#but i think it also represents visually how will is often in the back of mike's mind

[chirpsythismorning]

Mike 'Your love is like a shadow on me all of the time' Wheeler

[creatingblackcharacters]

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

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

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

Behold! Many shades of brown!

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

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

"Chocolate and Coffee"

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

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

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

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

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

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

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

"Brunette with brown eyes"

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

"Red hair with pale skin"

“‘tanned’ skin with hazel/green eyes”

“blond hair" (period!)

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

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

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

My Next Challenge:

Some people may disagree, but- Ahem:

Say BLACK!

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

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

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

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

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

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

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

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

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

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

Conclusion

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

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

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

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

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

[bamsara]

I'm new to this blog, what's dream lamb and dream narinder?? They're cool but I do not understand I wish to comprehend

Dream Lamb (And Dream Narinder) is exactly as the name implies; dream versions of the counterpart that only appears within Narinder's (Or Lambert's) dreams at night.

They are a visual manifestation of the subconscious, they are not real individuals. They can reflect what Narinder/Lamb's true feelings are about something/someone, or torment them about things that they perceive to be true.

One example is that Dream Lamb often makes Narinder remember how fondly he thinks of the Lamb ("You think of them so poetically" + all prior friendship he had with them in the gateway) or pointing out how his words contradict his actions; behaving and believing them to be a traitor and insufferable but doing things of his own will (resurrecting the crab, not killing their flock because it makes them upset, allowing Leshy to live, ect ect).

Dream Lamb ALSO points out the complicated feelings with his siblings; ie reminding him of how he used to help raise his youngers, and the mixture of emotions he feels towards individuals who he claims he despises.

Dream Narinder (Who is not into written form yet and is only in comic form as of this post) who instead of tormenting the dreamer with confrontation of feelings being denied, instead sews doubt and guilt. The Lamb feels even though they stayed true to themselves, they cannot help but feel like their perceived betrayal has damaged the friendship between them and Narinder beyond repair. Despite that grief for the loss of friendship, they'll accept what little companionship they can have from their best friend left over.

Dream Narinder fuels on this, often echoing their worst fears and worries ('You've done a good job as my vessel, so I no longer have a need for you.") So he acts non-nonchalant and often mocking/teasing, or even indulgent with the acknowledgment that none of it is real. Where as Dream Lamb confronts Narinder with feelings he's wanting to push back, Dream Narinder goes the opposite route, and calmly and casually reinforces what they believe to be the reality.

Dream Lamb represents Denial of the Truth, While Dream Narinder is the Acceptance of a Lie.

However,

Because they are corrupted visuals of the subconscious, but still their subconscious nonetheless, this means that these behaviors can change or be different depending on how the dreamer thinks/feels, and how they're processing their emotions in relation to something. Especially when they're confronting it.

In other words, the closer Narinder gets to accepting his feelings and understanding the Lamb's reasoning for their 'betrayal', and the closer the Lamb gets to realizing Narinder's care for them still persists, the more accurate and truer the dreams become.

Like in this comic, where Dream Narinder is tormenting the Lamb, but after their snap back that Narinder would not say something so cruel to them, despite his outward attitude, they are practically rewarded with a praise for it.

For Dream Narinder specifically, his eye remains closed....but opens a little more the closer and closer the Lamb gets to believing how Narinder truly feels about them, whether the real cat has accepted it or not.

As for Dream Lamb, they go from being very aggressive about their confrontation to something more docile, eventually as Narinder starts to process everything.

Another thing: the Dreams are linked. Not always, but they have to be on the same...wavelength for it. An understanding, perhaps. But they do affect each other, sometimes.

The dreams can be nice too, depending. That's why they're not always nightmarish. Meaning, with enough push and pull, eventually:

Why all of this dream and nightmare stuff is happening? Yet to be revealed.

Remember guys if you avoid your feelings in real life they might hunt you down in your dreams, and possibly bluetooth you to the object of your affections dreams as well if you're nice about it

[wickworks]

Lancer Tactics dialogue layout crisis of faith

(from this month's backer update)

Every so often, I'll run into something in development that eats away at me until it pushes me to a crisis of faith and I have a breakdown, burn down a bunch of work, and build something better from the ashes. These are moments of transformation and we're almost always able to come out the other side with something much better than what we started with.

This all sounds very dramatic until you take a step back and see the issue in question is just, like, the layout of a menu. But if medieval priests were able to have schisms over angels on pins I can have strong feelings about graphic design, dammit!

This month's episode revolved around how we're doing character dialogue. For reference the plan was to do a standard 4-slot visual-novel talking heads layout. I call it a 4-slot because there's usually four positions that characters can stand; two on the left, two on the right:

I had it ingame, and it was working. But... something felt off. Do you see the difference between every one of the above examples and this?

It's all about perspective, baby.

Answer: all the character art in those examples are drawn at a slight angle so they can be flipped back and forth to be made like they're looking at each other.

Trying to do this with the perspective we chose early — straight on — makes for a chorus line of weirdos who are looking directly into your soul as they ostensibly chat with each other. Credulity is strained; the illusion of these puppets interacting in the same space is paper-thin.

(I was skeptical of choosing this perspective for this reason, but we ultimately went with it to make the customizable assets in the portrait maker easier to fit together)

We tried a bunch of different layouts, but they all at least one of these problems:

they'd stare into your soul while ostensibly directing comments elsewhere.

they felt like text messages; this would be fine if that's what we were going for, but we wanted something that could represent face-to-face conversations. (Tactical Breach Wizards was able to pull this style off because they had little 3D dioramas to go along with it)

or, most damning of all, they felt like zoom calls.

So, my heart aflutter and spirit in want, I spent a day doing a research dive into various dialogue layouts (bless the Game UI Database!) to see if any other games had managed to pull this character art perspective off. I ended up with this massive non-chronological taxonomic tree:

(fullsize here)

The type of layout that particularly caught my eye was this style where each character had their own little box. These layouts borrow a concept from comic books called "closure" where the space and time between characters are left blank. Freed from the constraints of trying to simulate a single space, these layouts allow the reader to fill in the blanks with something that feels more true-to-life than anything we'd be able to render ourselves.

I was especially impressed with the dynamism of Tales of Symphonia and The World Ends With You; rather than sticking to single slots they would animate the entire panels moving around to indicate motion an relative position of characters.

So we threw out the old code and copied them. Here's what we've come up with:

We'll be able to have portraits interact, like smacking each other (I felt like a kid hitting two action figures together, lol)

We can also apply effects like princess-leia-holograms and full-screen "lighting" effects like warning banners:

Carpenter and I came up with a number of arrangements that the portraits can smoothly transition between:

I've also implemented support for choices during a dialogue, potentially leading to branching paths.

Overall, I feel SO much better about this system than our initial designs. It might feel a little more cartoony, but I think we're making a cartoony game so that's not a problem.

Whew. We bit a lot off to chew with this project. I feel like I just made a second visual novel game engine inside of the first. Fingers crossed that it all ends up worth it.

[ponett]

Do you have any advice for people making OCs/sonas? Yours are really well rounded and unique and I'd greatly appreciate the insight of someone who got a passion project off the ground!

So this is a very broad topic, and it varies a lot based on your own creative goals, what kind of characters you're creating, and where you want to use them. Creating an OC to be used in furry pinups is a little different than creating one for a dramatic story. But I'll try to give some general advice on how I do things for the types of characters and stories I tend to work with

Heads up: this will be kinda long lol

The germ of an idea

For me, I'll generally be inspired to create a character starting with a small number of core traits. These could be anything. A color scheme, a body type, a job, a hobby, a personality archetype, an outfit, a visual motif, a functional role in a story I'm working on, a noteworthy facial feature, a weapon, a relationship of some sort to an existing character, a single scene or joke I want to use them for. For furries and fantasy characters, species is usually one of the first things I'll have an idea for, which tends to get the ball rolling fairly easily since we have all sorts of cultural associations with different animals and fantasy creatures.

Any standout character trait like this that you find compelling can serve as that initial spark. The inspiration can come from anywhere, but it's often just a matter of knowing yourself and your own tastes. What do you like? What are the people in your life like? What really speaks to you in a character? What's an existing fictional character that you'd like to rewrite and take in a different direction? What's an aspect of yourself that you would like to see represented more often in fiction? It doesn't have to be something super deep or fleshed out right from the start, though. You can start with something as simple as "I want a black cat character" or "I want a character who dresses like an arcade carpet" or "I want a character who looks scary but is actually nice." Whatever it is, it's something that differentiates the new character from the ones I already have, because otherwise I'd just be using them.

Contrast

From there, you can start brainstorming other traits that might go with those core traits. Some of those may be traits that naturally complement each other. Continuing with the black cat example, maybe you wanna play into the common cultural perception of black cats and say that this character brings bad luck, or is associated with witchcraft. However, I often like to give characters contrasting or even seemingly contradictory traits, which can help elevate a character beyond a stock archetype. Real people tend to be a walking ball of contradictions, after all.

I've talked a lot about how I did this with the main cast of SLARPG. Melody is a fox, traditionally a crafty and untrustworthy predator, but she's extremely introverted and gentle. Allison is a bunny, but instead of being a meek and cuddly little prey animal she's an outgoing fighter who loves a challenge, and she has a muscular build. I think this kind of thing gives characters some fun flavor, and can be really effective for both comedy and drama. For an example from something I didn't write, take Senshi from Dungeon Meshi. He's a dwarf, and he embodies certain stereotypical aspects of dwarves - he's a short, buff man with a big bushy beard, he lives underground, he's stubborn and doesn't like elven magic - but he also goes against some of them. Instead of being an expert on mining and blacksmithing, Senshi is a culinary expert who has a deep appreciation for the natural ecosystem of the dungeon. He's a weirdo among dwarves for not caring about the wellbeing of his axe and for using his super awesome shield primarily as a giant wok. And that's what makes Senshi fun and interesting.

So going back to our example, instead of going with the stereotype, we could make a black cat character who has comically good luck, or who's superstitious and afraid of witchcraft, or who's an extremely rational person who always believes in science over superstition. Or maybe you roll with the bad luck angle, but instead make the black cat be the victim of their own bad luck in some interesting way. Maybe this black cat has terrible luck with love and can't hold down a relationship. Maybe this black cat is an aspiring speedrunner who consistently gets the absolute worst RNG possible in every video game due to their own bad luck. Maybe this black cat has accrued a horrendous gambling debt after a long losing streak and has loan sharks coming after them.

These are all just hypothetical examples, of course. I don't exclusively make characters with ironic contradictions like this. The idea is just to build on those core traits you started with in interesting ways, and that's one of my favorite ways to do so. But honestly, a lot of the time execution is more important than the sheer originality of an idea, and sometimes really putting your all into playing a trope you love straight is the right move.

Specificity

Regardless of what direction I take a character in past that initial seed of an idea, the key ingredient tends to be specificity. To give them specific details beyond the most stock possible version of that core idea you started with.

This is something I internalized from Tim Schafer, via a blog post in the behind-the-scenes backer material for Broken Age. Sadly I'm not sure if that stuff is still available, but I did save this particular post about creating characters since it really helped me, so I'll directly quote a chunk of that post here:

No two characters would approach a problem or react to events in the same way. At least, not if you’ve designed the characters well. If you’ve left them too vague or superficial, if they are merely functional elements in your story instead of individuals, then they might react in the same way. And that’s a problem. So to avoid that, I’m going to talk about one the most important parts of character development: specificity. Making sure your character is a specific individual, not a stereotype. A unique character, different from anyone else in the world. It doesn’t mean that they have to have wacky gimmicks, eyepatches and crazy accents. It just means they have to be specific. For example, let's create a new character. Let's say your story has a scene where your main character gets in trouble in school. So you’re probably going to need a school teacher. Imagine a school teacher for a bit. Do you see her in a little red schoolhouse? Maybe a bun in her hair? An apple on her desk? Thick black glasses? Let’s put a ruler in her hand for good measure. Done! We have our teacher character. She’s ready to be in the scene where our hero goes to school and the teacher sends her to the principal’s office for passing notes. Right? I mean, this character doesn’t have too many lines, so why develop her character any more? The problem is that this teacher is a very shallow stereotype of a teacher. She has no specific attributes that make her memorable. She’s the teacher you would get in a set of free clip art. She might not have many lines, but if all your supporting characters are this way, your story will be more bland than it should be. Even if this teacher is only onscreen for a minute, she should be unique and different from any other teacher in the world. Luckily, it's not actually that hard to make her so. You just have to ask some very basic, specific questions.

