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rarepairqueenmochi · 1 month ago

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Monster High and East Asian Representation

Alright MH fans, we need to have a semi-serious conversation about how East Asian rep has been handled in the franchise. Representation itself has been a big point of conversation in the community, so it's important to talk about all of its aspects. The good, the bad, and the ill-conceived.

For context, I am an East Asian-American who has seen time and time again her culture be misrepresented, boiled down to stereotypes, and even mocked by other Asian cultures. Am I the all-time expert? Absolutely not, which is why I encourage other East Asian/Asian-American fans to give their comments about the franchise's handling of Asian characters.

Now then, we'll start with G1 since it probably has some of the most infamous pieces of representation

There is a lot to unpack with G1 Jinafire's design and personality. Not only the choice of golden skin, the misguided outfit choices, and emphasis on honor and discipline, but also the oriental riff often accompanying her in every backing scene. Highly encourage people to look into the Asian Dragon Lady stereotype, because unfortunately, that is what Jinafire is.

It is acknowledgeable that Jinafire's voice actress, Stephanie Sheh, is also Chinese, but there is still error with her character as a whole. Jinafire was personally one of the first Asian characters in media that I was introduced too, so it's upsetting to reflect on how negative her character design is.

Shibooya is... not great. The exchange program as a whole feels like a minefield of issues (though I don't have much liberty to discuss the other transfers), and this one especially rubbed me the wrong way. They gave the vampires of Shibooya yellow skin, and the doll is supposed to kimono-inspired while hardly even resembling one.

Harajuku style was right there and easily fit the fashions of Monster High. There are also a number of Japanese yokai that could've been featured within the short and would have likely been better representation than the vampires.

Kiyomi is okay, and certainly an improvement compared to the previous G1 characters. She's based off the Noppera-bo, aka the faceless ghost, and it's used decently in her design. However, her personality is boiled down into being shy, quiet, and reserved, which is a stereotype many Asian girls face under the name "Lotus Blossoms". She even has blossoms on her dress sleeves, and her outfit again is a loose interpretation of a kimono.

There are a number of modern Japanese outfit designs that could be used, and kimonos are often associated with modesty and respect. Kimonos are not meant to be revealing in any way, covering the body in full and being intricately wrapped. I personally take issue with the designers noting her chains meaning to resemble the sailor collar, which is used in middle school uniforms, not high school uniforms.

Kiyomi is, of course, hardly mentioned and refined to a movie role, in which she copies and mimics the personality/style of an European character.

Now onto G3!

Honestly, nothing really to critique here! Draculaura's been canonically been confirmed to be at least half-Taiwanese and speaks Mandarin. Now would it be nicer to get more appearances of her culture other than a couple throw-away lines? Yes it would, but there isn't anything really negative about this portrayal. I think it'd be interesting if Draculaura had a Taiwanese name she went by around her mother, or just casual moments of her eating scallion pancakes or aiyu jelly.

aaaaaand here's where we automatically fall back on representation. This may not seem that major to people, but considering this is the first Japanese character we get in G3, it's not great. Points for the writers looking past the most common yokai, but I don't know any person that wants to be represented by an animal.

I really do need people to realize how this is compared to the other characters. I wasn't initially reactive to Kuma's introduction until I realized they were making him a consistent character. Considering we don't have many other anthro/fully monstrous characters, and they chose to make him the Japanese representation doesn't seem right. Especially since they gave him the lead in the cultural appropriation vs. appreciation episode. An excellent episode, but it loses some sentiment coming from a literal bear.

Plus I would implore you all to rewatch Horrorscare and take a close look at the Japanese water dragon Pearl. And I'll remind you she exists in the same world as Jinafire.

now this is what I'm talking about! Not only has the skin issue been resolved, but the creators took a step in the right direction and made Jinafire more akin to Chinese dragons, who are often connected to storms and rain. Her outfit is also much more akin to street fashion in China. I still wish there was more to see with Jinafire's character, but she absolutely an improvement to her G1 iteration!

Well that's a lot to unpack there! Again, I am in no way the expert on East Asian representation and I'm going to miss some things. I encourage other fans to think about these characters and how you feel about them, and maybe even point out things I missed, good or bad! I did this simply out of my own feelings and wanted to see if anyone else felt the same.

