#but the original show is so complex and those complexities are personally important to me

[sk-touchthesun]

A few days late, but Dead Boy Detectives character appreciation week, day 3: Crystal Palace Surname-Von Hoverkraft

🔮Everyone's favorite psychic! From the very beginning of the show Crystal stands out with her determination, moral compass, and her will to help those in need. Therefore, it comes as a surprise to the viewer when we learn about Crystal's past and the things she did before losing her memories.

To me, it seems that the most important theme with Crystal is that your past doesn't need to define you. Whatever happened to you, whatever you did, you can always strive to take matters into your own hands and choose better in future. She also possesses a great deal of emotional intelligence and, unlike the boys, knows how to discuss feelings. It's largely thanks to her that Charles and Edwin start to be more open with each other.

Crystal's complexities are perfectly portrayed by the talented Kassius Nelson who brilliantly captures the nuances of her character. From exceptionally kind to strong-willed, from scared to bold, Kassius makes Crystal just as complex as any real person with her outstanding performance.

–

🎨I'm not hundred percent satisfied with this, but oh well. And it's still character appreciation week, so I'm not that late... Right? Right? I was originally planning to draw at least the core four, but I doubt I'll manage Niko by tomorrow. I will draw her at some point, but will most likely post very very late. Apologies for that, real life's been a lot lately.

[buried-l0cket]

Polygun but it’s how they all see each other

i always really like in books with different narrators when how a character looks itself is unreliable narration bc they describe themself differently compared to how the other pov characters see them, and the dungeon meshi shapeshifter chart scratched that itch for me art wise and I got inspired ✨

To be more specific this is what they each picture when they think of each person 👉👈

Details under cut!!

Meryl clothing details aside because I think she’s just short and the boys aren’t looking at her traveling clothes too hard (and vash clearly likes making his own clothes with how much his overly intricate jacket design changes so ofc his version of her outfit just looks like another one of his designs 🙄) all of the clothes are based on specific parts of the manga!

A big thing with these designs was taking moments that were important regarding each characters relationship with the pov character and adding in visual nods to that to show what memories stuck with them to shape their image of that person.

The clearest example of this is everyone thinking of a different Vash coat, for Wolfwood it’s what he was wearing when he turned him over to Knives, to Meryl it’s his final fight coat, and for Milly it’s when she met him.

It may be Trimax but I will always have a soft spot for 98 millywood so those two’s impression of each other has been influenced by that, but more specifically just the idea of them both alone together, layers and walls down, hair messy from sleep. Their relationship is one I just see very clearly developing over a lot of late nights at inns and bars during traveling!

Vash is the trademarked inventor of Savior Martyr Victim complex supreme and when he thinks of everyone he sees times they’ve been let down by him. To me he’s the biggest broken gear in their dynamic because of the way he holds himself back and isolates, the ship really works in spite of him most of the time. But he also sees traces of times his desire to be by their side was cemented. His Meryl is heavily based on after she was kidnapped by the GHGs and he lost control in front of her, but her hair is longer + earrings are gone like when they saw each other again after Knives released the ark, and she has a black turtleneck peaking out from under her traveling clothes the way it did under her space suit during the final battle. His Milly has the hair and undershirt of the final battle but her outer clothes are from when they traveled together for the majority of Trimax. His wolfwood isn’t doing too well.

Meryl’s versions of Milly and Wolfwood are both pretty similar to how they looked when she first met them, wolfwoods hair is just a little longer like I imagine it being towards the end of Trimax and is very windswept, from their short first meeting in the original Trigun manga run I always got the impression she thought he looked very cool lol, she was staring up at him like ://0 the whole chapter.

I mentioned it before but honestly most of Wolfwood’s Vash is based on how he looked when he turned him over to Knives, not only do I think that moment stuck with him but I feel like it’s a good visual summary of all the mixed feelings he has towards Vash. He’s drawn to him and sees how sad he his but he also sees how inhuman he is and the threat he and knives pose for the people he cares about and prioritizes. At the end of the day Wolfwood chose the orphans over Vash twice and never went back on that, and a big part of why he broke Vash our of Knives prison was just so he could go fight Knives to the death for humanity’s sake, and I think that’s important to his character and their relationship.

Similarly, Meryl’s Vash is really just final arc Vash. She’d already developed a very strong impression of him before then but they would go weeks to even years without seeing each other and each time the way he looked and the way she felt about him would change drastically, it seemed to me like it wasn’t till she was on the ship advocating for him and the people living on gunsmoke that she knew how she felt about him and what kind of person she saw him to be. It was also a huge moment for her character wise with the way she faced her fears in the name of human connection and made the active choice to not be as apathetic and closed off as she realized she had been in the early manga.

I think Milly’s first impression of Vash was strong and accurate enough to not change much, this nice guy is Vash the Stampede and there is definitely something weird about him.