Tim goes on to explain how simple exercises like filling out character sheets with basic questions about your character (there are a million of these online) can help push a character beyond a stock archetype, even if it's a minor supporting character. Questions about where they're from, their likes and dislikes, their beliefs, their goals in life, that sort of thing. For minor characters especially, a lot of these details may never actually come up in a story, but just asking even a few of these questions and giving them specific answers helps you see them less like an archetype and more like a real person in your head. Maybe you never bring up your character's backstory or their favorite sport or what kind of music they listen to, but just having a specific answer for questions like that might help color the way you depict that character in subtle ways. It makes it feel like they aren't defined by just that one core trait you started with, and helps make the characters and world feel more alive, like there's stuff going on with them beyond the bounds of the story or the drawing.

It's a careful balancing act, though. It's easy for a character to feel like they're a collection of too many unrelated gimmicks and quirks. Again, like Tim said, these specifics don't have to make for the craziest, most original character ever, there just has to be something there.

Let's go back to SLARPG as an example, where I combined broad character archetypes I liked with more specific personal elements that I felt like I wasn't seeing enough in the fiction I liked. Melody is riffing on the common idea of the reserved healer character in the RPG or MMO party and the shy girl archetype, but she's the main hero instead of a supporting player in another person's story, and she's also a fat bisexual trans woman who draws a lot of little details from my own life. Her interests, her relationships, her opinions on things, her personal hangups and dreams, these all set Melody apart from other fantasy healer characters and define her as Melody Amaranth. Specificity!

But it doesn't always have to be super deep, especially if you just want some characters to draw for fun and aren't planning on writing a story with them. Take my fursona. I've always loved dogs, so I made my fursona a dog. I chose a Samoyed in particular because I think Samoyeds are the cutest, and I hadn't seen hardly any anthro Samoyed OCs at the time. I leaned into the breed's signature fluffiness to help my fursona stand out from other canine OCs. She has simple identifying traits like being fat like me, wearing glasses like mine, and having a hairstyle kinda like mine (when I tied my hair up in a bun, at least). And there you go. Fursona achieved. She's not a wildly high concept character, but she doesn't need to be

Anyway I realize that this is mostly about the writing aspect, so here's a few quick bullet points about designing a character's appearance:

Face and body type variety are good, but personally I would say lack of body type variety is worse than same face syndrome

Knowing some stuff about shape language is good, but you don't have to be completely beholden to the "circles are friendly, squares are sturdy, triangles are scary" shit. I'm generally more interested in using repeated shaping in different parts of a character's design as sort of a shape motif. Melody's body, hair, and tail are all made of round, swooping shapes, for example. (This is more applicable if you're designing cartoonier characters as opposed to realistic humans, obviously.)

Knowing some basics of color theory is also good. I like using complementary and contiguous color schemes on characters and generally try not to use too many distinct colors on one design. Black and white and grey and various browns are good as neutral colors to balance out the colors of the rainbow, and gold can be a nice accent color

A small handful of identifying accessories can be fun, but don't rely on those to make a design stand out. Ideally your character should still be identifiable even when not wearing their default outfit, or even in silhouette

Aaaaaand I'm gonna call it a wrap there! This is a huge topic, so hopefully this helps with at least some of the basics! At the end of the day, though, don't beat yourself up if you can't sit down and force yourself to come up with the most crazy awesome OC ever. Just have fun and be yourself!

[tubbytarchia]

Traffic/Life series roster as dinosaurs

A lot of these don't make for very good hybrids unless you wanna get into freaky territory or full on centaur but... Hope it's a fun scroll nonetheless!

Grian - Novialoidea

A small birdie... The name also means "New wings" which I find fun. New lives and death games to be part of, new wings to accompany him... (Honorable mention to "Shuvuuia" the "desert bird" who unfortunately is not a pterosaur (doesn't fly)) (Yes we're including pterosaurs! Just using "dinosaur" as a conveient blanket term)

Tango - Aratasaurus / Pyroraptor

Fire raptor! Either works just fine and Tango as a skittery little raptor is perfect for a creature like him

Scar - Apatosaurus

"Deceptive Lizard" harkening back to Scar's scamming tendencies. Though I've always liked the idea of him being some larger gentler animal in any hybrid scenario and a long-neck fits the bill well. He can poke his nose into people's conversations easily to start marketing something useless to them and swishes his tail to ward off anyone who's about to stop him

Impulse - Nasutoceratops

Ren - Regaliceratops

Horns. COOL horns. I don't know what else you want from me ceratopses are just way too awesome. Nasutoceratops is a wicked cool dinosaur for having its horns point so forward much like a bull and I for one can jive with some Impulse bull symbolism. Bulls are often viewed as strong, sturdy and loyal, traits also assigned to Impulse a LOT of the time. But though he IS intensely loyal in many cases (+ Ceratopses are also known for how they defend their own!), and he's not very outward about the following traits, he can get quite petty and bitchy and hold grudges. Still, you don't think of that when you look at him and he seems to agree! Eg him feeling like he should be accepted into Cleo's alliance in 3rd life without actually proving himself when Cleo was rightfully hesitant, at which Impulse more or less rolled his eyes. And him proclaiming "betrayal!" when killed by Bdubs when their alliance was as firm as a rat's tail

(And I feel the need to point this out too just in case: "bulls are also known for their temper" yeah but they're not like that! Bulls like many animals become defensive when exposed to aggravating behavior or movement! Which you could work into Impulse's grudge holding and intense loyalty...? I don't know enough about him sorry but do with that what you will)

Regaliceratops! Regal!! Crown shaped frill!!! Need I say more?

Gem - Therizinosaurus

Theris are so bad bitch coated to me and I would love to have one as my wife I mean um I couldn't decide on a less generic specimen so Gem can just be a Theri! A herbivore - often associated with the belief that herbivores are gentle passive creatures, but far from it, especially with Gem! She bares her claws like it's no one's business

Martyn - Stygmoloch

A Pachy with a tough head and a tendency to bonk people - I think it fits Martyn's tendency to perpetuate drama haha. The Stygmoloch's name though more or less translates to "demon of the styx river", the river of the underworld representing loathing of death. To me this makes sense with all the watcher lore (that I have a hard time understanding but whatever!!) especially with how Martyn became in LL. The watchers themselves don't loathe death (??) of course. They're death games. But someone within the game trying to stay alive and win? Probably loathes the idea of themselves dying. I have no clue what Im saying

Pearl - Carnotaurus

Ok maybe a hot take not to make her into a pteradon or even a raptor with wing-like features but those just didn't fit that well in my opinion. Rather I wanted her to have some kind of horn motif in place of her wings as visual symbolism for her character. I'd like to imagine her having fine horns, to then have them damaged (one broken off) and simultaneously the other more grown out. Think of how domesticated goats for example have their horns trimmed. I think human hybrids with horns would do the same to keep them from becoming a bother but Pearl would neglect to after her heartbreak in DL. I was heavily considering the Diabloceratops for this, especially because of the name (Devil horned face - good ostracizing material) but Pearl strikes me a lot more as a carnivore and there are only two horned carnivores out there so... Carnotaurus it is haha. And even now I'm making her horns unrealistically big but.... We can suspend some belief

BigB - Oryctodromeus

"Digging Runner"! I've already talked plenty of why BigB is very rabbit behavior to me and my reasons for assigning this burrowing dinosaur to him are similar. Tldr he is fidgety and cautious yet clever and constantly buries himself underground

Lizzie - Anurognathidae

I don't even fucking know man it made me think of Lizzie and then I wasn't able to assign anything else to her. Lizzie often claims to be confused and if any dinosaur looks to be in a perpetual state of confusion then its this one. I know a lot of people like to portray Lizzie as a butterfly also so there you go, wings!!! And it's quite cat-like too for those who like to draw her as a cat

Mumbo - Leinkupal

I really struggled with Mumbo... So many different dinos fit him imo but I figured it should be at least something moderately large (so "Technosaurus" was out of the question lol). Then I rediscovered this dinosaur whose name translates to "vanishing family" and then I thought about LL and SL and how Mumbo went out quickly after the initial death/s and left a very felt absence in someone's alliance and then I became really emotional and forgot what I was doing

Joel - Nodocephalosaurus

Bdubs - Psittacosaurus

"Knob Headed Lizard"

Joel as an Ankylosaur has been stuck in my head from day one of assigning dinosaurs to the Lifers and I'm frustrated that I can't truly explain why. You'd view an Ankylosaur as a slow and docile creature, even compared to other herbivores, but...

1. Maybe not so much nowadays, I don't know what non-dino nerds think, but I feel like ankylosaurs were largely believed to be HUGE back in the day, much like velociraptors, when in reality they're not that big. The Nodocephalosaurus is especially small even among other ankylosaurs. But, well, we all know what Joel loves to say about himself

2. Joel is or likes to make himself look well in control, just as ankylosaurs have little to worry about as far as predators go. Especially in earlier series where he was content basing mostly by himself. It's always when things get dire and he enters his red life that he becomes very impulsive and erratic like an ankylosaur flipped on its back

3. I know there's a distinction between Traffic Joel and Empires Joel and whatever other Joel but... Even in death games his more charitable traits shine through here and there. He really becomes a dangerous rascal for a large majority of the time and he's very good at it, he's not putting on a mask or anything, but I like to remember that underneath that tough spiky armor is gentleness and caring. His care towards Lizzie and Pearl and Etho etc etc

4. The image of Joel as a hell of a spiky creature is just really fun to me. Yet heavy and blunt ones! And someone once proposed the idea of him having a club tail but having chiselled it to be sharp to mirror him being a menace. (Added benefit also that it's lighter that way haha) To me he's always been an obvious heavy hitter rather than stealthy or particularly creative etc. Him as a carnivore just doesn't work as well for me

The name bares no fitting meaning but when I look at Bdubs I think of Psittaco. All other species close to it in looks are already ceratopsians and we have like... 3 of those already lol. Im sorry Bdubs you look so stupid

Cleo - Lythronax

There's so few predators in this roster lol oops, but Cleo deserves to be an apex one! The name translates to "Gore King" because you know, zombies... and you know, Cleo is very king so true. If any of the Lifers should be able to boast rows of razor sharp teeth to gore others it should be ZombieCleo

Scott - Theiophytalia

I've been really struggling with Scott but how about the dinosaur whose name translates to "Belonging to the garden of Gods". There's only one known specimen of this species and it's an Iguanadon looking dinosaur which I think a lot of people would regard as the most basic, possibly boring type of dinosaur (if it weren't for the Allosaurus which already takes the title of "basic straight white guy") but that further fits Scott imo. It's always been a strong point of appeal to me how MUCH there is to his character that so often goes under the radar or unexplored, and how he's very often portrayed as just some handsome looking guy as opposed to a hybrid etc. He's not at all extravagant yet has mastered his craft of bending fate in his favor, he so often has things perfectly under his control just as he wants them, etc... reflective of the name "Theiophytalia" even if you wouldn't think such a dinosaur to sport one of the most prolific names a dinosaur can have. Also garden something something flower husbans. Basically whatever Bree's take on Scott is lol. I don't wanna blab for 5 paragraphs about that blue mf here but. I hope this makes sense

Jimmy - Yinlong

I struggled with this mf the most because he's another very hashtag deep character. I felt really bad to remove his bird motifs completely because the canary is so essential to him, but a raptor nor a pteradon fit my image of him at all. I spent so much time looking into various species but it just aint it, but Yinlong was possibly quilled and we can still cover him in feathers, even if he has nothing close to wings haha... BUT ANYWAY. Yinlong is a small kind of pathetic looking dinosaur, and Jimmy definitely isn't small but he'd sure be made to feel that way. Yinlong translates to "Hidden Dragon" however, a rather thought-provoking name for such a dinosaur. Given his character, it sure does feel like there's a soul of a dragon laying dormant somewhere in him, buried by all the self deprecation and curse labels. Honorable mention to Tianyulong, a very similar dinosaur who was named after a museum, but "Tianyu" also translates to peace and content. Something that Jimmy can't yet but deserves to be

Etho - undefined raptor

Already made a loong post about raptor Etho haha which I assume yall have seen since the support towards that post is the only reason I'm even making this post

Skizz - Olorotitan

"Titanic Swan" close enough to an angel right. I feel the whole angel thing is a bit overdone when Skizz can become a malicious little creature every now and then, but swans much like angels do get viewed as beautiful and taken as symbolism of love. Much like Skizz is largely viewed as an angel and often as someone who can do no wrong. But mostly I wanted Skizz to be a hadrosaur/duck-billed dinosaur, because those are dinosaurs known for their speculated vocalizations. And what is Skizz good at? Talking and voicing his love and appreciation? Yeah? Yeah... I'm so sorry Skizz btw this hybrid idea does not work out

Again, a lot of these don't work so well as hybrids... Some like the long-neck ones I cant imagine to have more than a spiky spine back and a tail, but! These picks aren't based on hybrid potential but rather what I think genuinely fits. I did really work on this all day looking through a bunch of dinosaurs and research haha, but I do love dinosaurs a lot... If you disagree with any hey thats cool! Feel free to give me your opinions if you've any and I hope this was fun to scroll through regardless

[nekropsii]

What a about Caliborn makes him so cool in your opinion?

