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creatingblackcharacters · 6 months

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"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!

#creatingblackcharacters #character design #black characters #black writers

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akajustmerry · 2 months

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Hello! I've just found your podcast and listened into some older episodes. They helped me on my journey of understanding my sexuality, and formulate why some stories appear more sincere than others. Thank you two! In one episode that Aboriginal people are "like black people in Australia" (I hope I quote this correctly). If It's no hassle, I would be curious in understanding the social circumstnaces you are descrbing. Happily waiting for a new episode, and thank you very much for the fun and informative work!

hello there, thank you so much for listening to gayv club! I'm chuffed that you love the podcast (psst follow @gayvclubpodcast) 🥰

So, to answer your question, Aboriginal and Torres Strait Islander peoples are the Indigenous people to what the world calls "Australia". And we are Black people. We are Black people and were racialised as Black Indigenous people when British and European people colonised the land over 200 years ago. Aboriginal people were called Black throughout Australias white colonial history and so we also call ourselves Black.

Aboriginal and Torres Strait Islander peoples in this country have been subjected to anti-Black violence and genocidal policies that include but aren't limited to slavery, deaths in custody, segregation, and apartheid. Not to mention forced child removal and assimilation policies intended to "breed the Black out" of our culture.

But we're still here! Aboriginal and Torres Strait Islander peoples are the oldest continuously practising culture in the world. Recent archaeological discoveries show Aboriginal people were baking bread even before the ancient Egyptians and Greeks. As a community, we've had our own Black power movements, music movements, and art movements too.

I'm generalising a lot because Aboriginal and Torres Strait Islander peoples are very diverse. We've got over 400 languages and nations, each with its own cultural rules. While many of us have lost our language and culture because of colonisation, there are many who haven't and many working to restore and preserve it.

One thing I will make very clear is that all Aboriginal and Torres Strait Islander peoples refer to ourselves as Black (sometimes without the C) regardless of what we look like. There are many Aboriginal people, like myself, who are pale skinned and still call ourselves Black and are accepted as such. This is because we do NOT adhere to blood quantum that colonisers try to put on us. Our connection to Blackness is about our connection to family and community, it is not *only* about how we look.

Hope this helps you understand a bit. I for one am very proud to be Blak. I'm very proud to be Aboriginal. If you want to learn more about Aboriginal culture and history, here's some resources:

youtube

#gayv club #aboriginal #anon #/

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felassan · 2 months

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July 15th Game Informer article on BioWare's companion design philosophy in DA:TV - cliff notes:

DA:TV wasn't made with the intention of making a sequel or 'the same again as DA:I'. They wanted to do something different

The companions are key to everything in DA:TV; the special centerpiece, load-bearing pillars. The studio uses the phrase "DA is about characters, not causes"

These are the most fully realized, complex, fleshed out & complicated companions from BioWare yet (and DA's best). They have stories of their own, and roles both in and out of combat. They are authentic and relatable

For the first time in the series, BioWare feels that they have purposefully and intentionally created great companions. In previous entries, they sort of 'stumbled' onto great companions

Rook goes on a journey with the companions, rather than how it felt in previous games where the companions are more like going on an adventure with the PC

The companions have complicated problems. We will explore how they think and feel, and help them through their problems. They participate in the game's dark parts and optimistic parts

Corinne: "They feel like my dear friends, and I absolutely adore them"

Corinne quote: "We've really moved into a place where you can have the highest of highs, and it can be colorful, it can be optimistic, but also, you can have the lowest of lows where it gets gritty, it gets painful, it gets quite dark. But throughout it all, there is a sense of optimism. And it creates this delightful throughline throughout the game."

When creating DA:TV one of BW's principles was that the world exists even when you/Rook isn't around, with ancient conflicts, grudges and more going on. Rook kind of comes in in the middle of some of these plots

John quote: "For example – the Grey Wardens are an interesting faction but by themselves, they don't tell a story, but there are characters within that faction that do. And the same thing with other characters in the story. They represent these factions, they show the face of the other parts of Thedas and of the storytelling we really want to do, which, again, shows Thedas as this large, diverse living world that has things going on when you're not there. [...] Where can Rook come into [the companions'] stories, and what interesting ways can those stories develop not just based on themselves but also based on Rook's presence within them?"

Companions are the faces of their factions. Some, like Bellara, are the faces for an entire area of the world

BW hopes that the companions' visual design challenges and excites cosplayers. Matt Rhodes: "The previous art director had the mindset we should make things easier for [cosplayers], which I think is a misunderstanding of cosplayers. We've seen the kind of challenges they're willing to take on, and so we've gone for, in some cases, a level of complexity and detail"

Tevinter is an oppressive, totalitarian regime that has slavery. "If you’re not a mage in Tevinter, you are lower than dirt for a lot of people". A damaging regime has taken over Minrathous

The Shadow Dragons are a rebel faction that fight back against this Tevinter mage-ocracy (so does Neve)

Neve believes that good exists in Tevinter. She's there for the common people, and believes in fighting oppression and tyranny. She represents the voice of the streets and the common people. BW "wanted to have a character that showed not just what is Tevinter at the top, but what is the average person who lives in Tevinter"

Detective Neve is also about finding clues and ways through problems that aren't as action-focused as some of the other companions

The writer Wesley of Game Informer thinks that DA:TV is sure to be "multiple dozens of hours long"

In combat, companions have their own autonomy and behaviors. They pick their own targets

As their plots progress, they learn how to use their abilities more competently in battle. "It feels like we're all in it together"

In battle, strategy, progression and a sense of teamwork comes into play as the party's leader, Rook. "It is a game about creating this organic sense of teamwork."

Vulnerabilities can be used synergistically

Bellara can slow time

Harding has devastating attacks with 'knock down' effects

Corinne quote: "Now, there are more explicit synergies as well. We very much have intentional combos where your companions can play off each other, you can queue up abilities between them, and each of those abilities will go off and have their effect. But it results in this massive detonation where you get enhanced effects, debuff the entire battlefield, all because of planning and teamwork. What makes it really cool is you can introduce Rook into that equation as well. One of my favorite things to do is upgrade some of Harding's abilities so she will automatically use some of these abilities that normally I'd have to instruct her to do. And she'll actually set my character up to execute that combo that, again, has that detonation effect."

Outside combat, companions have their own concerns, fears and distractions

Companions have their own personal spaces. They each have their own room in the Lighthouse. These sanctuaries become reflections of who they are. "The more time you spend with them, as the game develops as you work through their arc, their room and their personalities will evolve and flourish and become more complete as they trust you more and you understand them better."