#monster high #monster high g3 #monster high gen 1 #mh g1 #mh g3 #draculaura #jinafire long #kiyomi haunterly

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worflesbian · 1 year ago

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Klingons & Racialisation - the Long Post

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

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

Content warning for outdated and offensive language under the cut.

The Original Series

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

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

Post-TOS (movies)

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

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

The Next Generation

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

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

Deep Space Nine

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

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

Enterprise

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

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

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

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

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

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

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cliozaur · 3 months ago

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Hauteville House. Part 1

I’ll start with the oriental motifs in the interior of Hauteville House. Hugo was one of the intellectual founders of orientalism: though he never travelled to the East, he held strong opinions about it and was never shy in sharing them. The entire house is a curious mixture of oriental and gothic elements. He had a particular love for low divans inspired by Muslim interiors—they’re everywhere. But the strongest sense of oriental influence is felt in the so-called Red and Blue Rooms, both designed as sitting rooms.

The Red Room evokes a theatre and was partly inspired by Hugo’s childhood in Spain, but it also features African figures and Asian ornaments. The Blue Room, on the other hand, is covered with damask and adorned with chinoiseries. Hugo and his son scoured shops on Guernsey and in England for various pieces of Chinese furniture. A beautiful set of blue and gold glass-bead embroideries, originally bought for his lover Juliette Drouet (who lived next door), adds a stunning touch to the room’s decor.

This mixture of oriental and gothic aesthetics is present throughout: a medieval mirror against Chinese wallpaper, and Chinese figures above the entrance of his eclectic Delft-style dining room.

A gift from Hugo’s close friend, Alexandre Dumas, a bronze scent burner.

My favourite orientally-inspired piece is the two wooden panels in Hugo’s private room. He personally carved a story of a knight and a dragon (reminiscent of St. George's legend) for his grandchildren. The dragon itself is very oriental—it was inspired by another piece of Chinese furniture on the ground floor of the house. He used to tell his grandchildren stories about the dragon, and then he carved and painted it. The panels feel strikingly modern, almost Art Nouveau. You can even see Hugo’s initials carved in the lower corner.

#victor hugo #hauteville house #Guernsey #les miserables #alexandre dumas #orientalism #les mis

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bulbabutt · 8 months ago

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so im white, lets just get that out of the way, but i wanna talk about the orientalism in windblades design.

this doesnt feel like my place to talk about but if no one brings it up then no ones gonna learn about it or second guess it. im tired of other white people not noticing this problem or thinking its fine. if anyone asian (specifically japanese) has any thoughts or personal input it is SUPER fucking welcome! its hard to find people talking about this.

so transformers has a women problem in general. they set up women in the 80s in one episode and never elaborated on it in that show. they added arcee in the movie. they put a couple in the beast wars era, but outside of blackarachnia (becoming a literal succubus) we dont really get any of those characters adapted (besides arcee) over iterations. never any new ones really.

then the comics get windblade. i havent read the comics, this isnt about anything that happens in them. this is about her design how she comes off as as shes been adapted into cartoons. i wont comment on events from the comics outside of her origin, as i know fuck all about it.

so she was supposedly a fan-voted character, but her 'fan-voted' aspects have nothing to do with the problem (in fact the fan-vote was more of a suggestion because a few things dont end up being true) the voted aspects are as follows:

autobot. jet. fights with swords. red & black. named windblade. female. valiant. telepath. from Kaon.

so here's what that ends up looking like.

so they took some liberties. there was other concepts where she was a european knight etc, but this is where they landed. she has this extremely feminine figure, complete with makeup and sculpted hair. many people immediately mistake this look for a geisha (though supposedly being kabuki) she gets little pump heels, it makes her very human woman shaped. birthing hips and all. thats classic girl robot stuff. its the specifics of it that are an issue.

so thats kind of a lot of japanese motifs. the makeup, the swords, the hair... why does it look like human hair? thats a very specific hairstyle on a character who doesnt have hair...

on its own, having a japanese inspired aesthetic isnt the problem. i mean, coding characters to be from different places is fine. having characters coded as a specific race could be fine. jazz already exists, and despite being taken by racist creators sometimes (cough michael bay cough) its not inherently bad that he is black coded, specifically when in the hands of black creators/voices. thats key.

so having a transformer who landed in japan and took on some culture from there. you could see that happening. that could work if in the hands of people who were japanese.