Go keep track of his progression as an artist alongside his development as a character and think about how these are intrinsically linked. Ponder the fact that he is both at his most obnoxious and at his most amateur when trying to ignore his unique style explicitly brought on by his canonical learning disability and mimic others rather than truly be himself. Consider how his explorations of art are genuinely cool, not a bad thing, and how we get some really neat multimedia stuff out of it.

Caliborn may be a shitty little teenage wretch but the way he is portrayed as an artist and as a disabled person is both really good and very real. It comes from a place of love. His learning disability is handled with a degree of gentle care that you would not really expect from Hussie. The place Caliborn's art style ends up in is so fucking sick and I actually unironically love it. The technique he uses is really interesting. It's intentionally reminiscent of an Etch-a-Sketch, and I'm a little obsessed with it.

This is so fucking good. I mean this seriously. He's right - that is some Pure Art Skill.

I just love the way art is employed as a necessary component of his character arc. It's so neat. You don't see visual cues that intricate too often. Usually it's just in character design, but watching his entire art style and even his medium of choice change several times over is fascinating. You can really tell Hussie had a lot of fun with him. He's also just really, really fucking funny. Just about every sentence that comes out of his mouth is Grade A Absolute Fucking Gold, and I'm honestly obsessed with his dynamic with Dirk. This may get me thrown to the wolves, but I personally think Dirk and Caliborn have way more chemistry than Dirk and Jake. Maybe that's because we actually see Dirk and Caliborn interact on screen... Lmao.

Necessary Topic: I don't know why people hate him so much. Like, I understand hating his misogyny and fatphobia, sure, but those are deliberate character points and not just Hussie-isms. I see people act like Caliborn is indicative of Hussie, as if Homestuck-era Hussie wasn't, like, famously really fucking good at writing female characters and absolutely not a misogynist. Caliborn's a parody of Homestuck Anti-Fans - which is a term we really ought to bring back, god, anti-fans are absolutely still a thing and good lord they're everywhere - who really were just shitty little bigoted haters. Calliope, the opposite side of his coin, was representative of, essentially, "the best kind of Homestuck fan" - an ultimately sweet young teen girl who willingly dedicates almost all of her time to this piece of fiction she loves so, so much, who draws a lot of fan art for the joy of it all, has OCs that don't fit any of the design conventions in Homestuck whom she pairs with the characters in it for innocent fun. Someone who has a lot of theories and analyses, writes a lot of fanfic, and is genuinely just having a lot of fun. Everyone loves Calliope. Even the characters in Homestuck love Calliope. They just think she's the cutest, sweetest little thing they ever did see. Caliborn was the worst kind. He sucks on purpose. No one likes him. He is a total nuisance to characters he is by all means trying to impress. I love them both.

It's also just funny that he's a canonical Intersex Transmasc who is probably Gay and this has, like, no relevance to anything about him, really. So no one really talks about it. Gender Hilarious, Gender Nefarious.

[stagefoureddiediaz]

Costume Meta 7x01

Aaaaaaannnnd we're back!!

OMG I cannot tell you how good it feels to be back writing costume meta - I have missed it so very much and this first episode has given me lots and lots to talk about so lets crack on with it shall we!

Where to start?! Firstly - Its amazing to have Alayna Bell-Price back in the driving seat and she is a genius because she knows the characters better than anyone and I have to say from my perspective there is a pretty clear difference between this episodes costumes and the ones from season 6 - not that s6's costumes were bad, just that you could see the shift of having a designer who didn't know the characters to the same level. I’m going to go in order of character appearance in a non uniform capacity for this one I think so we’re going to jump around from character to character a bit. There is no Maddie or Hen this week, as we don't see them out of uniform, but every one else is accounted for and I've included Norman and Lola as they've got a multi episode arc and their costumes are interesting and playing into a colour theme!

putting it below the cut as its a long post and I on't want to overtake everyones dashes! Enjoy!

We start off with Athena in this pale pink high neck ribbed sweater with large bell sleeves. I've spoken a fair amount about pale pink over the last couple of seasons of costume metas and how, in clothes its representative of childish and immature behaviours or thoughts. That holds true here - the pale pink is playing into Athena's childhood - when she developed her fear of cruise ships - its creating a connection between her childhood experiences and the woman sitting in Franks office.

We get a flashback that shows her in yellow and orange - the yellow for communication and the orange for transformation. A literal moment where we see Athena transform from the innocence of youth to her developing anxiety and fear around cruise ships. Its really clever visual storytelling connecting adult with child and shows us her fear is genuine and founded in something that she may not have been able to articualte fully as a child, but she can as an adult, even if she doesn't actually articulate it to Bobby.

Our next non uniform costume is Chimney. The lighting is really low in this scene, so it's kind of hard to be 100% sure of the colouring, but he seems to be wearing either a dark navy or black button up shirt under a dark green and black bomber jacket. The use of really dark green in combination with black, Back is a colour that can be about hiding ones vulnerabilities - concealment and masking, but it is also a colour associated with magic (generally dark magic) as well as pessimism. The green is growth and renewal, and the hope for a better future. to use them in combination i this way is playing on Chimneys insecurites and fears, his desire to keep the 'magic' alive in his relationship with Maddie, but it also speaks to his growth, that he goes home and talks to her about it (even if he does come up with an insane plan to 'date forever').

Eddie in the locker room - aside from being shirtless for much of it and pulling some epically good faces - was a super interesting costume choice. Especially the use of his watch! first though - Denim shirt time! We don't actually see Eddie in a denim shirt all that often and we've seen him in the super washed out one far more than dark denim shirts. I've been laughing a little bit at a few people (on twitter mostly) claiming its the same shirt he was wearing at the hospital during and after Bucks coma and it being a play on bringing Buck back to life. While I like the theory, its actually a very different shirt - the one in the hospital was black with a grey wash out and was made of velveteen - so different colour and fabric.

This shirt, is however one we have actually seen Eddie wear before and its far more telling than if it were the hospital shirt. You need to bear in mind that this scene is about Buck and Eddies respective girlfriends (or lack there of) and the fact that Christopher has a girlfriend now as well. This shirt is the same shirt Edie was wearing when he (re)introduced Ana to Chris in 4x08 (breaking point my beloved! the gift that keeps on giving!) and this puts a conversation about Marisol and things going well with her into the same category as Ana - suggesting she is ultimately destined for the same fate as Ana. the other thing that plays into this narrative is the use of the watch.

Eddie does not put the Christopher watch on until after he has found out that Buck has broken up with Natalia - so during the entire conversation about their respective girlfriends, he is only holding the Christopher watch, rather than wearing it.

In the picture below from 4x08 you can see that Eddie is wearing his black 'work' watch rather than the brown strapped 'Christopher' watch. Remember that the first time we see the Christopher watch is when he goes for his first date with Ana in Jinx, so he already has this watch and in theory should be wearing it in this scene. The fact he isn't is pretty telling and I'll go into that a bit more later when we get to Chris's (and Eddies) date scene.

Then we have Buck in his outfit of many colours! The white trainers, continue to play into my theory of Buck wearing them when he is in key points on his journey to discover his self - her it is about showing his growth - that he ended the relationship with Natalia - this is a massive thing when we saw how long it took for him to end things with Taylor - The man who clings is growing and getting out before it drags him down!

The jacket is similar in style to many of the ones we've seen him wearing in season 5 and 6, but this one is much brighter and more colourful. I know I go on about white meaning bad things for Buck, but that isn't relevant here - the white bad things happen to Buck theory is much more about t-shirts, jumpers and shirts rather than jackets - its an under-layer rather than a top layer that = danger. So i'm not thinking of its relevance here for this scene. What I am going to say is that this (according to my spreadsheet!) is the first time we've seen Buck in a white jacket of any description. To me, it's playing into the idea of purity and rebirth which is what white is often associated with. This plays into the comment Eddie makes welcoming Buck back to 'the land of the living' but also implies that Buck is starting a new chapter and making a fresh start - the check patterning suggests it might not all be plain sailing though.

The check pattern is an interesting one, obviously check pattern theory comes into play here, but whether its only in relation to the reveal that he split with Natalia, or if its also foreshadowing Buck getting himself into danger/trouble down the line, remains to be seen.

I'm going to quote myself again because I did predict that this scene may be about his relationship with Natalia when we got the stills dropped - the costume department never let us down!

The only thing I can do is scream into the void about check theory because check does't bode well for people - they always end up in the middle of the drama (see my check theory posts linked on my pinned post for more) and while they come out the other side (99% of the time) Buck in check for that scene in 6x18 pretty much doomed his relationship with Natalia (its specific to her and not C&K's baby as Buck wasn't wearing it when he delivered it!) and as that shirt in the still is very un Buck like, has not only yellow ochre in it, but also its a white base (and we all know buck in white is a bad sign!!) and its check patterned - my theory is that this scene is connected to Natalia in some way - either Buck is not being true to him self in more than one way - that things are going to/have come to a head for their relationship (my kingdom for a reverse of Buck to Eddie about Ana in 5x03!!!) and lead to a pretty big change in some way (fingers crossed for Buck to end it and then finally break down and deal with his trauma!!!) Some other things about that shirt - the colour combination - the green blue and yellow ochre are giving me call backs to coma Buck (another reason I think it might be connected to Bucks unresolved trauma around his death and Eddies absense in his dream)

In the quote above, I was also referring to the blue and white check pattern shirt he was wearing when he and Natalia got together, but there was also the fact that in the balcony scene at the end of 6x18, we also saw her in one of Bucks white shirts. I wrote in my 6x18 meta about how those two things combined didn't bode well for that relationship going forward, and thats what leaves me unsure about the check pattern on this white jacket being purely about something that has already happened. If I put my Buddie goggles on, I would perhaps suggest that the troubled times ahead may be more connected to Buck and Eddies relationship, and this would fit in with a couple of the things Oliver and Ryan have said. The thing with check theory though, is that generally speaking if it's on one of the mains, they come out the other side of the dram/trauma stronger than before. So if it is connected to Buck and Eddies relationship, then we can expect it to be in an even stronger position on the other side of whatever goes down (and at this point you can't strengthen their relationship any further and keep them as just friends imo!)

Chimneys forever dating proposal to Maddie, connects with his outfit when he's talking to Hen - it's the same jeans and black shirt, so the meanings of black, can be continued on into this scene - the idea of magic and hiding his vulnerabilities. The addition of the jacket with this brickwork pattern in its weave is a fun choice, it's playing into the idea of building something, but also plays into the idea that Chimney has his walls up - again fitting in with the black meaning of hiding his vulnerabilities - because instead of expressing his fears to Maddie ad then them talking it thorough, he comes up with his insane forever dating concept. the fact that much of this scene is a contrasting parallel with the scene from season 1 when he is pretending to be someone else entirely for Tatiana all ties in perfectly with this costume. The fact that he reverts to wearing blue (ran out of picture spaces so I couldn't include one) later on - when he's realised his plan isn't realistic, talks to Maddie and they end up back on the same page is really good to see - the blue being a signature Chimney colour and is indicative of him being true to himself.