I don’t know why Wolfwood doesn’t know what Meryl’s hair looks like, what’s wrong with that guy? In general his version of Meryl is very inaccurate now that I’m looking at it, I promise he likes her

+small details that are my personal headcanon and not the characters interpretations are Meryl and Wolfwoods hair being a bit more curly/textured than canon, Milly’s eyes being green, and Meryl’s earrings being silver (gold earrings with a white black and blue outfit and silver guns?? C’mon girl accessorize properly)

[absolutelymarshmallow]

This is my favourite scene in the show

I never noticed how complex Crowley’s outfit is in this scene. There’s red embroidery, a black sash. The rob itself is supposed to be rough, heavy, grey.

However, in the first scene in the show, Aziraphale’s robes are light, white, cotton, gold embroidered, and two-pieced. A poncho, and a skirt. His outfit is supposed to look generic, like an angel uniform. Heaven adopted this odd, manufactured, cold neatness after the fall. 

Crowley’s outfit after the fall is more like a dress. It’s being held together by the black sash. It also looks more fitted to his body, and this makes me suspect that he made this himself. The Color scheme is also fitting to his hair.

Crowley had always been naturally dramatic, everyone knows that. However, I think this is his first minor ‘fuck you’ to hell. The heaven Color scheme is grey, white, tan, gold, and primarily purple. However, before, it was primarily gold and white. Aziraphale has ways opted for golds and whites as well, but he also has a love for browns and blues. This is how you know it’s a heaven uniform.

Hell’s color scheme in the beginning is yet to be observed but it’s probably not grey, black, and red. Those are all Crowley’s colors.

He’s been separating himself from hell since the very beginning. I say *first* ‘fuck-you’ because he had been wearing these robes before he gave humans the apple: an accidental good deed, the original good-natured rebellion.

Aziraphale has been accidentally doing ‘bad’ (or minorly negative) things since the beginning as well. He got caught up trying to save an angel, he gave away a sword, and most importantly he the concept invented war and weaponry in the human history.

I think this scene’s importance gets lost on a lot of people.

Aziraphale shielding Crowley is also very, very important, no matter how adorable. He, at this point, remembers Crowley. He looks guilty, nervous even, when he sees him slither up to him. Not just because he’s a snake, but you can see there’s something small and personal that he’s trying his best to hide. I think he knows.

Then, he learns his name for the first time, it just happens to be his demonic one. He never mentions his angel name, *never*, because he doesn’t know it. But more importantly, he doesn’t want to offend Crowley.

And yet they have a meaningful conversation, which is !also! very important. The first time he meets him as an angel,  Aziraphale looks like he’s flustered and smitten. He fell first, literally and figuratively. However,  Crowley isn’t at all interested in making conversation with this angel. He’s just excitedly talking about stars. Which, I admit, is adorable, but it wasn’t in any way of meaning other than that’s when they met.

Aziraphale realises how this *new* first, important conversation is utterly vital, in their relationship. Crowley is interested in Aziraphale, and he *does not remember him* at *all*. To Crowley, he’s lost all his memories now, which he regains later over a few millennia. I suspect, he’s regained all his memories by the book of Job, which is why he acts how he does.

Crowley falls in love immediately. Angels, fallen or otherwise, have shown him nothing but disrespect since he fell. And here’s this Angel trying to help him. Aziraphale indeed has guilt, but seeing someone he knew like this, wiped clean and ‘disfigured’ (or, beautiful), makes him realise what the fall actually *was*.

Just think.

An innocent star maker. And now he sees Crowley, the *real* Crowley. He’s witty, and fun, and outward. He’s making conversation, he’s comforting, he’s sarcastic.

He’s a real being.

And how neat.

So, he holds on. He shields him. Like he was shielded before, equally innocent and new to the universe, as Crowley’s now new to earth.

He sees himself.

Aziraphale is a lot more mature with how he treats Crowley in the beginning than people realise, but he loses that later once they start forming their own side, also in the book of Job.

Emotions are complicated. I know I’ve been talking for a long time, but I think it’s neat is all.

[toulouse21]

Spoiler of heartstopper: season 3, ep 8

I loved the new season, ok, I really did. All of it is so extremely important and meaningful, I love it, BUT-

I can't put in words how much I got upset because tori's asexuality was not approached.

This scene on the show wasn't totally like it was in the book, and I know movie adaptations from books (even if it's a graphic novel) are never the same as the original product, but her speech in THIS scene it's so important to her characther, I really thought they would include it all in this ep. But they didn't.

Don't get me wrong, the scene is still good. It's amazing that heartstopper portray how Charlie's ed affected him AND everyone around him, everybody who loves him. It's extremely important that Charlie says that to Tori, she can't spend all her time worrying about him, that's an amazing lesson and Im really glad he said that.

But I still think they lost a giant opportunity of exploring even more the complexity of Tori's characther only by including this tiny speech of her.

And now talking about the representation. Im about 90% sure Im a teenager asexual, and let me tell you, I can't describe how much happy I got when Tori said those words on the paper. It was the first time I didn't feel alone.

Currently, LGBT representation on media is becoming more and more common (THANK FUCKING GOD, WE FOUGHT SO MUCH FOR THIS) AND IT'S AMAZING, but there are a lot of people who still are kind ignored by stories in general.

I can name some canon aro/ace characthers in current shows and books, but the only asexual characthers who feel romantic attraction I can name are Tori and Aled (Aled is tecnically in the asexual umbrella), and that's it.