but thats not even her backstory. shes not even from Kaon (as was voted), instead she's from another planet entirely, a more spiritual one, which narratively makes her alienated from cybertronians. this alienation adds to the problem. "shes not from here." "shes not like us."

you'll see many people look at this design and think "is that geisha transformer?" and as the character isnt from japan and knows nothing about the culture that inspired her, the media itself never corrects anyone. no one in the text goes "no shes not a geisha shes actually based on a kabuki performer", no one says any words about it, its just how she looks, its just aesthetics without explanation or cultural background. shes not literally japanese, she just looks it. its easy to mistake without cultural context from a western perspective, so calling her a geisha becomes a rampant problem. general audiences arent looking at forum posts form 2014 where someone correctly explains what the motifs are. shes made by white people, and white people are largely the ones consuming the media. its unfortunate, and could have been avoided if the culture shes inspired by was relevant to her character.

so she's clearly heavily inspired by japanese aesthetics, which codes her as being an asian woman in this media but written by non japanese people. and then she becomes so popular that she has to start making appearances in shows.

she shows up in robots in disguise first. lets compare her to strongarm (the only other girl in the show)

having this japanese woman be far more thin and feminized than the other girl characters is the problem. strongarm is literally the first non feminized main girl transformer (not counting strika) she is much more in line with the men around her, square and broadshouldered, shes the largest car of the bunch. that was an upgrade finally. and then we get windblade. she has ruby red lipstick, human hair, heels, jewellery. on its own? thats fine. but keep in mind, shes heavily japanese coded already. then shes immediately seen as a romantic conquest for sideswipe (though he never gets anywhere, he literally claims ownership) it leans into tropes of sexualizing asian women because she stands apart from strongarm. shes the flirt, shes the very feminine one. is this on purpose? its not their fault windblade looks like that in the comics and strongarm looks like this. but side by side what is it saying? did they intend to say this about their asian woman? no, probably not intentionally. its kind of unconscious bias that tends to happen when you dont have a diverse writers room. no one notices until it hits the audience.

but lets just jump in here with the other weird problem in RID, because shes not the only one who jumped from the comics.

drift (who while being a samurai in the comics (literal?) doesnt.... LITERALLY wear a suit of samurai armour) shows up. with his two minicons who act as his children (who hes very strict with). theres a heavy overuse of the word honour. he owes a life debt, hes very humourless etc... they also never explain why he wears this armour. he came straight from space. he doesnt even turn into anything big that warrants it, hes just another sports car. bumblebee and sideswipe are sports cars too. but why is drift a sports car? tokyo drifting. drift. you get it.

so drift also is a comics original character. he, however, looks nothing like that

i will assume that drift looks different for one reason....

i mean. i shouldnt have to tell you why that was bad, right? you guys get why michael bay movies are bad? (if you genuinely dont please enjoy this series as a starter) ill just assume you do. knowing that that drift is bad, can we also say windblade is suffering from a similar problem?

this show brings in these FOUR new characters and heres how they look side by side.

so. okay the minicons are raised by drift, they share his aesthetic, okay. we dont know where he got that aesthetic but yeah they share it. windblade.... its unclear in this show if she shares the being from another planet like idw part. shes on a mission from god to be here and thats all we know. but the point is they have no similar origin. yet they all look like they could be from the same place. that they shares a (japanese inspired/coded/stereotyped take your pick) culture. meanwhile our from ep1 mains look like this:

so that feels. specific.

its not inherently bad to code robots as japanese, however its a problem when it seems to be for aesthetics alone. its stereotyping. they look nothing like the rest of the cast, everything like each other, and are from completely different backgrounds. they literally have the same colour palette? theyre not even like that in the comics.

sidenote, if you add sideswipe (who's alt mode has kanji on it and an asian voice actor so we can assume some coding there too) they look like this. yes they all have swords.... no one else does!

yes, windblade is the only character with a white face. makeup. yes sideswipe claims ownership over her to fight off one of the minicons. its not wrong to show windblade being harassed by a man, but it is wrong that no one ever says "leave her alone" you know? like thats just whats to be expected of her. it sucks. but at least her voice actress was asian! that wont happen again.

so. moving on to cyberverse, she becomes a central character. character wise? shes great. she gets to do a lot, no one sexually harasses her here, we're free of that era.