Bobbys blue suit and blue check patterned shirt. The brightness of the blue is a really important choice - it's the only time we see him this brightly coloured on the cruise until he ends up in the bright red at the end. This is important because this is the moment when he's still all excited and hopeful for his honeymoon cruise - everything is good in Bobby's world at this moment in time - the check pattern is telling us that it's not going to stay that way for long. From her on out we see the colours of Bobby's costumes slowly beginning to dull and take on a washed out tone, but here in this moment all is good.

Athena's bright yellow dress is all about making her stand out - communicating with the audience, she is the brightest person in the room (in more ways than one!!). The thing with yellow, apart from the communication aspect, is that it can also be a symbol of anxiety and fear, so this dress plays rather nicely into the theme of Athenas fear of being on that ship.

The colour does have other good traits too - its fresh and bright and is a colour of happiness in its more jewel like tones and I think we can see all of these meanings in these scenes - Athena might be anxious about being on the ship, but she is also happy and enjoying herself with Bobby in that moment.

Lola and Norman. Lola is the one we need to focus on in her very bright very check patterned Victoria Beckham dress. Obviously the check pattern plays into check pattern theory, but the red also acts like a neon sign to the audience - highlighting that Lola is in danger - the ga won't pick up on check theory, although they might connect the dots about the fact this check patterning looks very like a cage - foreshadowing her being held captive later on, but also as a nod to the fact she was incarcerated previously.

The red is also a nod towards romance and love - playing into the rekindling of their relationship and romance in the aftermath of the freeway 'see me Norman' incident.

Ok so Christophers date night and by extension Eddies date night! This is where this meta is goingto get a bit messy and I'm goingto jump around a bit becasue I need to talk about the way colour theory is at play in all the scenes in Christophers bedroom, so we're going to talk about Christophers bedroom as one big thing rather than the two separate scenes that it actually is. They are extensions of one another and build on so much of the groundwork we've already seen in previous seasons.

Chris in plaid check yellow and red check plays perfectly into check pattern theory - it’s a signifier that something is about to go down with him - namely that the fact he’s dating multiple girls at the same time. 

He’s also wearing a white shirt which is not a colour we see on him all that often - in fact, the only times we’ve seen him in a completely white shirt is with his suit in 5x01 when suit shopping and again in 6x08 for his school dance. He did wear a white vest when dressed as wolverine for halloween  So as you can see its not a common colour for him, but the times have seen him wear it as a solid colour have been connected to school/girls and dating (i’m including the suit shopping in this because Ana was there and it was kind of a Eddie and Ana date of sorts - in that it was suppose to be for this Christening - meet the family - date type thing).

The most interesting thing is the plaid hooded shirt though. It was such an interesting choice to go with for a couple of reasons. the colour way is especially loud - we tend to see Chris wearing greens and blues and greys, with the odd other colour thrown in occasionally. So red and yellow are not common colours for him to be wearing.

On the red front we see him in it a couple of times - the adapted skateboarding scene and the scene in 4x10 when he joins Eddie and Ana on the sofa - getting in the way of their date night. We do also see him wear red in Christmas related episodes (so I don’t tend to count them in the same way as the Christmas colour theming will nearly always override any other colour theming intention - the use of stripes or check or other patterning is more important in those episodes!). 

On the yellow front things are even more clear cut - the Tsunami arc, the aftermath of him falling off the skateboard, Mays graduation party and 5x03’s Eddie Ana break up! These (apart from the tsunami shirt) were all bright almost neon yellow.

This new plaid shirt is more into the yellow ochre part of the yellow spectrum, therefore tying much more to the tsunami arc, which is actually really fitting if you think about it in a little more detail - its a connection, not only to Buck, but also to loss and grief. Eddie might have been using his secret weapon (Chris) to get Buck out of his moping (read mourning) over not being able to go back to work, but Christopher is also still grieving the loss of his mother at that point as well, so its not just about cheering Buck up, its also about giving Chris a chance to do something fun and distract him from his own grief. That is why the use of yellow then ties in so nicely with its use on Chris now.

The other thing that really grabbed my attention about this shirt though is the fact that the two times we’ve seen Buck have a conversation with Chris in his bedroom, he has sat in the same spot and has been wearing one of those two colours - post shooting in maroon and this episode in the yellow ochre - if you watch those two scenes side by side, you see that they’ve used almost identical camera angles as well to film Buck.

I've spoken a lot about the use of maroon as a colour connected to parenthood - especially fatherhood , which is how its intended to be read on Buck - connecting to Eddie and his being shot, pushing Buck into a parental role in Eddies absence.

That alone is a pretty loud reference to Christophers connection and relationship to Buck, but then we have the yellow ochre of it all.

I feel a little bit insane about how close my prediction was on what the Buck Christopher scene was going to be about - this is from the meta I wrote when t he stills dropped;

Whatever this scene transpires being about, based on what we've seen with Buck wearing yellow ochre, we can assume its going to continue to play into this idea of Buck not being fully truthful with people and fitting into the role he thinks people want him to pay rather than being true to himself. I do want to add to this theory by looking at Christophers shirt as well. The grey/ yellow combination is a bit reminiscent of Breaking point (the episode that really is the gift that keeps on giving) because we get Chris in grey and Eddie in tan - that is yellowish toned whilst not actually being yellow There isn't a good screenshot of them together, but the placing of Chris and Buck in the new one has echoes of Eddie and Chris in that scene (one that is interestingly enough playing into the idea of changing family dynamics, but also the moment before and the one that happens afterwards at Bucks loft, directly placing Buck into a parental role (as an aside the idea of Buck being a miracle worker plays into the theme of Eddie looking for magic, just saying!))

Indirectly this scene was about Buck not being true to himself with people and fitting into whatever role he thinks people want him to fit into, only this wasn't an active situation - this was a scene where Buck could draw on his experience of having done that in the past to help Christopher - the line from Eddie 'you didn't end up being like you' is such a call to this and actually shows how valuable Bucks own experiences and learnings are in helping Chris (we've all been joking about Eddie choosing Buck to help him with this Chris's issue, but in actual fact he was the perfect person for the job - not just because of his being a 'reformed player', but also because of his relationship with death and the death of a loved one where you are reliant on others for their memories of a person rather than having your own)

The thing with the Yellow ochre (this meta here that i've already quoted from above is the place to go if you'd like more detail on its use on Buck more widely) isn't just its about it's connection to Buck, his place in Christopher's life and more loosely to the will of it all, (the fact that Buck and Eddie are both wearing the same colour ways as in the hospital bed will reveal scene and are both on the same sides of the screen in both scenes is a stroke of genius and is meant to connect these two scenes together) its also its connection to Shannon.

The first time we meet Shannon, she sits on Christophers bed in more or less the same position as we see Buck and Eddie sit, and looks at where Christopher has been positioned in all these conversations, and she is wearing a burnt orange top thats pretty close to the dark yellow ochre we see Buck wearing. Shannon wears a lot of yellow - as in it there are only a couple of times we don't see her wearing something yellow or with yellow in it and those are key scenes (which I will talk about later on).

Shannons appearance in Christophers room to read the letter she wrote him had her in this black top with a floral patterning on it. She was also wearing green trousers (which can be seen in the still below but aren't actually seen during the scene.

I actually really loved the green trousers and black top as a choice because the top is very Shannon - it sits perfectly with the floral patterns we saw her wearing when she was still alive. The green trousers are a bit of a departure for her, but I think its very intentional for two reasons .

The first is that they are very much in the Eddie trousers wheelhouse, especially in combination with black - he wears green khaki trousers a lot. The inference being that the black and green combination is an echo of Eddie.

The second ties to Christopher. Green is also a colour we've seen on Christopher a lot, it's probably the colour we see him in most. It's being used as a reflection of the fact he is growing and transitioning from child to teenager. But having it here in this scene - on Shannon connects a Christopher growing up without his mom.

Both of these combined really connect into Shannon in this scene, tying the three of them together and on Eddies efforts to keep her alive for Christopher - the underlying implication that his growth into who he is so far is as much to do with Shannon as it is to do with Eddie.

Her necklaces were not identical to the ones we saw her in in season 2, but that's most likely because they don't have them any longer, so they've replicated them as best as they can. The other little nod that I enjoyed is the brown bracelets on her right wrist - the same place Eddie wears his brown strapped Christopher watch!

But the top they have her in plays into a couple of other things - the prominent yellow flowers make an obvious connection to Buck from the previous scene, but they also tie into the 'I want a divorce' scene from 2x17 where she is wearing a dark blue dress with bright yellow ochre flowers all over it. the dress is not especially close to the top in the wider sense - blue dress with white squares v black top with florals in a variety of colours, but the yellow flowers are the prominent aspect of both items of clothing and play into the yellow theme connected to Shannon and then to Buck.

This is espeically relevant when you remember that Eddie is in a black suit in that scene and he's wearing black when he gives the letter to Christopher.

The black for this sequence of scenes is such a poignant choice - its Eddie mourning all over again, not for his loss, but for Christophers loss. I did find it telling that again in this scene, we have the absence of the Christopher watch. Eddie has very rarely not been wearing a watch in his scenes, so the times when we don't see him wearing one are very telling.

For me, in this sequence of scenes, it's about the fact that they are not about Eddies relationship with Christopher, but about Shannons relationship with Christopher. The watch is much more about Eddie and Christopher, so to have it absent from this story arc makes total sense and is symbolic of Eddie being a good father

Then we have Christophers grey shirt - I said when we first got the stills from that scene, how it was likely to be connected to complex family relationships - a la when we’ve seen Buck wearing his grey shirt. And what do you know - the scene was about complex family dynamics/ relationships.

It wasn’t perhaps in the manner I was expecting, but that series of scenes played with the full scope of Chris’s complex family relationships - from the relationship he has with Buck -not only as Christophers friend, but also as more or less Eddies co-parent (the way Eddie asked for Bucks help screamed co-parent rather than friend imo - that whole burnt out car scene was two co-parents discussing their child!) to the relationship he has with his dad - which is a pretty great relationship, but it is a complex one.

The relationship he has with his mom - or the fact he feels he doesn’t have a relationship with her despite Eddies best efforts, because as he grows up she feels further and further away. 

Eddies 'date' night with Marisol. Again I ran out of pictures (30 is not enough!) so you're going to have to use your imagination or go back and rewatch the scene for yourselves, but trust me when I say that Eddie is wearing the same shirt he was wearing for this date night as he was in 4x10 - when Christopher interrupts because he can't sleep!

It's also a similar tee to the one Eddie wears when he has his breakdown and trashes his room (that one was more green when this one is much browner). Its slouchy and has cut and stretched raw edges at the sleeves and on the pocket - in the same way his breakdown shirt did. there is an element of being in familiar surroundings and being comfortable at home, but stretched out raw edges and Eddie generally tend to mean not so great things.

Of course there is the element of his parenting skills being tested by Christophers having more than one girlfriend, but if that where the only reason, then it would've made more sense to have him in that shirt when he's listening in to Chris talking to Buck, rather than when he's on a date with a new girlfriend.

This is especially true as the screen time for that tee has more connection with Marisol than it does with Chris. Combined with the fact that once again, like in the locker room scene, he is not wearing his Christopher watch in this scene and that speaks volumes.

If we are to read the scene as being about Christopher soley, he should be wearing his watch because that watch is a physical embodiment of the importance of Christopher in Eddies life - that he puts Christopher first in all things.

Got to say I was a bit shocked to see Marisol in his bright magenta silk spaghetti strap top when you consider the costumes we saw her in last season - mostly dressed down, t-shirts, jumpers and dungarees so this is a complete 180 for her character.

There are a few interesting things connected to her outfit, firstly it low key ties into Natalia - we saw Natalia in a red version of this top for her first proper onscreen date with Buck (when they go to the badge and ladder joint) so there is an interesting low key parallel to draw there. There is also the fact that her bracelet is a chain one - much like we've seen on all of Buck and Eddies previous girlfriends - although those have been necklaces, so I'm undecided if this chain bracelet is paying into the same trope as those.

Then there is the pink of it all.

You see Eddie and Pink on his girlfriends doesn't bode well for Marisol.

Both Shannon and Ana wore pink. Ana wore it a lot - there are two examples below, but generally speaking its her most commonly worn colour - including on her first date with Eddie in Jinx.