The companions also develop romantically, sometimes with each other. Corinne: "There are moments in the game where two of our companions fell in love with each other and I had to make some pretty challenging choices as it related to the quest we're on. And it broke my heart, it absolutely did"

Get to know and learn about the companions in the Lighthouse. "It endears them to you in a way that I honestly haven't experienced before."

There are joy-filled moments and heart-breaking moments in the game wrt the companions

[source]

#dragon age: the veilguard #dragon age the veilguard spoilers #dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #video games #long post #longpost #feels #this post is a lil later than usual as i was doing some stuff sry ^^

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incorrectbatfam · 8 months

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Types of obnoxious batfam stans

Written by an obnoxious batfam stan

Not really a rant but something I've noticed over the years interacting in different spaces and I've decided to make your problem now.

Please note that I'm not saying there's any "right" way to be a fan because we all suck by virtue of being comic nerds, but there are certain kinds of batfamily fans that stick out to be in particular.

Anywho, here are 12 kinds of annoying batfam stans that you've probably run into and you better get a laugh out of it *points gun to your head*.

1) The Newbies Who Never Heard of Google

There's no shame in being new to something. It's a phase that we're all guaranteed to go through, whether we're 11 or 101. However, in this day and age, so many things can be easily googled that you don't need to shout every question you have into the VVorld VVide VVoid. If you need comic recs or a reading list, google it. If you wanna know a character's origin story, google it. If you need to know the color of Batman's underpants in a particular issue in 1965... well that's probably too specific for Google but Reddit will definitely have an answer.

2) The Middle School Authors

Before the 13-year-olds get up in my notes, I'm not saying everyone that age writes like this. Middle school is a state of mind. These fanfic writers usually stand out in a few ways.

They're oftentimes first-person POV or reader-insert. Give Y/N a break, she's tired.

The grammar is stunningly atrocious. I get if you're inexperienced or if you're writing in a second language, but we are in the prime era of autocorrect. If you need help, it's right there. Also, fuck c*nsoring b*d w*rds and fuck "unalive."

The characters do things that are out-of-character because the author is projecting their own personality. Bruce Wayne is a lot of things but he does not listen to the fucking Mountain Goats.

There's a lack of experience or research when it comes to certain topics. That's not how physics works. He can't walk that injury off. And that's definitely NOT how you do the horizontal hokey pokey.

3) The Neckbeards

Unfortunately, these basement-dwelling mouth-breathers tainted the image of what a comic fan is, though that's been changing recently. Still, we've all seen them. They gatekeep via pop quizzes, 'cause obviously you're not a real fan unless you know what page 10 of Batman #138 smells like. They give unsolicited commentary on people's cosplays, nitpicking the guys and being gross toward women. And heaven forbid the comics add a little diversity.

4) The Moviegoers

Nothing inherently wrong with getting into the fandom via the movies, nor is there anything wrong with sticking to that. I just feel like we're two different species of Galapagos finches, you know?

5) The Christopher Nolans

Separate from casual fans of the Nolan movies. I'm calling them the Christopher Nolans because these people have a tendency to reach for the grimdarkest thing possible. It's like they cannot fathom Batman having any other emotions besides punching and gargoyle brooding.

6) The Canon Purists

Wanna share a fun headcanon? NO, because Stephanie Brown never used cherry lip balm in the comics so therefore that must be the absolute truth. These people are a stickler for comic accuracy to the point where it's like... why bother interacting with the fandom in the first place? The worst part is when they're adamant on following a single continuity and refuse to consider anything else. This is comics we're talking about. Everything either has been or will be canon at some point.

7) The Fanon Worshippers

On the opposite end of the spectrum, we have the people who base their entire perception of the characters on something either they pulled out of their ass or that their mutual with 16 followers came up with, despite evidence directly contradicting it. I love WFA, but I feel like that's partially responsible for further perpetuating certain popular myths. Also, these fans tend to focus solely on the batfam/their ships. It's one thing to have some people in the foreground vs. background, but put some respect to Bart Allen's name you goddamn cheesecakes.

8) The Golden Age Dads

These guys aren't really obnoxious. I actually find it kind of cute how they think Jason Todd is still dead.

9) The Chronically Online

I have a rule of thumb when it comes to discourse: if it's not something I'd hear about at a bar, it's not worth my mental energy. Some people haven't gotten the memo, though.

These are either the well-intentioned but misinformed teenagers or grown-ass adults beefing with children because they don't have a life. They have takes that are oversimplified, rage-inducing, TikTok algorithm attention-grabbers that no one cares about in real life.

Don't get me wrong, we've got a bunch of issues in comics and fandom that are worth discussing. However, there comes a point where you're splitting hairs and need to go the fuck outside. I'm not gonna link the post 'cause I don't wanna call them and their 7 notes out, but the other week I saw someone saying Stephcass was a racist ship because something something colonialism parallel. You gotta be Elastigirl to have that kind of reach.

10) The Corporate Simps

I love comics. I appreciate the writers and artists. However, you will find my carcass in a ditch before you catch me licking the boots of DC/Warner Bros. Basically, these fans, fewer as they are, can't seem to fathom that their favorite franchise can (and does) put out some steaming motherfucking garbage.

11) The Hot Cosplayers

Not actually annoyed, I'm just a little jealous. Stop being hotter than me, please and thank you.

12) The One With A Punchline For Everything

Wait–

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nica-my-beloved · 2 months

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Tropes In Ikemen Series Games That I Dislike

These are my opinion so no hate!

MC BEING SHY AND BLUSHING AT THE SLIGHTEST TEASING

Some times I find it cute, but other times I wish she would just tease the male leads back.

A lighthearted flirtatious teasing would be funny to watch.

TOO MUCH SEXUAL INTERACTIONS

I understand, it spices up the story but when the most random interaction suddenly turn into a hot making out session just turns me off.

Some times in some scenes, when the moment is right, the whole steamy scene does feel nice. But not all cases.

SUBMISSIVE MCs

I mean, it's fine. I just wish the MCs were more diverse. The Ikemen MCs are way too submissive for my good. They don't even TRY to resist the advances of male lead.

They are so much in love with the guy they met for 2 weeks that they are ready to let them sleep with her, which is awkward as hell.

VERY PURE HEARTED MCs

I don't mind again, but they are not relatable at all. And I've already mentioned in one of my posts that MCs are not meant to be relatable. They are just tools that the writers use for spoon-feeding the stories to the players (because they think we're too dumb to understand the character's personality or intentions). But that doesn't mean I don't want variety.

There are so many different personalities, yet why are the MCs always so kind, so hardworking, so pure, so timid. Some times I dream about an MC who is lazy, foodie, loves shopping, doesn't like studying, doesn't care about what people say about her, doesn't like talking to people, doesn't even try to get along with people who treats her like shit, likes anime and has wallpapers of shirtless Sylus on her laptop, never follows rules......am I describing myself? Yep!