comparing her to the other autobot women, shes more in line now. if thats a good or bad thing overall is less the point (ie theres no autobots built like strongarm was, they are all just as thin and curvy as windblade is) but to me its still very apparent that shes still implying human hair. even with how simplified all these designs are.

like you can see how these red lines around her eyes get lost at a distance, same with the clips in her 'hair'. its clearly just trying to adapt her original design and im not saying thats a wrong choice they made, but i am saying its really busy in comparison

maybe thats a nitpick. but here it seems much more pronounced just how specific her head piece is because we can compare her to chromia, who is from the same place. do these two characters look like they have the same culture? not really. chromia and arcee look more alike. maybe thats just because they were designed later, but its unfortunate none the less.

even comparing her head to the seekers, what she is kind of supposed to be, they get the same old starscream mold. maybe she'd look better if they just did that? or something similar? like, give her a helmet. no one has hair. please stop implying hair. we all know what youre doing.

none of this is me saying i find these shows bad or that i hate windblade, i genuinely love her! and i love both these shows! it just feels hard to love her because of how she was designed. its not a problem with having a japanese coded character, its how stereotyped the look is. how othered it is. it leans into racist tropes. its orientalism, using japanese aesthetics to make her look interesting and different. you can tell she was made by white people.

how is it that despite being around for 10 years now, no ones tried to redesign her?

also look at the toys! look at the god damn toys!

she can take that head piece out to have a FAN. why does she need a fan?? shes got fucking WIND JETS ON HER BACK! its very obvious why they did this. shes a japanese woman, she can fight with a fan to complete the aesthetic! despite her character never having even been there! and no other transformer using a fan weapon! shes so COOL AND DIFFERENT like that isnt she?? holy fucking shit

to go back to those original voted concepts for a second? if we went back to the drawing board?

a telepathic valiant female autobot who can fly, has a red/blue/black colour combo (with yellow accents) uses swords, and maybe even with canonical asian heritage....

could they even do that? is it possible?

...

OH! wait it SUPER IS! who'd have thought!?

im NOT saying "we dont need windblade! we have a better girl with the same concept!" cuz thats stupid. do not misunderstand, theres room for WAYYYY MORE TF GIRLS! the literal 1:13 ratio is FUCKED! i know windblade had to fight to exist too and that sucks!

i just think it's CLEARLY possible to do this better, and it SHOULD be entirely possible to have windblade (who was LITERALLY holding court as the MAIN girl transformer for years) to be, i dont know, not so racistly designed? i think its entirely possible to fix, i just wish they would have tried already.

and this is just what my white ass has thought about since meeting her and not seeing anyone else bring it up. like going hunting for a real take about it just meets you with the rampant misogyny problem in fan spaces. its hard to find people talking about it in a normal way, but if they have before id love to know.

i just wanted to put my thoughts about it down, maybe get people to think about it more or talk about it more. cuz jeez, i would really like them to fix the problem. like they fixed the arcee problem in idw, right? can they fix windblade next?

#the tf binge thoughts #maccadam #windblade #transformers #tf windblade #long post

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wodania · 6 months ago

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what race are dornish even supposed to be? like canonically (ive never read the books). a lot of the art ive seen has them looking either tanned white or black. but then the clothing and inspirations seem to come from the middle east?

okay warning… I rambled a lot here I’m so sorry 🤒

there’s a pretty dubious and unspecific answer to that question 😭 to me, it’s obvious george had an orientalist idea of the middle east in mind when writing the characters, but he also claims that his inspirations are exclusively european, which imo doesn’t really add up. the dornish seem to be orientalist caricatures more than anything. so as George puts it, and based on the descriptions of sexual silk wearing desert people, they are white people with darker features cosplaying middle eastern stereotypes. Though I’ve seen some sources say it was specified as Islamic Spain, which still is not helping the orientalist accusations but rather encourages them. I’m not very familiar with this era of history, so I can’t say much about it. In the show, they choose to portray them by casting people of colour (and white people with darker features) such as Tanselle, Ellaria, Doran, etc, except in the case of the Targaryens, who are the major cast members of Dunk and Egg. Also worth noting is that in the books northern Dornish are much more ambiguous than southern Dornish and are described as paler with lighter features more resembling Westerosi people, so I’m mainly talking about southern Dorne.