The first example below is from the first time we see her in the Diaz house. the shades are different, but the fact that the first time we see both characters in the Diaz house they're both wearing pink, speaks volumes.

The other key use of Pink is when Shannon is at the beach with Eddie and Christopher and she tells Eddie she's pregnant - Eddie takes it as the sign he has been looking for - the chance to effectively start over with their marriage, but this is the beginning of the end for their relationship, even if she hadn't died a short while later. She is wearing pale pink in that scene and it's the only time we see her wear the colour in the show.

The fact we can also contrast the use of pink with when Buck wears it is telling in its own right - we see the relationship between Buck and Eddie strengthening when Buck wears pink - May's graduation party, the tsunami, the Hildy coffee machine - all moments (big and small) that show the development of various aspects of their relationship and its ability to endure.

Essentially all this use of pink on the women he has had previous relationships with, doesn't bode well for Marisol and the longevity of her relationship with Eddie. How quickly it will end I can't say, just that it will end.

I spoke earlier in this post about colour theming for the episode and this is where I talk about it!

Pink - and in particular the very bright pinks we saw scattered across the episode. Marisol above wearing it, isn't just about connecting her to Ana in costume terms (especially as at this point that costume is a departure of her costumes from s6) it also connects her to the other characters we see wearing bright pink in this episode - Lola and Norman.

At this point in time I'm not sure if we're going to see it play out as a theme across the season, but its use in this episode was very loud on characters that are going to be around for more than 1 episode. It suggests that there is some underlying theme that connects them (by this I don't mean that they're gonna meet and hang out I mean that personality traits are going to be similar)

Magenta and bright pink in colour theory means a few different things, and like with all colours, has positive and negative traits. Generally speaking its a loud and brash colour thats designed to stand out and draw attention to it's wearer.

Things that are considered positive traits for this shade of pink are; intensity, acceptance, kindness and it's supportive and uplifting nature. It's connected to naive love (as in lust rather than the passionate and enduring love of red) can also be considered a nurturing colour.

Negative traits are; intensity, volatility, arrogant and impatient, irritability and irritating and frustration. it is also said to be a stress inducing colour and is said to be overly emotional.

Theres a clear and fairly loud connection between Lola and Norman getting into danger - Lola is in magenta trousers when she is kidnaped. Norman also has bright magenta flowers on his shirt at this point as well. My guess at this point is that we're supposed to lean into the stress inducing element, and also the irritating nature of the colour (On Athenas part at the very least!) and we'll see if those are the themes that play out for Marisol as well down the line.

Norman is in bright pink when he's lying and claiming she's unwell from being outside or too long. We also see that he is wearing pink in the ditsy print shirt later on (again I ran out of picture spaces!)

Athena's black top in this scene is much like the use of Chimney in black in his scenes. It's all about power and authority but it's also about her hiding her vulnerabilities. The other thing it does is creates a huge contrast with Bobby and all of the other passengers - she is the only one in black in the scene and it contrasts her with the underlying white of Bobbys shirt - juxtaposing them and visually putting them at odd with one another.

Like I said above about him becoming increasingly pale - here we see Bobby in a sea-foam green shirt - its the palest and washed out colour we've seen him in on this cruise (grey pyjama shirt not being included as its blink and you miss it and a pyjama tee!!!). Sea-foam green doesn't really play into the traditional meanings of green - there is still the element of renewal about it (the sea washes the sand etc)but its mostly a self-conscious and uncertain colour - both things that perfectly sum up how Bobby is feeling in this moment.

The other fun thing about this outfit is the palm tree shorts the patterns Bobby has worn in relation to this cruise, up to this point (and that includes the shirts from season 6) have all been tropical themed but on his shirts, the fact that they've now slipped down onto his shorts is a visual representation of him becoming increasingly dissatisfied with the way his honeymoon is going - that the tropical vacation vibes are slipping away.

Athenas red and white shirt, in my opinion is showing her cross purposes - its the duality of investigating and being on a cruise in a shirt. The bright red ties into the red and blue first responder colour way the show uses (for obvious reasons) while the white and the palm fronds, the lei flowers and the watery theming of the pattern fit into the troipical cruise they're on.

Bobbys red shirt contrasts with the lavender that we see on Athena - its not a colour we see on Bobby all that often and that makes its use all the more important. Especially considering the entire cruise thus far we've seen him in blues and greens - especially pale closer to pastel tones.

This red is bright snd bold and unlike his usual choices. Red is a colour of cross meaning - there is obviously the connection with love and the heart, which is absolutely at play her - his love for Athena is spurring him on and is part of what is pushing him in to investigator Bobby mode - and its representation of love is what is going to be the key player in the up coming episodes on the ship - when he is looking for Athena during the evacuation etc. But the other meaning of red is war, courage and anger and that is very much present here in this episode, and will (i'm assuming) be later on in 7x02 and 3.

The other thing I think its worth pointing out at this point (which is pure conjecture on my part at this moment in time but that I think will become relevant in the next two episodes rather than this one) is the foreshadowed parallel with Buck in season 5 when he broke down Eddies door. The bright red we saw him wearing then was an uncommon colour for him, in the same way it is for Bobby here. It's paralleling the way Buck was prepared to go into battle for Eddie, with the way Bobby is prepared to do so for Athena - going to war for your closest person, your loved one and doing what you need to do to save them.

Putting Athena in lavender the moment she gets to go into cop mode was a choice that had me giggling! Lavender is a colour of relaxation and order so for her to start wearing it the moment she gets to start being a cop again - speaks volumes for her state of being - it shows that her fear of being on the cruise ship and of being alone with bobby, has been overridden by her need to do her job and start investigating things. Its the perfect colour for this moment and for the impeding trouble brewing on the ship - Athena will bring order to things as order has been restored to her inner world.

Hopefully you've enjoyed this little canter through the costumes of 7x01 we're back in business and I can't wait to read your comments in the tags and comments 🥰

Tagging for those who've asked to be tagged - drop me a comment on this post if you'd like to be added to the list for the next meta 😎

@theladyyavilee @mistmarauder @xxfiction-is-my-realityxx @mandzuking17 @spotsandsocks @loveyou2thecore @wanderingwomanwondering @oneawkwardcookie @leothil @copyninjabuckley @nathleigh @shammers86 @crazyfangirlallert @missmagooglie @inandoutoffocus @katyobsesses @radiation-run @gayandbifiremenofmine @lemotmo @bi-moonlight @satvojihusana @crazyaboutotps @princesschez75 @mongreloer @alliaskisthepossibilityoflove @sherlocking-out-loud

[talenlee]

Game Pile: Kentucky Route 0, One of Three Games About America

Script and Thumbnail below the fold!

Kentucky Route Zero is a magical realist point and click game of what I’d normally call Narrative Adventure, which came to kickstarter in 2011, then came out in 2013, 2014, 2016, and 2020, because you can’t have nothing for free, even things you pay for. The game is a text-driven game without any of the trappings of your typical point-and-clicker where you jam a ladder in your pants and try to work out why you want to put green dye in the water fountain. Instead it follows the haunted mind of Conway, a trucky driver and his interactions with small handful of people on a part of the Kentucky Interstate, while he to find the place he needs to do his delivery, despite being utterly lost.

I enjoyed what of Kentucky Route Zero I played, but the thing that stands out to me in hindsight is its sound design. It’s a beautifully defined game, audio-wise, with all sorts of thoughtful foley for its environments, and the way that even the pieces of the interface that Conway interacts with have their own sort of specific authentic sounds, chonks and thunks and ch-zzzzses.

It’s also visually splendid, beautiful in what it tries to represent in the heightened reality of its setting but also the format of a videogame. These places look good from the angle that’s chosen, creating lines of artwork and bars of cages, depending on what you’re focusing on, and by being a fixed-camera story of its type, Kentucky Route Zero takes on traits of theatre, with blocking and careful positioning and timing all making up part of how the story unfolds.

A story I haven’t finished.

See, I don’t feel like playing Kentucky Route Zero Act V.

Sit down, traveller. Let me tell you a story.

There’s a chance you’ve heard this story before. I’ve anonymised it here, not because I think you shouldn’t be able to work out who it is, but because the idea of focusing on the who runs the risk of ignoring the what. Plus, I don’t want to direct anyone to a person who said something stupid and encourage fights. That’s not the important issue.

This is the story of when someone perfectly represented something, and probably never realised it.

You will sometimes hear me talk about the take that ‘there are three games about America,’ with a tone of utter revulsion and derision. This is from an incident back in 2020, when a game developer and advocate for inclusive games, had an opinion, on the internet. This advocate is well-established and has a big audience, but also, he’s crucially, not a white guy, not a Christian guy, and not an American guy. These are factors that play into what he said, which was, in summary, that while Kentucky Route 0 was no doubt phenomenal, he wasn’t interested in playing it right now.

To this, an actual adult responded with:

This is legitimately the worst take you’ve ever had. There are only about three games that are actually American, and this is one of them. Everything else is designed for export. Kr0 is a precious and valuable thing. It is of immense and intense personal importance.

Now, resisting the urge to argue with a tweet, which is just generally a bad practice that leads to doing things like wanting to be on twitter, and setting aside this tweet conflating ‘this is of personal importance to me’ and ‘this should be of importance to you,’ this position describes the idea that there are only three games that are ‘actually American.’

What does it mean to be ‘actually American?’

America is a pretty pervasive presence, if you’re not aware of it. Most people in the world have to know about what’s going on in America. We know about your Presidents and your Senators and your Constitution, to the point where people can be more aware of how your country’s laws work than their own country’s laws. I’ve often seen it held up as an example of how poorly educated people in say, Canada and Australia are that we believe we have, say, a ‘first amendment right,’ but the thing is you have to ask why there is that.

We watch so much American TV.

We listen to American music.

We try to make our news broadcasts look like yours, because that’s what real and legitimate news looks like. We try to retell your stories in our local languages because that’s what real media looks like. Our children sing songs in your accents because that’s the culture that a multi-trillion dollar economy has pumped into the whole world.

America demands we attend their wars and surrender our living to become their dead and when we are done America sells the survivors a cheeseburger.

This is not a remarkable or controversial statement. You must know, this is not even vaguely challenging to know about. Everywhere in the world is replicating parts of the American empire, because America exports and enforces the vision of the American empire. McDonalds may sell curry in India, but it’s very important that the curry being sold is McDonalds curry because that is how you know it’s an American style curry.

What this means is when someone tries to assert there are only really three games about America, that’s a kind of specialised brain rot that requires you to consider games that are very much about America as not being really about America. And thus we see the other thing about America, which is it’s not enough for America to be the most important place in the world that everyone else in the world needs to recognise, but also, most of America is inadequately America for this vision of America. You saw this in the wake of 9/11, and the election of Barack Obama: huge amounts of American media resurged in extolling the values of ‘real’ America, as opposed to the parts of America where the vast majority of Americans lived, which just so happened to paint a lot of marginalised people living in the cities as ‘fake Americans.’

I am not bringing you unique information. This is just obviously true things if you don’t live within the boundaries of an environment that flatters you as the most normal thing in the world. The vast majority of the world is not America. There are eight billion people in the world, more or less, meaning that America is about 4% of the world, and yet, it is catastrophically, overwhelmingly, deleritously the common touchstone for how things are ‘supposed’ to work. This is through media imperialism, which is mostly supported by American companies exporting all their media to foreign markets extremely cheaply.

‘about three games that are actually American.’

This fascinating piece of doofusry still, even now leaves me agog. ‘Actually American.’ Kentucky Route 0 is actually American, you see, as opposed to… what? Is America’s Army one of them? You know, the game financed by the American Army? What about Call of Duty, a franchise that is in part subsidised by American military complex manufacturers? What about Grand Theft Auto, a videogame that tells the rags-to-riches story of American excess in criminality, setting aside the way it’s made by a Scottish company. Actually American, because American doesn’t mean America, it means one tiny little pool of ‘America’ where the speaker can imagine there’s a realness and an authenticity to the America-ness that doesn’t involve all the messy realities of what it is to be America. It’s the towns of hard-working people, that suffer under your particular description of oppression, whether that’s cities full of nonwhite people or corporations bleeding the country dry, always eliding the social cruelties and terribleness of these places, as if giving people money stops them from being bigoted (for example).