MCs don't have to hold a gun or kill someone or be the Queen of the Underworld. She can still be cool wearing pajamas and sunglasses, dancing on top of her bed at Shinee's Ring Ding Dong (I still love that song!)

THE USUAL CLICHES

Including random people coming inside the room (without knocking ofc), sees MC and a male lead in bed (fully clothed, or not doesn't matter) and still thinking that they slept together. Also MC wasting time and energy to clear up their 'misunderstanding'.

MC's promising that she will never fall in love but breaks her promise. She had one job!

MCs......*holding back puke* teaching male leads turru love *cringe 101*

Similar personality male leads. For example: Kurama, Silvio, Jude. Arthur, Sueharu, Nokto, Nica. I need more variety.

One month time period bullshit! It doesn't matter when at the end MCs are leaving their world to join the male lead (who they know only for a month). Maybe give like a 6 months or an year. Then I'll believe you.

I don't like the killing trope, where the male leads openly saying 'I'll kill you someday'. It triggers me and I don't really find it romantic in any sense.

Always MCs falling in love first and not the male lead. I understand that we play from the MC's perspective, but I really want to know how it feels when the male lead fall in love with MC first. It could be interesting.

Male leads leaving/breaking-up with MCs for her own happiness is also bullshit. I'm tired of seeing this over and over again and it annoys me. The male leads would always be like 'MC, you're not suppose to be in this world. You deserve happiness blah blah blah...' I don't like this because at the end, they eventually change their minds and decides to accept her. If they wanted her then why let go of her? So annoying. I just want a male lead, who is like 'I don't care if my world is shitty, I love MC and I want to be with her! I'll always make her happy and protect her!'

#shiro's hot takes #ikemen games #ikemen villains #ikemen series #ikemen prince #ikemen genjiden #ikepri #ikevil #ikegen #otome #otome game #ikemen game

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blurredblu · 2 months

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Announcing Sonic Supernova 2025!

Hello all!

I'd like to announce that planning for the fandom event Sonic Supernova 2025 is officially underway!

What is Sonic Supernova?

Sonic Supernova (Supernova for short) is an unofficial community event made by Sonic fans for Sonic fans, where artists and writers collaborate in teams to create unique fanworks for the Sonic the Hedgehog fandom over a creation period. During this time period, participants can also get to know one another in the social space created for the event, i.e. a Discord server. The end result is a fandom-wide, celebratory event aimed to contribute an explosion of fan content to the Sonic the Hedgehog community over a publishing period during which each team's creations are released.

What's special about Sonic Supernova?

Supernova takes inspiration from Big Bang events! Big Bangs are a popular and well-known format of fan-organised experiences. We wanted to make an event inspired by the Big Bang format but with aspects of it adjusted based on what fans like you and me would like to see in a collective fandom activity. Hence, instead of an explosion kick-starting the universe (Big Bang) we're naming our event after the explosion of a star that gives off light to a degree of a billion times more than our own sun (Supernova!).

For starters, we want Supernova to prize creators first in their humanity and their autonomy. Art is powerful. Stories are powerful. It can be as liberating, cathartic, relieving, and thought-provoking to read them as it is to create them, giving us the space to explore concepts and situations safely and at our own pace. So, to support a wider range of creative possibilities for our participants, Supernova will allow creators to make mature-rated content as an option for the event. Proper tools and moderation will ensure only adults who opted in will be able to submit and see mature works.

We also want to do team-ups differently for Supernova. In Big Bang events, artists and writers are typically teamed up via a blind match-up where artists select from a list of anonymised summaries of each writer's story. While this has its draws, our team is looking to implement different team-up methods where artists and writers get to be more aware of what project they're signing up for and who they're working with. The end goal is that participants are given the absolute best chance to be fully satisfied with the project and people they end up with for a creation period that will last a few months.

While it's still in its early days, we're also discussing features to make Supernova a memorable time for our participants, including making our own website for the event and offering exclusive digital art goodies for everyone who participates in it.

Above all, we at Supernova aim to put creators first. What we can say about the goals of Supernova—what we as organisers aim to accomplish—are the following commitments:

Bridging together creators in the Sonic fan community

Respecting the depth, diversity, and humanity of our creators

Upholding fans' autonomy to choose what content they wish to make and/or see

Organising the event in a transparent and considerate way

Ensuring creators' safety and no tolerance for harassment

Can I participate in Sonic Supernova?

Yes! Everyone will be able to participate in Supernova. All you need is a Discord account, an AO3 account if you're a writer, and a love for Sonic the Hedgehog!

As we're allowing fanworks with ratings ranging from general audiences to mature ones, we're working on a robust, thought-out system that supports creators' autonomy by ensuring people will only be able to see what they opted for. This will apply both for the Discord server hosting the event and the final, published works.

The event isn't restricted to visual artists and writers only. If you're passionate about making GIFs, graphics, music, animations, knitting, sculpting, or anything else, Supernova is more than open to you, too!

When will sign-ups open?

Unfortunately, we don't know just yet. We're still in the planning stages and we want to take the time to make sure we get things right, including getting community feedback on an interest check form so us organisers can make decisions with your wishes at heart.

We'll provide more information as we get closer to milestones in our development stages (like when we open sign-ups for the event!) and fully welcome questions, comments, and feedback from other Sonic fans! Feel free to contact us at the following accounts:

@blurredblu

@franticmelody

@soft-anomaly

We hope to hear from you either in our inboxes, or through our sign-up form once it comes out!

On behalf of the Sonic Supernova organising team,

umi

(a.k.a. blurredblu/shizuumi151)

#sonic the hedgehog #sonic #sth #sonic supernova 2025 #fan event #big bang #fandom event #fandom big bang

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jesncin · 18 days

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Caped Crusader, "Safe Diversity", and Catwoman

We're at a point where it's expected that a new incarnation of any story previously with a white-dominated cast would be reimagined with a "more diverse" cast. This can mean racebending them, genderbending them or making them queer, but for the purposes of this analysis we'll be focusing on racebends. Most of the time, executives will take the "safer" routes with diversifying their cast- pick a couple of unproblematic supporting characters to be incidentally "diverse this time". Other times, there might be "braver" takes where more prominent characters (perhaps even the main character) are racebent. This doesn't necessarily mean racebending prominent characters is an inherently better thing to do.

I've been more than critical of MAWS' portrayal of BIPOC characters but especially their Asian Lois before. Sometimes BIPOC representation is just a decorative palette-swap change for these shows. Caped Crusader however, is different. It's more complicated- but it's rooted in very similar problems. Unlike MAWS (though I can only speak for S1), CC is far more willing to take on political topics: classism, sexism, police corruption and brutality, even beauty standards in the entertainment industry! Yet, in choosing to portray these topics in their stylistically anachronistic 30s-40s set piece- it makes it so the show's reluctance to discuss race intersecting with any of these topics far more apparent.