a lot of people rewrite the descriptions of the Dornish characters to be less orientalist and more reflective of the real world cultures orientalism as a concept butchered. that’s why you see a lot of SWANA or South Asian Dornish designs. my own southern dornish designs are based off of historical iranian and persian styles. but some artists definitely lean into the silk and veiled orientalist tropes originally used to describe Dorne which is… ick. Characters like Arianne suffer from it greatly, being viewed as the sexy, Jasmine-esque character. I do think a lot of people also fall into the “brown people are a monolith” idea that the show also falls into. The Disney’s Aladdin idea that stereotypical Middle Eastern and Indian aesthetics are the same. I’m not from these cultures, however, so I’m not an authority on it. I’m just basing my observations on things I’ve learned from other people about orientalism in different contexts. It’s also worth mentioning that people come in all different shades. A pale person can still be a person of colour, so some Dornish designs may be lighter while also still portraying someone as a person of colour, if that’s what the artist intended.

Also, in my humble opinion, if you are drawing the Dornish as white but using clothing from non-white cultures as opposed to the European cultures George said he took from, you’re just contributing to that orientalism.

Hope this helps I kinda rambled and summarized a bunch of the convos I’ve had with people about the Dornish from a critical lens 🙏

#my asks

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flamingtunapictures · 2 months ago

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AA Spirit of Justice - Game Review

Tl:dr - A visual and symphonic triumph, this title delivers on striking visuals, a beautiful score, and a wacky, colorful cast innate to the AA DNA. Though there is absence of robust worldbuilding, the story is engaging, ending with an epic finale episode.

Spirit of Justice is one of the longest titles in mainline Ace Attorney games, clocking in at an average of 25-30 hours of gameplay. It features a cross oceanic adventure that takes up courtroom calls in the familiar “Japanafornia,” but also in the new Asianic/Tibetan-inspired Kingdom of Khura’in.

Visually and symphonically this game is an absolute triumph. The game falls in line with the latest generation of Ace Attorney games, defined by immaculate employ of 3D graphics and animations. State-side character designs and animations are some of the brightest, wackiest, and most memorable of the entire series. I have found over the years the AA witness designs I reminisce over the most tend to come from this game. The main eastern counterparts are equally visually striking, albeit not as compelling or memorable as they could have been (more on that later).

The music, per usual, metered and complimented the world and narrative beautifully. From sentimental originals like Reminiscence: Inherited Hopes, to new cultural sounds of Defendant’s Lobby and reorchestrations of classics Allegro, Pursuit, and Troupe Gramarye, there was never a reason to turn the volume down.

Gameplay wise, the game functions virtually the same as all the previous titles with the addition of “Seance Divinations.” This new mechanic allows you to behold the final memories of the deceased…in order to point out contradictions in classic AA fashion. A neat thought, however not entirely memorable or largely contributive to the gameplay as a whole. If anything, it just provides another venue for player frustration at “obscure logic” to manifest (I’m looking at you “man’s voice”).

Most importantly however, as it comes to AA games, how is the story? As I mentioned before, this game is an average of 7 hours longer than your typical AA game. It features 5 episodes instead of the usual 4, bouncing between East and West to give all protagonists equal facetime.

The first episode acts to establish the new Kingdom of Khura’in and the Divination Seance. It is quick, orientational, and full of excellent characters. My main criticism would be the generally insufferable characterization of Nick as the worst kind of tourist.*

The second case brings you back “home” and treats fans to classic Apollo/Trucy shenanigans and more Troupe Gramarye lore.

The (infamous) third episode returns you to the land of Khura’in to solve an unfortunately drawn-out and convoluted tale of death supported by a cast of uninspiring, vanilla characters. Its purpose was to establish plot points for the final episode. However, I’m not totally convinced they were necessary for the final episode to land as well as it did. For that reason, the main purpose of episode three was actually to celebrate the return of Maya Fey in the most Maya way possible: Maya getting accused of murder…again!

The fourth episode brings you back stateside for a quick one day cross-examination of kooky rakugo school students helmed by Athena and special guest Simon Blackquill. It’s a rather inconsequential episode in terms of overall plot, but I found it delightful nonetheless.