This is then used to recruit these poor, superior Americans, the you know, America Americans, whose sufferings are noble and whose authenticity cannot be impeached and they are then used as a defense against criticism of, you know, America. It’s the same speech Charlie Daniels gave about how foreigners may think they could push around Barack Obama (a dude who bombed a lot of shepherds with the most elaborate and brutal military ordinance in the world) but they were going to have a harder time taking on Americans who wrestled alligators, who at this point have exactly zero recorded drone strike kills.

This is because America America isn’t real.

‘Real’ America is a nebulous nothing that you can project whatever you want onto, and which is also not responsible for anything terrible that America does. It’s not the American Empire, it’s not the exporter of culture, it’s somehow purer, better, a sort of individualised folk who are to be protected and extolled, shriven of all the things about America that make it anything but its perfect idealised form of America.

I could go on.

I really could.

This is something that defines the world I have to live in. I speak English. I’m white. I’m from a coloniser state. I should be able to integrate easily and smoothly into the white supremacist capitalist hierarchy of American culture, but we are told, that no, we are not acceptable. We are only valid as long as our differences are invisible. We, a real people, do not get to have opinions on America, because we do not know True America. When you spell colour wrong in a chat message, when your accent isn’t quite right, when you don’t know the difference between junior and sophomore year of high school, then you are shown, you are evinced, and you are made very aware that you are other, you are outside, you are wrong.

And really, there’s no good reason for it. We send our soldiers to America’s wars, we buy America’s submarines, and we sing your songs. Our currency mimics America’s, our culture permeats with America’s, we even have such a crushing inferiority complex about the empire that there’s an academic term for what we feel about our own media compared to the media of the truer, proper empire to which we are vassal.

The term is ‘cultural cringe,’ and it was coined by Henry Lawson, who you, odds on, have never heard of. In 1894, he wrote:

The Australian writer, until he gets a “London hearing,” is only accepted as an imitator of some recognized English or American author; and, as soon as he shows signs of coming to the front, he is labelled “The Australian Southey,” “The Australian Burns,” or “The Australian Bret Harte,” and lately, “The Australian Kipling.” Thus no matter how original he may be, he is branded, at the very start, as a plagiarist, and by his own country, which thinks, no doubt, that it is paying him a compliment and encouraging him, while it is really doing him a cruel and an almost irreparable injury. But mark! As soon as the Southern writer goes “home” and gets some recognition in England, he is “So-and-So, the well-known Australian author whose work has attracted so much attention in London lately”; and we first hear of him by cable, even though he might have been writing at his best for ten years in Australia.

This is imperialism. This is a way in which we have been induced and brought by the empires around us to accept their ways as correct, as the normal, as default. And that is the mindset you must have if you want to look at the breadth of videogames, with their American ideas like health insurance, readily available guns, the importance of freedom, the ubiquity of air travel, the branding and iconography of types of food and the sports metaphors and then say ‘yeah, this doesn’t have anything to do with America, not really.’

Anyway, this thread, this incident, was a big deal at the time, in that there were a lot of people from within the community of game developers and journalists who seemed very happy to line up and get mad at a brown foreigner for being inadequately enthusiastic about the possibility of playing a videogame. But don’t worry, after a day or two, an apology was forthcoming for all of this fracas, by which I mean, the original developer apologised for being so thoughtless as to, again, express honest lack of enthusiasm in a videogame.

For me, this was a kind of break point, where I started just blocking indie devs on sight. I don’t want to know what they’re involved in, I don’t want to promote their work, and I will hold tiny grudges against them that I do not seek to transfer or encourage in others. This was one silly incident in which a lot of people said something silly because they don’t know better, or they’re arseholes.

None of this is fair to Kentucky Route 0. It’s a game with its own intentions and its own perspective. It’s not trying to make this conversation happen. Kentucky Route 0 has been choked and gripped by this position around it, where to talk about an American game, someone put a cross on it that made it the avatar for All Things America. The wild thing to me is that I had, prior to this point, played two episodes of Kentucky Route 0. I thought it was pretty good, and I liked what it did with the negative space of dialogue options – when a character you’re controlling makes excuses, the excuses you choose show you other things you could be making excuses about that you, the player, didn’t know beforehand. That’s some good Narrative Storytelling Design, I like that a lot. But now I can’t really engage with Kentucky Route Zero because the main thing it makes me think about is how this final chapter, meant to round out the game’s story and present a conclusion and a point, became this flashpoint for a lot of people to be very casually racist.

Which kinda poisons the whole thing for me. It’s an authentic thing, I’m sure, it’s a thoughtful thing, too, but the people stepping up to say I should care about it did so in a way that made me hate them.

Any time you see me say ‘three games about America’ I’m talking about this, and the attitude of a particular kind of American that America is, as always, exceptional. It’s real easy to not realise when you’re just voicing your self-centeredness and how easy that is to ignore the opinions of people around you and what they’re saying. This is what I’m talking about when I mention ‘the three games about America.’

[fade for credit text]

By the way, the three games about America are Crash Bandicoot, Sam & Max Hit The Road, and Bust A Move.

[system-of-a-feather]

Alternative System Mind Mapping Method for Communication

[DISCLAIMER: This is not a professional or scientifically or anything really backed method, this is something coming solely from peer / personal experience.]

In regards to an anon ask earlier, I was thinking about it and one of the ways we've approached improving communication - particularly internal - in a way that is a lot less prone to flooding or dealing with trauma or anything too overwhelming - is by approaching it following the concept of Memory Webs

I haven't read up on them recently, but "Memory Webs" were a thing that our AP Psychology teacher in highschool made us do because the AP Psych test was term / jargon heavy. Memory in the human brain has been shown to be HEAVILY associative and the ability to remember and connect things tends to rely on following a "web" of connected topics, ideas, concepts etc from one idea to the next.

So in our AP Psych class, she gave us these GIANT books for Vocabulary Webs that we had to slowly work on, each of which required 6 other vocab words / related concepts, a summarized definition, and an image to represent it. By doing this, you added 6 cues to recall the word (increasing the chance you'd remember it), a visual cue, an episodic memory of working on it, and a definition - all in all improving how connected the word is to other concepts in your brain and making it easier to recall it.

I personally like to look at DID and our parts in a similar manner sometimes where the large issue is that a lot of the nodes in the web of associations are either disconnected or connected through a hard-to-find and/or small chain. In that sense, parts struggle to be held together because they are not associated concepts. It's hard to reach other parts because the dissociative walls (which in our unsubstantiated opinion is less a 'wall' and more so a lack of reinforced neural connections, so I would call them dissociative caverns) keep associations from forming

As a result, alternative to more traditional ways of mapping your system and parts, a method I've liked to internally visualize systems and navigating system dynamics is through a memory web manner. (I actually have never done it physically cause the Ray part of my brain - also the most prominent part writing this rn - rarely liked to front if he didn't have to and did a lot of stuff internally)

Here's a bit of a breakdown using six of our parts if any of you want to try it out.

We personally like it because it strips a lot of trauma and stress off of it and makes it a lot more of a positive and present engaging activity. For the purposes of this, I'll be using the free online app of Milanote cause we've used it before for OC associative webs and I think it'll do fine enough. (Honestly it actually might just be a good way to log alter information now that I'm looking at it if you are at a place in recovery where keeping track of that physically helpful)

So we can start by dropping down the parts we want to include in the form of boards

So from here, we have a bunch of disconnected parts. However, we find that a lot of these parts have things that mean a lot to them, that illicit a strong emotion or reaction from them.

Some parts may lack it more than others (often in our case trauma holders and/or trauma locked parts) and that's okay and to be expected. This is a visualization method and if there isn't much connecting a part that is 100% okay.

For demonstration sake, I will now add bubbles around each part of things that were pretty early apparent that each individual liked.

Also for the purposes of how I know our system works and how I plan to do this, I am actually moving Riku to the center and you will all see why Riku is such an S tier center point with this model

So you can see some connections forming.

Some key things you can take from this visual that also applied to earlier stags of how we connected

Lucille and Riku are and have always been pretty darn connected, they go back as one of the longest duos and were split almost as a pair to deal with academics

Chunn and Ray have a very shared interest of "I don't want to do anything leave me alone"

XIV literally was just a piece of shit early on and didn't have any immediate HARD connections with anyone largely because he never was interested in actually engaging in things he liked in a positive way as his "favorite emotion" at the time was "being pissed off"

Lin - an originally trauma stuck / loop - is very very poorly associated with anything that isn't overtly trauma related (and that is saying something cause Vocaloid is trauma related) and thus has very few connections to other parts

So looking at this though, there are a few things that have some similarities between parts. What you can do is make plans to try to foster the interests that you do have and try to generalize it a bit more to also encompass what interests other parts have. So lets engage in hobbies a little more - explore a few concepts that mean a lot to parts independently - and find some more generalized version of those hobbies

(forgot to add easy listening to Ray's and "only wearing monochrome*" to XIV's earlier) (*there are a lot of nuances and caveats)

Damn, look at that. It's messy and ugly to have in a 2D form. I absolutely hate it, this would be so impossible with our whole system. But HEY, it's very connected - and that's the goal.

Compared to the previous one, you can see how easily it can be for one part's interests to start to drift into another. Because they are largely and strongly associated features to each part, they are a lot more accessible when engaging in their shared / associated connections and interests which makes it easier for the them to stay together near the front, stay associated with one another, and work with and communicate with one another.

Of course anyone following this blog goes "Where tf is Birds" and that I left out because it would ruin the point of the web as it actually is one of our traditional "you are around the system a lot? okay pick a bird" which serves to 1) be a fun system culture thing 2) be a means of welcoming a part in and 3) helps establish a foundational connection; we do the same with music but with music its a lot more elaborate and I probably wont explain it for other reasons.

But overtime, by fostering interests that were already present and encouraging parts to broaden and generalize their specific interest a bit, you end up with a lot of overlapping associations that can greatly improve internal communication, co-fronting ability, and just general fluidity and easy of moving around the brain web.

It becomes a good way of trying to figure out what you can do to encourage and help build connections and associations between parts by seeing where things are similar / could have more overlap (combat and martial arts, different types of fashion, different types of music, different appreciation for arts, taking over the world, yada yada yada)

And you wanna know the coolest thing? When you step back from the whole web you can see certain things appear that stand out the most and have some of the most connections.

If you ever intend to go to Final Fusion, those are the things that will likely be the most prominent traits of your whole self

For us? [REDACTED BIRDS for the point of the demonstration], Music, Fashion, Taking over the World, Recovery and Healing, Buddhism, Martial Arts, Arts in general - they're all some of our largest traits that persist in almost all forms as individual parts, partially fused parts, and fully fused parts.

And the BEST part? Doing this didn't require us to touch trauma at all.

Of course in recovery that will come up cause PTSD doesn't ask permission, but its a very low stress way to help improve internal communication and engagement with one another.

[scullysflannel]

hiiii apologies if i'm sending you too many asks lol, don't feel pressured to reply right away or at all tbh, but there's this thing ive been turning over in my head about the x files that's like... so in many ways it has these conservative ideas kind of baked into the premise and format of the show. these fears of monsters and monstrous others that have to be investigated and neutralized by our heroes who are these beautiful professional looking white people. and then there's the looming fear of alien invasion that comes up in the myth episodes. so theres a lot that could and should and does feel reactionary and conservative about it. but theres also such a palpable love for the strange and unknown? the "i want to believe" poster represents this so beautifully. i think this love tends to be expressed visually rather than in words so it's kind of hard to concretely describe but i'm sure you know what i'm talking about. and then the show also relies on us the audience having an interest in the paranormal and unexplainable, not because we want to see it defeated, but for its own sake. so i guess i want to ask how you square those two ideas, that the x files has all these anxieties about weirdness but also loves and yearns for weirdness? as i said ive been kind of ruminating on this for a while and having trouble reconciling the two ideas so i'd love to hear your thoughts!

Ooh I kind of just want to give you a reading list. Have you read “In the Dark” by Brian Phillips?? It’s a Grantland essay written for the 20th anniversary in 2013. It’s my favorite piece of X-Files journalism (actually my favorite piece of entertainment journalism in general) — kind of an essential text to me. It gets into all of this. But for me I don’t feel like reconciling the tension is the goal, or that it’s even possible. The tension is the show.