(spoilers for all of Caped Crusader)

Take for instance, episode 2: "...And Be A Villain". The story is about Basil Karlo, a less than handsome actor who wishes his appearance wasn't holding him back from both love and playing roles saved for better looking people. He makes a deal with Jack Ellman, an experimental makeup artist who turns him into Clayface. This story is set in motion when Miss Yvonne Francis, a beautiful actress, goes missing. Miss Francis is a woman of color (brown skinned, unspecified) played by Lacey Chabert: a white actress. CC goes for a generally colorblind casting what with Stephie (a white girl) being voiced by Amari McCoy (a Black actress) but it always feels icky when a white actor voices a character of color. Prominent characters of color in CC are more accurately casted. However I do think animation should be wary of using their medium to get away with their show appearing more diverse than the actual talent behind it.

The episode's theme is pretty clear on how unfair the entertainment industry is in regards to who it prioritizes in leading roles. Basil is constantly emphasized as a tragically talented actor whose appearance is holding him back. "With your talent you should be a leading man, Basil." Yvonne says to Basil in a flashback. Meanwhile as Alfred is watching through movie clips featuring Yvonne and Basil together, he comments "while lovely to look at, Miss Francis is no Gloria Swanson." So Yvonne has the looks, but not the talent and still gets prestigious roles because that's showbiz. The only time this is weirdly inconsistent is when Yvonne calls out Basil/Clayface in the finale, saying:

"I don't believe your performance. You're chewing on scenery. Relying on makeup effects to enhance weak characterization. It's insincere, Basil. It's not real."

I honestly feel like this scene was just meant to quickly "subvert" Yvonne being a damsel in distress by having her call out Basil's acting. It's a moment that isn't reinforced by anything the episode set up. After all, according to Alfred, she's not as good an actor compared to Basil. That's supposed to be how they foil each other, so this moment feels unmotivated. Again, I get what they're going for, that Basil's performance ironically relies on his newfound appearance so much that even a bad actress like Yvonne can spot his meager acting. But it doesn't work when our protagonists were actually convinced by his imitation of others. She's still a damsel in distress character regardless of her having a bit of attitude when calling her captor out.

What I don't understand is: why make Yvonne a woman of color if this was the story you wanted to tell? It's not like they're paying homage to how her voice actress looks, after all. Why, in your story set in purposely anachronistic 30s-40s era noir, did the character who was meant to represent the epitome of "not talented but gets by the industry because of her conventional beauty and pretty privilege" a woman of color? We're missing the very obvious conversation here where Tinsel Town is a white industry with white biases to what it considers attractive. It doesn't matter how many attractive actors of color exist, they're still pigeon holed into stereotyped and often racist roles (especially back then), and have to work twice as hard to get the opportunities their white colleagues get. Why is Basil, a white man, the only one afforded a marginalized narrative when Yvonne is quite literally a woman of color right next to him? The episode is especially painful to sit through when Basil is afforded so much sympathy compared to Yvonne.

"He didn't have the right look. He didn't have the right face."

"The camera is kind to some, but cruel to others."

This is transparently a colorblind narrative. Yvonne is written and even casted as a white woman. The CC crew just decided she should be a WOC likely because "wouldn't it be neat if the beautiful actress in this story is POC" without thinking about how that would drastically change a narrative already critical of the showbiz industry based on appearances. It's not intersectional and flattens the narrative to being selective of the prejudices Tinsel Town has. This episode is a great example to what CC generally does with diversity. It's not afraid to be critical of society, but it gets oddly squeamish with discussing how race intersects with these topics- opting mostly for a palette-change type of representation.

It's not entirely fair to say CC doesn't ever touch on the topic of racism. It sort of does: if you read between the lines for why the mayor gives Jim Gordon his commissioner role, and more prominently with the Gentleman Ghost (a rich aristocrat ghost that steals from the poor, believing wealth is his right) being offended that his mansion is sold to Lucius Fox (saying "and you would sell it to rabble like this?")- racism is somewhat present in the world of CC. We see the women in this show experience misogyny, but it's ambiguous if any of their struggles are intersectional with that of race. But that's... just about it. Racism isn't discussed more than it is alluded to, whenever the writers decide it's relevant. Because of this, CC has a spectrum of hits and misses when it comes to integrating characters of color in their reimagined cast.

Here's how I would visualize that spectrum using canonized instances of Asian Lois Lane. I should emphasize that representation of people of color doesn't entail the narrative owing us "a racism arc" or what have you. This spectrum is more used to measure how much racial identity was integrated in the characterization of the character: whether that be cultural identity or history. Being a person of color isn't just "person who goes through racism".

This is how I'd personally place the prominent characters of color in CC on my "spectrum of racebends" chart. Generally most of the characters of color (whether reimagined that way or were originally POC already) are fairly harmless in how they were integrated into CC's world, but none of the characters feel bespoke as a reimagining of the character and are interchangeable with their white counterparts. To quote cartoonist Juni Ba (in a discussion on CC):

"...stripping characters of color in these time period stories of any cultural, [a]esthetic or social signifiers that’d make them true to the groups being represented. Instead they dress, act and speak very western."

In my opinion, the only character that is an exception to this is Linton Midnite (or as he's popularly known as: "Papa Midnite"). Midnite is a character so interlinked with Haitian culture and mysticism that even CC couldn't erase that aspect of his identity (important note: historically, the portrayal of Midnite since his creation is riddled in racism, but that's not my place to discuss here). Midnite at most speaks with an accent, dresses more nonconformingly compared to the western standard dress of all the other characters, and practices occultish stuff (though I don't think there was anything culturally specific in that episode, please correct me otherwise if someone has more insight!). That's a lot more cultural representation than just about any other character of color in CC. Midnite can't be changed to a white character, his African identity is too interlinked with who he is.

There are a few characters I consider in poor taste to be POC- that being Arnold Flass, Yvonne Francis (who we've covered already), and Harley Quinn (who will be getting her own post, as her case is complicated). So let's talk about cops, then.

I tend to be indifferent about media choosing to diversify cop characters because it feels like choosing the most "respectable to society" role for a marginalized character to play. Cops uphold bigoted systems of power at the end of the day, so that's a very comfortable place to represent your marginalized characters. It's why we keep getting gay or lesbian cops, which Batman media absolutely perpetuates as well with Renee Montoya. It's hard to cheer for two women of color being allowed to date and kiss in public when one of them is a cop, y'know? But this doesn't mean re-imagining cop characters doesn't have narrative merit.