The game finally wraps up with its piece de resistance final act —Turnabout Revolution. This episode was a diligent convergence of East and West, giving both settings equal presence and relevance to the final arc. Not only did it lean into AA legacy locations/references like Kurain Village, but, much like Luke Atmey’s larceny case from Trials and Tribulations, the courtroom battle deviates from the typical murder-trial cadence. In the first act of Turnabout Revolution, Apollo and Phoenix go head to head in a civil dispute case. Gone are the too-oft’ drawn out rebuttals, ad-hominem attacks, and tangents on incompetency from the prosecution. In its place, a steady, well paced, respectful exchange is had between attorneys. The first case concludes on an ambiguously sinister note that forces the characters to deadhead east to Khura’in. It is in this new setting the final compelling plot twists, hard-hitting sentimentality, and absolutely stunning character designs are revealed.

MAIN CRITICISM

For as compelling and inspiring the final act was, there was much left wanting in this title as a whole. I think this is largely due to the Kingdom of Khura'in’s lamentable lack of depth and cultural development. Visually and musically it is executed beautifully, but nevertheless remains skin-deep. There is little for world-building fans to sink their teeth into. Consequently, characterization and story intrigue are sacrificed.

While I could comment on the gimmicky religion that is too often treated with the reverence of parody, I would prefer to focus on what I perceive to be the largest under-miner to what could have been a robust Khura’in.

There was a notable lack of consideration taken towards the use of the Khur’ainese language. Sure, there is a word or two, the suggestion of a written language, and Sahdmadhi had that one VA line (that didn’t even sound like a convincing language), but nothing sociologically compelling. The names are some of the laziest puns in the entire series, opting to just drop letters and add apostrophes to existing English words. They are entertaining, but forfeit opportunities for a believable culture in lieu of a quick laugh.

Imagine the intrigue that could be infused if two Khura’inese characters (Dhurke and Datz for example) converse in <Khura’inese> in front of Nick. It would enforce the feeling of Nick being a foreigner in a foreign land and that the Kingdom of Khura’in is its own legitimate ecosystem. *Having characters converse in their native language in front of Nick would also help abate the irritating characterization of him as the “self-righteous,” boisterous, and meddling foreigner. The lack of basic tourist etiquette killed me during this game. I understand Phoenix is the main character, but sometimes taking a third person perspective to a country sorting out their own problems makes for a much stronger narrative.

Now let’s take a look at Apollo as another example of how the use of a <foreign language> could add more character depth. The man grew up in a foreign country and doesn’t talk about it — that is fascinating. Now imagine if the use of foreign language was mixed into how that story was revealed. What if, instead of just his father showing up after 10+ years in the Wright Anything Agency office saying, “Hi Son! Long time no see,” he said, “<Hi Son! Long time no see>,” and then Apollo responds in (rusty) Khura’inese, “<What are you doing here?>” We would all become Trucy Wright in that moment, and the question wouldn’t just be, “How do you know this man?” It would bloom into, “How did you understand what this man said?”, “Wait, Apollo speaks a foreign language?” Then it would become “How do you know this man?” etc. The intrigue and layers this interaction alone could add to Apollo as a character are there for the taking…if only a second longer was taken to incorporate the use of <Khura'inese>.

Finally, the choice to not employ accents in the voice acting of the Khura'inese characters (Dhurke, Rayfa, Datz, Ahlbi, Guards etc) feels nothing short of lazy. The use of accents would have added a nice touch of texture to the already visually striking characters. If a game like Dragon Quest VIII can cast a variety of generically “foreign” accents to even its minor characters, there’s no legitimate reason the citizens of Khura’in should be depicted with the flattest American accents imaginable.

In conclusion, Phoenix Wright: Ace Attorney – Spirit of Justice is a solid title to the main series. Though it suffers from weak world-building, its story is still largely compelling and enjoyable to play!

#ace attorney #spirit of justice #review #game review #phoenix wright #video game review #opinion #khura'in #maya fey #flamingtunapictures

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imb3rs · 2 months ago

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⊹₊⟡⋆ simone ashley + she/they ⊹₊⟡⋆ blasting all american bitch by olivia rodrigo through their airpods is NALINI KUMAR . oh , you don’t know them ? they’re the twenty9 year old fashion designer who just went viral for a fierce rivalry with another up and coming designer , ateliers vandalized! . yup , the one that drives a porsche taycan turbo gt . i hear they’re pretty adroit , but others have claimed that they’re quite taciturn . that makes sense , considering they’re often labeled as the high priestess .