Likely thing for me to say, but I think the structure of The X-Files as a procedural is a big part of how and why it moves between fear and love. Phillips describes Mulder and Scully as representatives of a doomed but still operational status quo, “figures of a weird reactionary beauty, struggling to understand and then prevent the profound transformation breaking out across their world.” I’d say that last part (prevention) is especially true of the mythology, with the monster-of-the-week episodes giving space to sometimes complicate that. 

The X-Files is traditional in its basic formula; it makes assumptions about who gets to be the hero and what kind of job they should have. There are some assumptions it doesn’t interrogate, like its default whiteness. But its critique of the government can be shockingly pointed, even if it holds itself back in later seasons by keeping Mulder and Scully in the Bureau well past the point where they should go rogue. (Not that I think the show actually could have done that.)

Does The X-Files love its boundaries or want to blow them up? Both. The appeal of a procedural is typically that it gives neat answers, so being a procedural that denies easy answers is the point, which is to say that both sides of the show are dependent on each other. The whole show is sort of an experiment in fitting some of the strangeness of Twin Peaks into a procedural. I think it’s meant to be a go-between, the same way Mulder and Scully are. 

Phillips also writes, “In this show about not knowing, the agents confronted two distinct sets of frightening unknowns. On one side was the shadow government represented by the Cigarette-Smoking Man. On the other was the evil that lurked beneath the surface of every American hamlet. Often, Mulder and Scully’s role was simply to act as interpreters between their own antagonists, rendering chaotic eruptions of small-town horror comprehensible to men in marble corridors in D.C.” I think The X-Files works like that too — interpreting between what’s regimented and what’s odd — and in that sense it has to yearn for the same things it’s afraid of. And really, I prefer the honesty of that to something more ideologically consistent. 

I always think about “Home” as an episode that sums up a lot of The X-Files’ attitude toward progress (more on this here): It isn’t immune to the romance of the myth of Mayberry, even as it’s aware that it’s a grotesque lie built on violence, and that people are committing perverse acts to hold on to it. The show allows for progress to be scary but insists that it’s not as scary as what people will do when they fear it. Weirdness on The X-Files isn’t perfectly analogous for righteous deviance only. I believe the show sees what is weird coming from all sides, past (like the Peacocks) and future, so what’s weird isn’t inherently good or meant to signify inherent goodness; it only can be good. 

One of my favorite things about The X-Files is the way it respects the integrity of doubt. (I’ve written about this! But hold off on reading if you don’t want any spoilers.) I don’t think the show could be about the bravery of questioning your beliefs without letting those old beliefs be a little bit comforting to Mulder and Scully, even the ones that turn out to be lies. There’s a great New Yorker essay by James Wolcott written in 1994, near the end of the first season. He writes that in The X-Files, the Cold War-era obsession with UFOs and alien invasion gives way to the more inward-looking fear of alien abduction: “The X-Files is the product of yuppie morbidity, a creeping sense of personal mortality.” Later on, the mythology incorporates shapeshifters and alien colonization plans, but it never commits. That’s never the emotional core of the show in the way abduction is. The core of the show is personal annihilation: the fear of death and losing loved ones, and the fear of tearing yourself apart to get to the truth.

But some of the most affecting episodes are the ones that love and yearn for the weirdness in spite of it all. Like you said, it’s always in the atmosphere and the visuals (the poster, or Mulder looking up at the stars), but I think the show puts words to it pretty often, too, like “I guess I see hope in such a possibility” in “Quagmire” and especially all of “Humbug”: “Imagine going through your whole life looking like that.” There’s so much affection for peculiarity in that episode. Still, I love that ultimately it’s just a fact: “Nature abhors normality.” It doesn’t actually matter whether you like what’s “freakish” or not; it’s just nature. I think all of The X-Files kind of evens out into a neutral judgment like that, which is nice and even kind of radical in its own way. What is weird doesn’t have to be beautiful and desirable; it just has to be seen and accepted.

[imthepunchlord]

So with my thought on different yin-yang pairs that would cycle between 6/7 Miraculous, I also wanted to cover the different pairs for Felix and Marinette as I do think they are a pair that can easily use both Ladybug and Cat.

So I wanted to see if that could extend to my idea on other pairs, particularly Fox/Peafowl and Bee/Butterfly.

Which, for this, there are tweaked themes for these pairs.

Fox and Peafowl echo themes of Deception and Truth/Vision.

Bee and Butterfly echo themes of Order/Notion and Chaos/Emotion.

Bonus, Turtle/Serpent.

As this got long, going to exclusively focus on Fox and Peafowl.

Initially, for me, Fox and Peafowl stand out to be the most interchangeable pair for these two.

Felix is an easy stand out for Fox. He has an eye for detail and being clever, and he's always been a deceptive character (pretending to be someone else why trying to woo LB, being deceptive in canon, pretending to be Adrien at times, ect.). Canon has also brought in Felix doing magic tricks, being something of a magician, who are illusionists. And of course, there is that little detail that Trixx and Felix both keep their hands behind their back when idle.

Felix with Fox can also work off questionable loyalties, as the Fox is often a self-serving animal, not known to be loyal and helps with their own interest (sounds a lot like Felix). Additionally, with canon, Felix also matches the Fox in terms of curiosity/nosiness and being a risk taker. And of course, doing illusions would be right up Felix's alley, as that allows him to decide when to have the stage and when to be more elusive.

With Trixx, that could've been an interesting kwami to work off Felix, being another deceiver/manipulator, and should be a little impish and selfish at least, and you get these two cunning manipulators trying to outsmart each other, clashing only because Felix prioritizes himself while Trixx is for the greater good.

And as a (dark) monochrome character, I do think it can be in the best interest to get something colorful to signify the change in life. And orange represents warmth, spontaneous, and playfulness, working off Felix needs to learn to lighten up, to be "warmer" as he's initially cold.

For Marinette, Peafowl's a pretty natural click when factoring all things that peacocks represent.

Peafowl is a big symbol of Vision, which can include having an eye for deatil/being perspective, looking to the future, being a visionary, and seeing what others do not see (including a supernatural sense). All of which matches with Marinette, being observant, having goals for the future that she works towards, and a knack for predictability and how she can pull off her elaborate plans. She's also quite vigilant, and can usually pick up on trouble or when something is off, which can work off peacocks tied to vigilance and guardianship.

Peacocks are also big symbols of incorruptibility, able to literally take in evil and turn it into beauty (which really kinda makes it weird for it be a misused villainous Miraculous). This works off Marinette as a natural creator of beauty, but it works off her role as a cleanser/purifier.

The Peafowl naturally works off Marinette's interest in fashion, as a natural symbol of beauty and vibrancy, able to stand out.

And on the topic of visual, Marinette has a nice inverse color coding to Duusu:

Visually, this nicely sets them up as foils that click and balance each other out, with Duusu being more "cool" coded to Marinette who is more "warm" coded. So where Marinette is more affectionate, energetic, and humble, Duusu in contrast should be more sophisticated, level headed, and egotistical/vain (this is not Duusu's canon personality, based on the little I've seen, but emotional birdbrain isn't what really comes to my mind for a peafowl kwami).

Working off this set up for Duusu's personality, you can get two dramatic characters with similar moral alignments working off each other, but able to balance each out. When Marinette overthinks and spirals, Duusu brings the truth and logic, where Duusu has the ego, Marinette has the humbleness. Duusu should also be a kwami who adores her interest in fashion, and should be one of the most romantically engaged kwamis, a literal wingman, who wants Marinette to display her colors and show off her interest to her crush (not that she's there yet). Additionally, Marinette can be chaotic and unpredictable, which as a peafowl, Duusu is set up to be more for integrity and order, so anything sketchy will be called out.

Working off Origins, where Marinette's biggest issue is self-confidence, Peafowl is a natural answer as that's an animal that's all about confidence and knowing your self-wroth. This can also work off Marinette getting pushed around (mostly by Chloe), giving up what she's rightfully won (Gamer), and putting herself down/shifting to prioritize someone else's feelings over her own when she also needs a chance to be upset (Glaciator).

Peafowl can also cover Marinette learning leadership as they are tied to royalty and clarity.

It could feed into her Atlas complex a bit, as this is a symbol of absolute goodness and fortune, but this animal has themes of being self-serving (flaws of pride, ego, and vanity), so it probably wouldn't be to the extent of Ladybug.

Now, on the reverse...

Prior to Felix officially joining canon, Peafowl was a natural click for Felix in fanon content, especially as an alternative to Cat. And there was a lot of merit to the possibility.

Felix is a naturally deceptive character who does questionable things, it makes sense for him to get an animal that's tied to truth and integrity, to challenge how he is. Duusu would also come with a lot of the similar appeals to Tikki if paired with Felix being more for the greater good, strong sense of responsibility, to step up to help others, and be morally upright.

Blue as a color can also work off what Felix needs growth wise, it's tied to trust, loyalty, responsibility, security, and truth. But it also vibes with him better as a cool color, one that is more passive and reserved.

But Felix also clicks as he is observant and does know how to grab attention and stand out as needed. And for PV Felix, who seems fine just minding his own business and not wanting attention all that much, that adds another nice contrast as this is an animal about having attention, and showing off your vibrancy (which can have some comedic potential for a more reserved character like Felix).

Now Marinette with Fox is another fun and interest kwami swap, one that's also pretty decently popular.

Marinette matches Fox in creativity, observation, quick wit, being chaotic, and being a risk taker. She also is someone who likes to work long range if she can (though will make do with close range). Similarly, she also knows when to grab attention and when to step back and be in the background.

Fox just very easily can click for Marinette. And the show did give us an example in how elaborate her illusions can be (Kwamibuster).

The biggest intrigue can be with Marinette and Trixx. With Marinette having more moral integrity can Felix, making her the more morally upright character, it can open up Trixx to be more of an impish wildcard. It's actually a similar appeal to Marinette and Plagg, where Plagg is up to be more problamatic in contrast to her. Given the Trixx we saw in Sapotis, I got an impression that with Marinette more likely to get involved and do the right thing, it opens up to Trixx prioritizing Marinette own needs and growth. And with foxes being a more self-prioritizing animal, that can work off what Marinette needs, while still working off Marinette's knack for meddling.

I do also see Trixx getting into Marinette's antics too and having fun with it.

[capricorn-0mnikorn]

Hey, I really like your disability pride flag design! I know /what/ each of the stripes mean but I'm confused about /why/ those are the meanings. Would you mind sharing how you decided on the mapping between the colours and the different kinds of disabilities?

Asking in part because I know cyan blue is the common colour of the Deaf community (e.g. the deaf flag) and it keeps messing me up that your flag has blue for emotional disabilities and green for sensory (and I associate emotional disabilities with warm colours because of the mad pride flag). I also find it unintuitive that physical disability is red. I think I'd have an easier time if I knew what your references/reasoning are! Thanks :)

Sure thing!

Overall: The colors I picked for the flag (Red, Gold, White, Blue, Green, and Black) are the six "standard" for all nation and state flags around the world. Most flags only pick two or three colors. But I chose all six for two reasons:

I needed to represent the wide variety of Disability, and

I borrowed symbolism from the Olympic Flag, which also uses all six colors, to represent a "Global community united by shared experiences."

Red: Traditionally, going back to heraldry in the Middle Ages (knights' shields, royal coats of arms, etc.), red has been the color representing blood, flesh, and the body. So that's the color I used for physical disabilities.

Gold: Most of all, I wanted a color that was not blue, to avoid any association with Autism Speaks. And the symbol for gold on the Periodic Table of Elements is "Au," so my reasoning for that is something of a visual pun.

White: Is often not recognized as a color, so I chose that for disabilities that are "invisible" (also not yet diagnosed, or misdiagnosed)

Blue: Again, going back to medieval heraldry, blue is a color often symbolizing the mind. And since around the 1700's it was said that someone afflicted by melancholy was set to be plagued by "Blue Devils" (which is why we say "I've got the blues" today).

Green: Frankly? That was the color that was left over.

The Black of the field, of course, represents grief and anger over the abuse Disabled people often face.