In regards to Jim Gordon being reimagined as a Black cop, I'm gonna refer to La'Ron Readus' video on "Fixing the Batman's Copaganda problem" where he goes into detail about the missed potential of Black!Jim Gordon from Reeves' The Batman (2022). Generally, I felt that opportunity was missed in CC as well. While I love that Barbara Gordon is in CC, nothing about her being a WOC is integrated into this version of her. It felt like if either character was white, the story wouldn't be that different. The bigger issue here is the choice to racebend Arnold Flass- a previously white, blonde, cunningly smart, and brutally corrupt cop.

CC follows some of this in their version of Arnold Flass- he's paired with Harvey Bullock (also a corrupt cop). While Bullock is the brawns of the duo, Flass is the smarts. He's cunning and even implied to be willing to frame Bullock if the worse comes to it. It isn't an inherently bad idea to racebend a corrupt white cop into a Black cop. If the writers want to tell a story about how the police force assimilates people of color into the system and forces them to be just as if not more brutal than their white counterparts, then by all means tell that story.

But that's not what CC gave us. By rarely acknowledging race, we don't get to have a conversation or themes surrounding that delicate intersection of identities. We just have "diverse Flass". Look at these panels from Year One for example, can you imagine how Flass' casual disrespect for Gordon by constantly calling him "Jimmy" could be re-contextualized with a race change? Unlike other characters who just feel like missed opportunities for not integrating race into their characterization, Flass is an elephant in the room. To not acknowledge his race in themes of police corruption and brutality is to white wash the narrative with diverse paint.

I personally think the stronger narrative decision would have been to racebend Bullock as Black instead of Flass. Flass could still be the conniving cop, but he encourages Black!Bullock to be the more "violent brute" who does the dirty work for him. It would put a newfound racial layer to how Flass considers Bullock disposable. Then we could have some kind of commentary on how the police force encourages a system of abuse that makes even fellow POC turn on each other. It'd also make it so a certain scene would be better in optics.

I have many criticisms for the scene where Batman holds a gun to Flass in the finale of CC. It's a narratively unmotivated (see my criticisms for CC's Two Face here for elaboration) and weak moment that relies on metatextual shock value to cover up how underdeveloped this take on Batman is. But it's also just very uncomfortable optics-wise. It's a common and valid criticism that Batman as a character can very easily fall into copaganda, with his status, goals, and collaboration with the police force. In many ways, Batman is often written to be committing his own kind of vigilante police brutality.

Caped Crusader wants to be a deconstruction of a Batman tied to power and hellbent on his mission to eliminate crime. But because CC occasionally omits race from its narrative, the scene where Batman holds a gun to a Black cop-a man stripped of his ability to fight back-just falls flat for me. There's no acknowledgement in this scene that Batman basically gets to be an anonymous cop, "warning shots" and all. Batman shoots at an unarmed Black man several times. It's meant to be shocking to us how Bruce is willing to stoop to such a level and indulge in gratuitous gun violence, but it honestly hits too close to real incidents where this is racially the case for me to enjoy the narrative point of this scene.

You know a character who would be perfect for calling out Batman's many privileges? Selina Kyle. Let's talk about Caped Crusader's biggest downgrade.

I've heard just about all the arguments in favor for CC's reimagining of Catwoman and none have convinced me that this was in any way a good take on the character. I see people saying that this Catwoman is a return to her golden age roots, and there's a lot of misconception surrounding that assumption. So bear with me as looking at Catwoman's history is necessary to discuss race and how a character evolves.

Catwoman debuted in the 1940s as a jewel thief who disguised herself as an old lady. She was just called "The Cat" and would not don her more feline appearance until later. True to the mystery woman femme fatale trope she was inspired by, her backstory was left unknown for a long time. 10 years later, in Batman #62 it is revealed that after a plane accident bonked her head, the now named Selina Kyle got amnesia and went on a crime spree. Giving her leeway to reform and be an ally to Batman. This would historically inform how Selina Kyle toed the line between good and evil as an anti-hero.

Her origin would be revisited in 1983, in the Brave and the Bold #197. Although not canon to the mainline universe, it is still a crucial development for her character's history. In this story, Selina reveals that she lied about having amnesia to get out of facing punishment. Her true story was that she entered a life of crime to escape an abusive relationship with a rich man. The only loss her husband understood was material loss, loss of property, so stealing was how Selina fought back.

This crucial re-examination of her character transformed her from shenanigans inducing femme fatale, to a marginalized fighter. Shortly later in 1987 in Batman Year One, Catwoman is reimagined as a street-hardened sex worker in poverty. She is inspired by the Batman to become a vigilante for her own goals and gets annoyed that she's assumed to be his sidekick.

The moment Catwoman became marginalized by power, was the point where she became worthy of solo-character status. She was not only a compelling foil to Batman-capable of going toe to toe with him and make him question his motives even though she did not share his privilege-she could lead her own adventures reflecting a side of Gotham Bruce Wayne's perspective doesn't. She actively makes the setting of Gotham stronger because of how she's evolved as a character.

Catwoman's character would continue to evolve, with some iterations reimagining her as a latina woman and others where she's canonically bisexual.

While Catwoman has been portrayed by Black actresses before, I want to focus on the most recent and prominent iteration of a race-swapped Catwoman. When Matt Reeves' The Batman (2022) featured Zoe Kravitz as Selina Kyle, an explicitly biracial character within the text of the story, we see another step this character evolves. I think La'Ron Readus' video on "Why Race-Swapped Characters Are Not The Full Story" does a fantastic job of explaining why this is a narratively great race swap. To summarize (though I do encourage watching his video as he goes into depth about 2022 Batman's Jim Gordon as well among many other examples) and add analysis of my own: Selina being the byproduct of an Italian crime lord and a Black sex worker is a brilliant marriage of her original backstory (being connected to and abused by powerful men) and her modern backstory where she's poverty stricken (and tangentially related to a sex worker if we're talking about Batman Year One).

We understand why someone of her background would have an affinity for stray cats because of how she lost her mom at a young age, she is sympathetic to fellow people from the lower class, and explicitly calls out privileged white people- including Batman who attempted to over moralize Selina's partner as a sex worker.

"All anyone cares about in this place, are these white privileged assholes."

It's especially that last line that makes it so Selina's character isn't interchangeable with her white counterpart. She's a textually rich character to contrast Bruce in Batman 2022, and we can see how years of history and evolution has brought such an empathetic character to the screen. Interestingly, Readus feels that while 2022 Selina was an example of a race-swap that works, he believes it was great by coincidence, because of the miss that was Gordon's characterization in the same movie. I think with Reeves as a collaborator on Caped Crusader, that assumption was correct.