[ ✰ ] WANTED & ESTABLISHED CONNECTIONS ( WIP ).

penned by HECATE ( she/her , 21+ , pst )

001. ↻ BASICS .

[ ✰ ] full name: nalini kumar

[ ✰ ] nickname(s): n/a

[ ✰ ] age: 29

[ ✰ ] date of birth: 02/20

[ ✰ ] place of birth: san francisco, ca, usa

[ ✰ ] ethnicity: indian ( tamil )

[ ✰ ] nationality: american

[ ✰ ] gender: demi woman

[ ✰ ] pronouns: she/her, they/them

[ ✰ ] orientation: bisexual / biromantic

[ ✰ ] language(s) spoken: english, tamil, hindi, french, spanish, asl

[ ✰ ] mbti: INFJ

[ ✰ ] element: water

[ ✰ ] zodiac: pisces

[ ✰ ] character inspiration: ilsa faust ( mission: impossible ), jane smith ( mr. & mrs. smith ), lydia martin ( teen wolf ), astrid leong ( crazy rich asians ), elizabeth swann ( pirates of the caribbean )

002. ↻ BACKGROUND .

NOTE: this is a quick summary / tldr of nalini's background . for a more detailed bio , please CLICK HERE !

a determined individual dead set on carving her own path after years of being overshadowed by her older siblings’ successes and overlooked in favor of her siblings . despite the friendly and free-spirited demeanor , she’s more often than not fueled by spite . pursued not only a bachelor’s but a master’s in fashion because of it and has been making waves as the next big thing in the industry . began to thrive after stepping out from their family’s confines and due to an opportunity too good to turn down , has found themselves relocating to los angeles .

003. ↻ HEADCANONS .

NOTE: this is a work in progress so more will be added at a later time !

obtained a bachelor’s in both fashion design and advertising & marketing communications from the fashion institute of technology and her master’s in fashion management from parsons

while her career claim is vera wang , nalini’s designs often incorporate a mix of her own culture . not only do they specialize in western wedding gown designs , they also specialize in indian bridal attire as well

has a mixed british shorthair & russian blue cat named buttercup

enjoys sketching as a hobby . can sometimes be found sitting at a cafe or a rooftop with a small sketchbook in hand

since moving to los angeles , nalini picked up mixed martial arts as another hobby

a porsche girlie . on top of the all electric taycan that they drive as their daily vehicle , they also have a vintage porsche 911 turbo ( type 964 ) in british racing green that's their weekender

#vigilante.intro #「 ♡ 」 headcanons. ↻ 𝗻𝗮𝗹𝗶𝗻𝗶𝗄𝗎𝗆𝖺𝗋.

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golvio · 10 months ago

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I’ve been digesting the video essay Orientalism & the Gerudo over the past couple of days. The first half of the video is a basic, consolidated summary of arguments I’ve seen people make about SWANA representation and Black representation regarding the Gerudo that also includes more academic sources to try to explain to newcomers or people unfamiliar with the term “Orientalism” where these points came from. I’m hoping this opens up some discussions across the wider fandom.

My only criticism is that, sometimes, the points can meander a bit between each other without clear boundaries between which talking point is which, leading to occasional moments of “Huh? How did we get here?” or “Wait, what about that other point you just made?” However, I think that’s a symptom of there being just so much to talk about regarding the broader umbrella topic that this video is trying to cover that it’s hard to know when/how to fit stuff in. You could make a whole essay about only how Arab men are depicted as aggressively misogynistic threats menacing Arab women to justify modern imperialist invasions of the Middle East by Western powers and how that ties in to the way Nintendo refuses to show Ganon having a more humanized, complex relationship with his own people. Even after a whole hour it feels like we’ve only just scratched the surface.

However, I also don’t think this “meandering” is necessarily negative because it sometimes ended up leading to great points that I hadn’t considered before. For example, I was initially confused about why the essay started focusing on Rauru and the plot of TotK after the halfway point, but it ended up not just being a useful example of how Japan reproduces Western tropes from pop cultural influences for fans who weren’t quite convinced about the essay’s arguments in the first half because they assumed Japan was in a cultural vacuum where racism doesn’t exist, but also gave me a totally new perspective about Rauru’s character beyond my initial Shintoist reading of his role as a divine ancestor that legitimized the royal family’s rule.