[finalgirlsamwinchester]

re: last post and rambling thoughts on torture before i pass out - the key thing about represented torture to me is a matter of bodies being humiliated and punished before an audience. there's a distinct line between who experiences bodily torture and gets violated on screen vs. the threat of or implied past torture. more important to me is the matter of who gets visually stripped of power before us, as the voyeuristic audience. when i speak on humiliation - it can be something as simple yet starkly different as dean getting to keep his shirt on while hooked up in hell vs. meg strapped to a table naked in s6. abbadon threatening dean with possession described as a kind of rape (9.02) vs. crowley making a rape joke before possessing sam a few episodes later. (and yeah, stuff like possession falls under the added filter of genre fantasy, separating us from the reality of the violation that's occuring). really, torture just comes down to one thing: what gets shown to us. what gets lingered upon.

no one's free from physical torture/humiliation on this show. but there's a hierarchy for depicted humiliation etched out on the basis of masculinity (a Hero can never appear too weak) and gender - but most importantly, divided by monstrosity/humanity - especially obvious in how it treats its women (thinking on the good charlie/bad charlie plot from s10. who gets brutalised on screen?). there's also the added dimension of race, and the brutality of deaths inflicted on characters of colour on this show. there's a difference between a regular on-screen death and an excessively cruel one. the difference between getting stabbed vs. being made to drink bleach while your wife watches (3.01) vs. your head garroted on screen (3.07). one carries heavier overtones of humiliation. because to bring it back around again - torture is a theatre of punishment, first and formost, just like a public execution. it functions as a warning, but it also acts as a social sacrificial ritual. a means of collective punishment.

and on this show, the lines get blurred between its metaphorical hierarchies (monstrosity/humanity) and incidental inclusion of real world systemic oppression (along the lines of represented gender/race/disability etc.). monstrosity often gets used metaphorically in speculative fiction to stand in for categories of marginalised people, and it also functions similarly on this show. it all boils back down to a fundamental truth: torture, just like sexual violence, just like abuse, is the natural language of hierarchies. it's the language by which power (re)asserts itself. everything falls under the umbrella of systemic violence.

Black Sails S2E1 because this is one of the clearest illustrations of this principle i've seen yet on tv

(yes i'm throwing Foucault's Discipline and Punish onto a harebrained Supernatural meta i'm writing at 2 am. what about it)

[heliza24]

Louis, Armand, Visual Art, and Vulnerability

The way episode 2.4 used painting and photography as a recurring motif to illustrate the relationship between Armand, Louis, and Dreamstat fascinated me, and I’m going to try to work it out here.

Even though Armand is dismissive of Louis’s photography in Dubai as a “human understanding of time”, he actually feels very similar about the paintings in the museum, calling them “framed boulevards of time and space.” For both Louis and Armand, the captured image represents a connection to their true selves. For Louis it’s an embodiment of his love of humanity, of morality, of joy. There’s a tragic element to this though; Louis is always just an observer, stuck behind his camera lens. He can never be a true part of humanity again. In this episode he complains about the ways vampirism has restrained his art; he can only take photos at night, he can’t get to know his models without eating them. He has control over the images he creates but only so much. He doesn’t have the true spark of artistic genius, the ability to capture humanity because he feels it himself. 

Armand has the opposite relationship to the image; he’s always the subject, not the artist. (I know he paints in his early life in the books, but we haven’t seen any evidence of that yet in the show). There’s a tragic element to this too, since it mimics the way he was entirely stripped of agency as a young man. The way he is portrayed in the Vecchio painting is both beautiful and violent. He’s whitewashed, and it captures a moment when he was being sexually abused. But there is something vital about this painting, in that it connects Armand to his faulty early memories. There is also something important about the fact that someone cared enough to arrange to have him painted, even if that care was possessive and twisted in its own way. When Armand says “no one has painted me in 400 years,” he means “No one has cared for me in this way in centuries. No one has seen me in this way for that long.” 

Of course there’s an irony of that, because Louis has seen him in that way, in the photo he took of Armand. Louis fights against the art dealer’s appraisal of this photo, because he wasn’t trying to capture Armand’s fragility in that moment. He was trying to capture Dreamstat. I think there’s a part of Louis that is very frustrated by Armand’s vulnerability. There are a lot of reasons for this, I think, and it’s a pattern of behavior we see in Louis often. Louis has always had difficulty accessing sentiment and vulnerability himself, going back to when he was human and pulled a knife on his brother when Paul was mentally vulnerable. We know that Louis’s recounting of Lestat often left out Lestat’s vulnerability, and the part of Lestat that Louis sparked with (for better and for worse) was Lestat’s more violent, tempestuous side. In this very episode, we see Louis rejecting Claudia’s fear about being threatened by Armand, and throwing her feelings of rejection back in her face (“You left me first!”).  Louis doesn’t have a lot of patience for vulnerability in general, and I think that’s why Dreamstat was there for Armand’s monologue about Armand’s early life. Dreamstat is an embodiment of Louis’s suspicions and frustrations, and when Armand was talking about not knowing who he is, of being trapped in a job he does not want… that’s when Dreamstat interrupts with a derogatory “HAH!”. To me that is Louis, expressing his frustration with Armand’s fragility and indecision. That’s Louis saying “make a CHOICE already.” And it makes sense that in the next sequence of scenes he takes action to help push Armand into making that choice. 

Earlier in the episode, when Armand is trying to teach Louis how to use the fire gift, Louis complains that it only works for him when he’s pissed off about something, and Armand mentions that he “tries to find the vulnerability in the object” in order to light it on fire. After Claudia leaves, Louis is angry at both Claudia and Armand, and that anger helps him light Armand’s photo on fire. But Louis has also found the vulnerability in Armand, which he demonstrates deftly in the scene on the bench. Telling Armand he’s wet but not moving to open the umbrella himself (You’re soaking wet, Louis…), waiting for Armand to use the fire gift to light his cigarette for him, encouraging Armand to play Santiago and the rest of the coven off against each other. This is all asserting control in a way that Louis now knows Armand will respond to. Most crucial, however, is his assertion that he’s “not an artist” and [he doesn’t] know too much about theatre. But [he] used to be real good at running things.” Things, of course, means brothels. And then Louis calls Armand Arun, the name he used when he was trafficked into sexual slavery. In one fell swoop, Louis rejects his art, his connection to humanity and goodness, and embraces his vampiric nature. Because vampires are killers, but they are also manipulators. And Louis is happily pushing directly on Armand’s weakness here, that he confessed to Louis in a moment of pure honesty. There is a part of Armand that is relieved to be back in this old pattern, to no longer have the burden of choice. And there’s a part of him that’s turned on by the submission, and a part of Louis that’s turned on by the domination. So Armand answers “yes maitre”, and we’ve officially embarked on the beginning of their 70 year long relationship, built on the back of both genuine desire and love as well as nefarious manipulation.  By the time we get to Dubai, it’s Armand manipulating Louis, using the ghost of his artistic ambition to somehow placate him by mixing up his photos with those of more accomplished artists. 

There’s another aspect to that bench scene, which is Louis’s final rejection of Dreamstat. I think there are a few reasons he decides to do this now. Claudia’s outburst is very Lestat-like in her anger, and I think Dreamstat’s reminder that Claudia is both Louis and Lestat’s daughter prompts Louis to separate himself from Claudia (by choosing Armand over her) and Lestat. Dreamstat has also evolved into a reminder of all things gentle and domestic to Louis. He has become the voice of Louis’s inner tenderness as well as his skepticism, and as we have already established, Louis does not like to be reminded of this. If he is going to make the tenuous balance between Claudia, Armand, Santiago, and the coven work, he cannot indulge in vulnerability, not now. And while Dreamstat might currently be in his tender era, Lestat himself still represents the vampire teacher to Louis. His anger, his control, his viciousness are things that Louis has previously rejected. But in this power move over Armand, we see him embracing all of those qualities. So in some ways he has simply progressed beyond his need for Lestat.  He no longer needs Dreamstat because he has taken on all of Lestat’s worst qualities himself.  I love how the way that he asserts control over Dreamstat mimics the way he asserts control over Armand. And I love how the effect of Dreamstat disappearing looks like paint bleeding into water or a photo developing in reverse. Louis leaves behind tenderness, Lestat, art, and leans into his own power. 

In Dubai, Louis is detached from his art and critical of it. There are some interesting parallels here with Daniel, who isn’t a visual artist, but does seem to consider his writing an art and tries to use that to reassure Louis. Much like Louis, Daniel thinks of himself as a distanced observer, writing about the vampires with an outside lens. But obviously he is about to discover how much “in frame” he actually is. 

[communistkenobi]

conversations about representation have always felt so navel-gazing to me, in part because those conversations tend to remain at the level of individual characters. the focus is on representing individuals as meaningful examples of the groups they belong to - to have “good” representation is to see some component(s) of your social identity reflected back at you by a character without those being the only traits of those characters. To measure representation you first look to see if there are visual or descriptive markers of identity - skin colour, gender, sexual attraction, ability - and then, once that evidence is established, one looks at how characters interact with and contribute to the narrative. does this gay character have a romantic partner? does this black character have interiority not related to their relationship to white characters? is this woman character motivated by something other than a desire to impress men? The goal is to avoid stereotypes, to be an anti-stereotype.

And so you ‘solve’ representation through the adequate presence of these characters. But I think this is an inherently individualistic and anti-liberatory way to approach representation, because it views minorities as individuals who can be cut from the social fabric of real life and transported into different fictional universes while leaving their identities fully intact. The presence of a disabled character does not also require the inclusion of structural ableism in the narrative, their individual presence is enough to represent disability. And so their presence in the narrative seems to emerge from nowhere - you don’t judge representation by looking at how the narrative represents and thinks about historical structures of race, gender, ability, you judge it by the amount of characters who contain those social markers. It means social identity exists primarily within the individual. There is no historical perspective given to characters, no acknowledgement of the fact that identity is dialectic and socially mediated. to paraphrase Gramsci, history impresses upon you an infinity of traces without leaving an inventory, and I think when discussing representation, people judge the quality of representation by those traces - race, gender, ability, sexuality, religion, etc - but ignores the inventory, the origins of those things, the social processes that produce race, produce gender, constantly and everyday. And so you get these characters that feel dislocated, alien to themselves and other people, because they express an identity that appears to have no origin point in the fictional world, no social backing. They are essentialised to what they “are” deep down inside. Characters are not made racial, not made gendered, not made disabled by the universe they exist in, they simply “are” those things.

And if narratives do tackle those histories, they tend to represent them primarily through misery. You know a character is gay because they get called slurs. You see a black character experience racism. You recognise a character is a woman by the fact that she is sexually assaulted. The history of their identities is represented as individual acts of violence or trauma, as if misogyny or racism are narrative objects themselves that occasionally collide with the characters to remind the audience that the authors take history very seriously. If an author is especially serious, they will get individual sensitivity readers to confirm or deny the authenticity of the social identity being expressed on the page; much less often you will hear of authors who rigorously consult, for example, books like Orientalism to ensure the structure of their work is not reproducing Western (and ultimately racist) conclusions about the world they are creating. Representational politics begins (and frequently ends) at the level of the individual. And so you get queer characters who endure homophobia or transphobia, but whose ultimate wish is to enter into a monogamous marriage and reproduce the social unit of the nuclear family, or the black character who finally finds community in a group of all white people that aren’t racist to their face. That’s not tackling history, that’s just allowing these character to be momentarily exempt from it. the historical norms and hegemonies present in the narrative are disconnected from the characters themselves. this is why you can have “good representation” in stories that are fundamentally racist or misogynistic or heteronormative (see: ofmd). If representation is only housed in your characters, if you view representation as a discrete trait that you can add more or less of, you are not thinking about the social identities that you are representing in a systemic way - you are, in effect, producing tokens.

And I think that sense of dislocation is part of what motivates people to cringe away from stories primarily billed as having “a diverse cast” or filled with “queer characters” or whatever, even when they are otherwise desperate for those things (excluding from this discussion the people who dislike the mere appearance of characters who are not strong white men, a perspective that is not worth entertaining). I do not want to watch stories that smash characters and identities together like barbie dolls, that treat race or gender as something to “tackle” in a B plot or a “police brutality episode” like you get in a show like Brooklyn 99. I do not want a character creation screen. Identity should, ideally, be part of the structure of the narrative, not a thing you merely choose to “include.” Which is much more difficult, of course - it requires a robust political imagination, but it’s a problem that is possible to solve.