Selina in CC is back to being a rich socialite, but (unlike her Golden Age counterpart) she's not married into wealth- she's got generational wealth (with a dad serving jail time for tax evasion). Worse yet, she's taking what little remains of her money and spending it on superficially imitating the Batman to create her Catwoman persona. She even has her own reluctant Alfred, a Catmobile, the works. Selina steals things because. She likes shiny things. And is something of a kleptomaniac. Catwoman is instantly discovered to be Selina because of course she's not as good as Batman is with keeping a secret identity (another key difference from her Golden Age counterpart, whose backstory was shrouded in mystery for a decade).

It is laughable to me that CC touts that their version of Harley Quinn has an origin of her own outside of the Joker, only to turn around and make a Catwoman that is completely tied to copying a man as her origin (did they decide Harley's goofyness as a character needed to be replicated in Selina for some reason? In their supposed dark and edgy show?). What a strange choice to fixate on the part in Year One where Selina didn't like being mistaken for Batman's assistant despite being inspired by him and turn it into a quirky bit. It feels like such a regressive take that frames Selina as a sillier, whimsical version of Bruce that just spends money on a whim because women just aren't smart enough to know how to keep track of their money. They're too busy looking for shiny things to steal. The fact that both 2022 Batman and CC have a scene where Selina is looking through her many bills she's yet to pay is wild to me. How am I supposed to care for a Selina that has the expendable wealth to create a Catwoman costume, car, and gadgets, but delay paying her maid? One of these versions of Selina is far more sympathetic than the other.

Again, I get what CC is going for. Batman is characterized to be hellbent on catching criminals, Catwoman is supposed to serve as some kind of reflection of his obsession. They're both self destructive in their goals, but one is vengeance and the other is chasing thrills. But is that really as interesting a foil as having Catwoman be marginalized, just as skilled, and making Batman second guess himself? Is it a take that strengthens Gotham as a setting by shedding light on its lower class characters? Is it a take that makes her worth revisiting as a perpetual rogue and not a one off episode where's she's basically a shenanigans-inducing nuisance to Batman? Evolved takes on Catwoman have talked about her desire to seek thrills and paired it with how she dismantles power. So it's not like CC's take is particularly unique, it just lacks all the depth that usually surrounds Selina's thrill seeking.

In a show that is frankly desperate to make it so Bruce doesn't have a personal relationship to his rogues gallery because he's too busy being "A cold, remorseless avenger of evil, seemingly more machine than man. Forged in the fire of tragedy, every fiber of his being is dedicated to the eradication of crime." (according to promo) that's how we end up with Barbara as the foil and humanity to both Harvey Dent and Harley Quinn. How the show focuses on the police force more than Bruce. It feels especially pointed that Catwoman is characterized this way. When she doesn't contrast Bruce, she becomes less personal to him as a character that is poverty stricken but still matches up to him in skill. She can't challenge him or his worldview, he can't find her fascinating as an equal, all of their chemistry and intrigue is erased.

All this to say that of the characters revealed for CC, I was honestly surprised that Selina wasn't one of the many characters racebent. CC followed up on a Black Jim and Barbara Gordon, two characters that have been race swapped before in previous media. Most prominently! Harley is Asian in this iteration, something never done before. So why is it that Selina doesn't follow up on the many times she's been portrayed by Black actresses?

It's because it's an actual good racebend if written well. It wouldn't be a "safe" racebend because writing Selina this way means you'd have to acknowledge racism, and it would be much more noticeable if you didn't. There is no canonized version of Asian Lois Lane that parallels her relationship to Superman as an immigrant. But there is a version of Selina as a Black woman who directly calls out white people and is aware of systemic power. It's in something as prominent and mainstream as Matt Reeves' 2022 Batman. So instead it just reads as cowardice to me that CC couldn't follow up on this evolution of Selina.

Not only does it weaken Catwoman and Batman's relationship to regress Selina this way, but it actively weakens Gotham as a setting and the very themes of Caped Crusader. I personally think all the energy that went into Harley Quinn should have been shared with (or straight up gone to) Selina Kyle. Because unlike CC's take on Harley, the way Selina Kyle's marginalization intersects with race and queerness would have actually critiqued Gotham's class corruption effectively. As a Black queer woman, Selina would be among the most vulnerable people in Gotham. We don't have prominent characters in CC that truly reflect the lower class, there are these unnamed characters Harvey Dent sits next to on a train. There are some orphans with Batfam names. A proper Catwoman reimagining that takes advantage of her evolution would have filled this gap in their narrative.

But that's not how "safe diversity" works. CC would rather racebend and canonize the queerness of a character like their take on Harley Quinn. A WOC who gets to kiss a cop and call out powerful men, but not in a way that makes white people uncomfortable.

If I could edit the Sandman quote that "The great stories will always return to their original forms" for Superheroes, I'd say "The great stories will always return to their most resonant forms" because without iterations we don't get characters like the Kents, Alfred or Catwoman as we know her today. Classics are good to look to, but we like these characters because they evolve. In my opinion, none of CC's takes on these characters of color feel resonant. They're not definitive to the level of Mister Freeze's tragic love story in BTAS, among many standout narrative choices in BTAS that continue across media iterations.

In my opinion, CC isn't as thoroughly clumsy as MAWS is in regards to POC representation and race-swaps (all characters of color in MAWS get put in the left side of that chart I made. In the Sunken Place. Where they all Missed The Movement). However, I can't help but see Caped Crusader's take on the world of Gotham as nothing more than an anecdote in the evolution of Batman's story for the modern era. "It's BTAS but superficially more diverse and with less compelling narrative choices."

#ramblings #caped crusader spoilers #jesncin talks caped crusader #jesncin dc meta #long post under the cut #catwoman #rememberrr pls be nice these are just my thoughts

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hana-no-seiiki · 1 year

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Can you write something about yaoshi?thou their design is very pretty (⁠●⁠’⁠3⁠)⁠♡⁠(⁠ε⁠`⁠●⁠)

Let's say we're their fav human/god

I hope this makes sense

We don’t know much about the Aeons yet, so don’t expect this to be an accurate representation of what Yaoshi acts like. I’ll give ya two versions (human and aeon reader).

(YANDERE?) YAOSHI x READER (ft. Other Aeons)

warnings: ddne, mind break, power imbalance, massive age gap & infantilization(for the human section), yandere themes in general, somnophillia.

note: from what i read in yaoshi’s lore what i wrote feels like something the canon character would do hence the question mark

status: unedited

STORY ONE : TO LIVE IN ABUNDANCE | Doctor ! Reader

Yaoshi could not fathom why one would not wish for eternal life. Life was the most beautiful thing in existence. Wondrous, with a diversity one could not begin to imagine. Yet, there exists people who desire for existence to come to a halt, many who wish for their teachings and gifts to end.