Rauru and Mineru’s designs and backstory borrow visual and literary tropes from depictions of indigenous peoples in American media to legitimize him as “indigenous to Hyrule” and therefore an important founding figure in its revised origin myth, but these tropes reproduced without awareness of their original cultural context also serve to “unperson” him as a character within the story. He’s sequestered into a distant past where he can’t really interact with characters in the present, not even truly “owning” the kingdom he founded, which instead passes to the Hylians, who coopted his legacy of unification for their own ends but completely forgot about him. He and his sister are treated more like “resources” for Link/the player to take advantage of to achieve their goals than characters in their own right. And, emotionally, the Zonai siblings are so distanced from the main cast and each other by being treated more like concepts of “nativeness” than people in their own right that their own descendant feels like a stranger visiting an exotic land instead of long-lost family reconnecting with her roots.

Like…it’s a really clever way to introduce two equally complex points that people should keep in mind when examining the Gerudo. First, that you can’t really treat Japan’s depictions as the exact same as Western depictions, because while Japan isn’t “the West,” it has its own complicated history with racism and imperialism born out of the “pan-Asian” nationalism of the early 20th century. At the same time, Japan doesn’t exist in a hermetically sealed cultural vacuum totally isolated from Western influences that makes Japanese creators incapable of learning about cultural nuances regarding racism, despite what fashy weebs personally invested in the myth of Japan being a magical exotic fairyland where “woke” doesn’t exist want you to believe.

I hope this video essay inspires other people to look into this topic further and maybe contribute their own works to the discussion.

#loz thoughts #racism mention tw

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floralovebot · 6 months ago

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isn't helia kinda meant to be respresenting of diversity in the specialists group? in winx you got tecna with short hair or musa with a tomboy style (both discarded in later seasons, too bad), even aisha with her sporty side.

helia to me is like that but on men's version. he's pretty, he likes art and he got luscious long hair, obviously gonna stick out in a school of martial artists that wield weapons and kill monsters.

but he's still a man that kills monsters, like musa wears cute fairy dresses.

he's like that one character that is just different but at the same time the same. in like tecna and musa, in the series they got rid of his artistic side and more quiet personality to the point I even saw him trying to punch riven for imitating a werewolf (but mischaracterization of season 3 onwards aside).

he's obviously showing that men can be pretty much straight and masculine but hace attributes that feel androgynous. you don't need to guess his gender or orientation outside fans' headcanons or little oc universes. helia is the same as his friends with a more refined design that adds more diversity.

he's pretty, got a pretty girlfriend, likes to draw, he's head over heels for his girl, flora is his muse, he loves his grandpa, he can lead missions, he's a skilled fighter, he's levelheaded and he enjoys the quiet.

exactly! like i really do not understand why this is such a big issue for some people. if tecna can be less traditionally feminine without anyone questioning her canon gender, why can't the same be true for helia? and again, absolutely no issue with headcanons (as long as they're respectful and not offensive)! but the rumor that he was supposed to be a girl is just so ?? like who said that. give me their number NOW alhgd

even though most of the specialists now fit into one neat little category, there was still diversity! timmy wasn't as buff, he was more sensitive and emotional, etc. he got buff in the third season, but at least his personality stayed. and just like they made flora latina to add diversity to the winx, i think they made helia Very Noticeably asian to add diversity to the specialists. nabu added racial diversity too but then they killed him so

but anyway yeah, even disregarding race and just focusing on personality and interests, helia was meant to be a better fit for flora which means he's not going to be a super nasty macho man. obviously. her type is sensitive, emotionally cognizant people who don't explode every five minutes (sorry flora/riven likers). and when designing him, they were pretty clearly inspired by shojo anime/manga. and Again, long hair on men isn't a "weird" or Strictly Feminine thing in the winx universe. like i'm saying dude people are weird as shit to Helia Specifically. like this doesn't happen to timmy or tecna. it's Him.

#dude the werewolf thing pissed me off so much...#like No its not the first time helia has called riven out but he would never get that mean about it...#and that was before the frozen heart thing!! he was just being a bitch!!! fight with flora excuse like who cares he would never #even if he was That annoyed by riven he would've just given him a nasty side eye and told him to be quiet like cmon now #answered

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