give any kind of overall impression), but just that she from the beginning has more traits that are easy for people to glom onto as a 'strong female character' Do these specific people (this is obviously not all fans of Shenli) who say 'finally a mature character' write meta about Shenli? Do they gush on her and share fanworks and create and all the like. Generally no, because in my experience people who like characters for 'girlboss' reasons don't really appreciate them beyond the surface.

These people will gripe about characters like XLH, sing the praises of 'strong female characters', then go back to only caring about male characters 90% of the time.

Xiao Lanhua takes too much work for these kinds of fans. Obviously we know she is strong, we know she is badass and brave, but the XLH we meet at the beginning is silly, immature, and boy crazy. To appreciate her character fully, you have to do more than just look for five seconds and go 'wow badass'. She's a layered, richly written character, but she doesn't start out as the kind of character that fits a girlboss reading.

On the other hand, almost because of this, you can find pages and pages of meta, fic, and fanworks about her, and almost any fan of hers can give you a plethora of reasons they love her that have actual depth.

On the subject of maturity, it's often a case of the kind of immaturity that's acceptable. Dongfang Qingcang is deeply immature at the start of the series. I don't need to explain why.

But his immaturity is appealing to fandom; cute, likable, and funny. It's good immature, cool immature. And I think this is because in addition to being a male character, we're also taught that being immature like Xiao Lanhua is--- is like... a horrible thing to be? But that's not the case at all. It's just normal! Again, back to girlboss feminism. Women and female characters are held to an impossibly high standard. Female characters that act in a way that might be seen as cringe (if they aren't also badass)? Yikes.

Yes, Xiao Lanhua starts out flighty and silly, but she's also a hard worker, and even from the beginning, she's courageous (despite her timidity when confronted with bullies). She's a good character, even at the beginning; she is lovable, charming, and so, so funny. People just refuse to see beyond their first impression.

The goal in writing a female character should be to make them well written, and in that sense, Xiao Lanhua is a great character. She just happens to also be extremely brave and badass, but some people are too shallow to see it. At this point in time I don't even argue with XLH haters. I'm just like 'well fine, I'd rather not have you here anyway.'