You were one of those people.

Despite your occupation as a doctor, you believed that every patient had a right to choose their destiny. Whether it be to continue fighting for their lives or to die peacefully in their death beds, who were you to decide what happens to them? You were only the nurturer and provider. Even the best doctor in their field has to let go of a patient when it came down to it. For life is only beautiful, meaningful when it has to diminish one day.

And in spite of your beliefs, Yaoshi decided to bless you to join him in his path.

Your world was shaken.

Why were you of all people chosen by this Aeon?

Sure, you were fully dedicated to career. But if anything, your views were more aligned to the Archer Lord of Fate. You have had many Mara strucken, the victims of Yaoshi’s ‘gifts’, pass away before your very eyes. Beasts who have long lost their minds and ability to choose what future they’ll follow. If you had a choice, without a heartbeat

Several millenia pass with you never aging. Generals that ruled come and go.

And now, because of their so-called kindness, you were banished from Xianzhou. Your home. Thrusted into the embrace of space and void,

and none other than the Aeon that doomed you.

“Child. You have come home at last.”

II.

If you were born into a different culture, perhaps a planet that worshipped the Aeon before you, maybe then you would be elated with your current happenstance.

But this was not the case unfortunately.

You spend around a decade filled with hatred and anger. Hurling the most venomous words and even attempting to harm their being. Of course, none of your actions do anything to help your situation.

A century was spent trying to convince them to let you go, to rescind their blessing and leave you to live your life as a mortal.

They refused, stating that it would saddened them to lose you.

It gets close to another century with how long you spent in tears. For the loss of your loved ones that had left you to go to the afterlife. For the situation you were forced into. As you cried and cried, all Yaoshi could do was embrace you using their many arms. It was a peculiar feeling at first but unfortunately became comforting soon enough.

And after all that you finally gave in.

Yaoshi did not seem surprised at all. In fact what awaited your complete acceptance was a gentle smile. One akin to a parent seeing their child come back home after running away in a fit.

“We can finally begin the preparations.”

“For what?” Your voice, hoarse and abused by your depressed barely came out.

“For our wedding.”

iii.

You were used to their multi-armed touches, their inhuman way of showing affection towards you. But nothing could prepare you for the consummation.

You don’t remember anything. Throughout the whole process you were extremely disassociated to the point of being catatonic.

This, this was your life now. Stuck to a god as a human who has far outlived their expiration date. Slowly yet surely your mind corroded.

And even as your body was littered with the golden allure of ginkgo leaves, your freedom never came.

Yaoshi did end up releasing you from their grasp to roam the cosmos freely. People from all over the universe called you the Golden Wanderer, or the Sanctus Medicus Saint.

But what was the point?

Even with your endless fame and immortality. You were a dead man walking.

Waiting, hoping, that one day someone would grant you mercy a god of life and everything beautiful in it could not.

STORY TWO : TO DIE IN THE LIGHT | AEON OF DREAMS - IMAGINARY ELEMENT ! READER

In the time humanity and civilizations began to rise. You were created within the womb of the universe representing a concept. Dreams. Though you most presided over preferable ones, you were known to give unending nightmares to those that slighted you and your domain.

In the grand scheme of Aeons, you were neutral. Never straying from the unbiased perspective of a god. Those that worshipped and favored you get rewarded, those that dirtied your name were punished.

For that you were often looked down upon by your fellow gods, seen as indecisive with your head literally and figuratively stuck in the clouds.

Yaoshi used to be one of them. They had a difficult time understanding how one could live without ever peeling their eyes to the grandiose aesthetics of the world.

They soon began to fall in love with your fair — beautiful and impartial — self.

And if those mara-struck beings were anything to go off of . . .

Their infatuation spelt your doom.

ii.

There you were. Your form shone brilliantly under the light of the moons and stars that seemed to dangle above you.

Even a god snored, and snored you did. But to Yaoshi this hoarse sound was music. No, even more than that.

It was a reminder that throughout the eons, you two are alive. Together. Breathing.

Yaoshi visited your slumbering body frequently to the point that it became a risk. That Lan would sometimes stand guard over you in case they would come, or have the Xianzhou oversee your vicinity. Not many mortals can hold up against the Aeon however, and if it meant having to go against their path in order to see you — the choice was obvious.

Their stays mostly consisted of performing lullabies and poetry of how both your and their followers adored your seemingly romantic partnership, to your blissfully unaware body.

At least that’s what they thought.

iii.

Contrary to popular belief, your most devoted of followers do not eternally sleep. Nor do the majority spend a lot of their sleeping. In order to spread your name, a lot chose to stay awake. Because if there was anything your true followers loved more than a good nap it was you.

As such, not known to many people or gods, you had a vast network of knowledge. A lot of what people learn and experience appear in dreams, and once the more fantastical ones were taken off the list, you were left with a near infinite amount of information.

Humans have also mastered a way of communion with you.

Case in point, you had long known about Yaoshi’s visits. You were the one that asked Lan to aid you. Breaking your self imposed rule of impartiality.

But all is for naught.

Misinformation had spread far too wide and the delusions Yaoshi infected the world with overpowered your truth.

Their acquisition of you was as tranquil and hurdle free as it could be.

While you were caged by Yaoshi, another Aeon swore to bring you back.

Ending life and therefore your deeply unconscious state. A state which they saw as involuntary. A cage infinitely worse than the Aeon of Harmony kept you in.

And the first Stellaron was born.

a/n: i imagine human reader, especially post yaoshi adoption, to be like a lifesteal-tank sort of abundance character. only ever healing(mostly themself) if they attack/hurt the enemy, which would go against what yaoshi wants. i might draw a design for them actually. the type that if you build well, won’t ever die. but any battle with them would take a really long time since their damage is pp in comparison to other characters at the very least.

[link to the design/drawing here if i ever finish it]

[here’s a link to another aeon related fic]

i wanted to include both versions here before i uploaded this even if the first one is so long cause i just know im never gonna write a part two if ever lol. and yes, the aeon in the last bit is nanook.

want more hsr fics/have an idea for one? send me an ask or submission ❤️

#yandere #yaoshi #honkai star rail #hsr #hsr x reader #honkai star rail x reader #yandere hsr x reader #yandere honkai star rail x reader #nanook x reader #yandere nanook x reader #yandere aeon #yandere lan #yandere yaoshi hsr #yandere fic #yandere x you

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phantomrose96 · 1 year

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"Okay but we're all totally recommending Gideon the Ninth to our male friends, right? Because can we TALK about what good male character representation Gideon the Ninth has?? Because it's literally so so good.

First off there's Palamedes, who's witty and smart and sarcastic and he literally solves like half the plot. Literally the plot would not have worked without him. And he's regularly shown to be smarter than even Harrow. And best of all, no one ever questions him or belittles him for being a man. Literally everyone treats him like an equal, even the women who see him as an enemy.

Then there's Isaac, who really feels like a real teenager he's so fleshed out. He's got a lot of personality and angst and big emotions, and the author literally never once sexualizes him. Like you know she gets it. Then Magnus is literally so nurturing and wholesome, he's like a genius inversion of the usual Strong Man trope. Literally God HIMSELF is a man.

It's really refreshing how much you can tell the author is a staunch meninist, just from the way the narrative respects all the men across the board. The only time a woman belittles a man is when Ianthe belittles Naberius, but she does that to everyone so it's not sexist. Plus Naberius is a bad ass. He literally beats Gideon in a duel. In fact the only male characters who feel like "bad" male rep are maybe the eighth house, cuz they're both kinda stereotypical male personalities... but when you consider there are 4 or maybe even 5 other prominent men in the story, it stops being "bad male stereotype" and just becomes "good male diversity :)". I really wish more authors felt brave enough to include 4 or even 5 prominent male characters, who all MATTER to the story.

Like I think that's what gets me? It was like every male character mattered. All the main character women wouldn't have gotten to where they did if not for the men who were playing SUPER important secondary roles to them? And those men weren't just there for love interests either, except kinda Palamedes whose whole motivation was the two women he's in love with, but it's REALLY done well! He literally has full autonomy of his choices the whole time and when he steers the trajectory of his whole life for the women he's in love with, it's genuinely so human and heartfelt.

But yeah it's like they were all HUMANS. It was so refreshing how easy it was to empathize with them? It wasn't like "they were men", it was like "the author knows these characters are humans, and they are men too". Idk how to explain it but it makes me really feel like I can understand men better when I usually think they're such a mystery or just really shallow in books :). I just think men should know books like this exist and that they know authors like Tamsyn Muir are out there and they get it :)."

#chrissy reads gideon the ninth #gideon the ninth #i realized gtn just quietly does the complete gender inversion of every 'no REALLY this story has GREAT women representation.#they existed and were humans and even mattered. :)'#and i cant unsee it #also if any starts discourse im biting you

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lucabyte · 4 months

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thinking about the very specific reading of isat i had during act 3 for the most part

anyway yeah ill ramble here about this. since it actually explains my headcanons for what the disappearing island wish was

disclaimer: taken as a whole this is way too allegorical for what i'd consider a holistic reading of isat, but it was part of my running theories at the time.

anyway my guess for the real-world equivalent of the island ended up being French Polynesia by the end of the game. I had initially thrown a dart at siffrin being greek wrt europe, sisyphus allusion, enjoyment of plays and seafairing-- but the moment that little guy started getting real weird about stars and specified they were from an island i switched my guess to him being polynesian. And then that reading only really strengthened from there (and i was pretty close, tbf!)

but yeah during act 3, especially the king plotline, i started thinking about the themes of cultural erasure + lack of identity that the game has and how that plays wrt vaugarde's extremely welcoming and diverse nature.

reading far too much into it but it made me wonder if they are the results of a fallen empire of some kind. somewhere that gathered people from across the globe (as empires are known to do) before dissolving into what seems to be a localised theocracy of some kind?

like. vaugarde is basically the Good End for an empire. Fully demilitarised (they barely have use for police to the point where the defenders are surprised by burglaries, and almost CERTAINLY have zero army), extremely diverse, not caring where one comes from.

(either that or they've been a socialist utopia like, forever? and thus just aquired migrants perpetually... but ka bue is characterised as harsher by odile in a lot of respects so one can assume its not that the whole planet is Niceys All The Time.)

this lines up pretty well with the um. Whole France Thing. Boy do they own a lot of islands still that they maybe shouldn't. Also lines up with bonnie's word-of-god french creole dialect. So Vaugarde as the welcoming, ideal form of former-colonialiser-nation is like. one i vibe with if we're gonna read too hard into the worldbuilding as presented.

Anyway all this to say I did for a time wonder if the Northern Island wish was 'For The Island To Be Safe'. Assuming this world to have any level of inter-country conflict-- Wish craft is powerful stuff, and a singular island might not be able to defend itself against those seeking to take it by force. Hiding the island from the world would protect it.

... though that felt like an unusually cruel read. The implication that cloistering away like that is a 'valid' strategy for a culture to be safe (albeit with the splash damage of hurting any diaspora).

Plus, wish craft is superbly powerful, with evidently its use on the island only becoming more widespread after it was discovered how to make it work Consistently.

(i work here under the assumption that Siffrin's growing cloak is imbued with wish craft, assumedly the same as the king's armour? Since there's no way that was created at that scale...)

So it almost makes more sense, to me, for the wish to be to 'Protect The World (universe) From Us' or to 'Keep The Universe Safe'.

Wish craft being so second nature to the Islanders (See: Siffrin, favour tree), that a wish that breaks the universe is almost inevitable were the knowledge to become widespread and ingrained.

This too is an oddly cruel read, that a culture's rituals can be dangerous to that degree, but ... ? Dunno. Like I said, reading it as hard allegory makes it fall apart somewhat. Symbols can mean many different things at once until you flatten them for direct analysis like this. I don't think it's quite so 1-to-1, and it's honestly slightly too 'no story only lore' for my tastes, so I did push a lot of this stuff out of my analytical mind once I started getting to the back and of act 3 and into act 4.

Anyway. Not the most coherent explanation in the world, but still some thoughts I had mid-game that i figure i should put somewhere at least, even if I don't think they are really what the game is going for.

As a bonus, the discussions on what the island wish were in this context also lead my friend @samhainian to speculation on the colour wish that i really enjoy. Which is....

The wish that removed colour from humans perception of the world being something along the lines of:

"I wish the world was simpler"

ergo, removing colour as an invocation of Nuiance VS Black and White Morality. The world is simpler, easier to understand.

I think it's a fun headcanon! I like it.

Well anyway. A work is more than the sum of its parts and dissecting something so sloppily as this often does it a disservice. So don't take my theorising as anything more than a general rundown of where my head was at mid-game before i had all the pieces. The emotional core of the story is far more where it's at for ISAT sooooo. [Shrugs and scampers away]

#isat #isat spoilers #decided to finally ramble about this since i thought these were obvious conclusions but few else are chatting about it in the tags so.#mostly because i wanted to voice that colour wish headcanon and idk where else to put it #anyway being pulled away to do stuff so. ill talk about the king & corbeux connection some other time maybe #lucabytetalks #long post

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