Also, the fear Tori feels about dating Michael is so extremely realistic, you guys can't even imagine. She really likes Michael (romantically and as a friend too), she doesn't like to admit it but she knows it, apparently she wants to have a romantic relationship with him (and it would be good for her! If she allowed herself to be happy like that), but the reason she is afraid of doing it is so relatable, because I have the exact same fear.

She knows Michael it's not like her, she thinks he will want things she can't provide. Like she said, at first he would say he is okay with that, but eventually he would get tired, tired of her.

We know that's obviously not true, but Tori really believes in it. Because it's Tori, she assumes nobody is able to love her and care for her, she doesn't get it very well. She doesn't think Michael is able to make this "sacrifice" only to be with her, she thinks she is not all that and he would give up at some point.

So, because her head is fucked up, she hurts herself before anybody can hurt her first. That really makes her so human, and so relatable to me. She is the only person who is just like me on this subject, she is without a doubt the best representation I have.

I really, really hope they include this part of Tori on the next season, really. Romantic asexual people need more space (please, let our icon Tori Spring come out on tv, we need her, we're desperate)

[sam24seven]

Akashi. A very interesting and complex character from knb. This is my personal take on why I kin him. Feel free to add anything you'd like or tell me what you think, any and all feedback is welcome. Also my first language isn't English so sorry in advance for any mistakes I made.

So. Why do I relate to Akashi you ask? Well this one is a long one but I already talked to a lot of people about his character so I think I'll be pretty good at giving a summary about this.

Akashi is a character from the anime kuroko's basketball, he's introduced to us as the antagonist at first, as a crazy, sadistic perfectionist and a controlling person. As the show progresses, we find out he has DID, dissociative identity disorder which means his more "evil" personality (bokushi) is another part of his personality that gets out when he feels scared or threatened, a defense mechanism he developed to deal with the pressure he faced.

Akashi had a pretty hard childhood, with his dad being a strict father and a workaholic that demanded perfection from him, and his mother, the only person he felt loved and comfortable with after all of the things his dad made him face, dying (or disappearing, I don't think it has been confirmed) when he was around 9.

A feeling that was present a lot in his childhood was pressure, and therefore, a paralyzing, vital, overwhelming need to escape. Pressure to be perfect, pressure to live up to his name, pressure to be strong, to not make any mistakes, to not show any weaknesses, to not have any weaknesses, it's not that you can't show your vulnerability it's that you can't have vulnerability. You can't be human, you can't be flawed, you can't try you can only succeed flawlessly while looking like you didn't even try. Which is why akashi could never love himself, he was taught he should be perfect, that he's more then that, more then other people, more then himself, more then a human. Every time he finished a workload he needed to do, his father gave him twice the amount he did, because it was never about getting the mission accomplished, it was about making akashi the perfect robot, the perfect tool, the perfect son, the perfect soldier.

Something that standed out to me that akashi said once, and that I think summarizes perfectly why I relate to him so much, is him comparing winning to breathing. Now, it might look like what he was trying to say is that, like breathing, winning comes naturally to him, which is probably what he means to say, but the thing is breathing is not only something that you do naturally but something that you have to do to live. It's vital, and without it, you can't survive.

Akashi sees winning like breathing, something he has to do to live, like those cringy shirts that say "eat, sleep, watch anime, repeat" just that instead of watching anime it's winning because in his mind he must win. He needs to win. He has to.

In the battle against seirin, while akashi perhaps didn't want to lose, he needed to. And I think deep down in his original personality, he knew that he needed to feel what it's like to lose, to truly understand that winning is just a thing, and he doesn't have to do it to be worth something or survive. He can fail, and he'll still be there. He's human. He needed to fail so that loss will wake him up from the trance he was in. for Akashi, winning and being the best isn't just about success, it's a fundamental part of his identity and existence, something he feels he must do to justify his worth and existence. The loss serves as a turning point for Akashi, allowing him to realize that failure doesn't mean the end of his identity or worth. It helps him begin to connect with his other self again, and accept that he doesn't need to be perfect to have value.

Another thing that's important to mention is that the reason akashi's second personality is sadistic, mean, a bad person and all those other things, is because he feels like he's not enough of those things. Which is what I think a lot of the fandom gets wrong sometimes because the reason he has this personality in the first place is to protect himself from having to be those things all the time when he couldn't take it. He's not this strong, uncaring, cold, dominant person, he's scared and alone and feels like he has to be those things but he's can't. And that's where bokushi comes in. He's everything that akashi want to be but can't, sure they're similar in a lot of things because akashi himself is a smart and capable person, but the reason bokushi exist in the first place it to be all the things akashi had to be but couldn't.

I didn't exactly say what about him makes me relate to him because it's everything, this feeling that if you're not perfect, if you don't win in everything, it's not that you're worthless but you just can't comprehend it. It's not scary it's terrifying. it's chilling, incomprehensible, paralyzing. I relate to this feeling of acting like you're mean and perfect and can do everything and nothing bothers you, but you still want to run and hide and just have this perfect self that doesn't feel pain or guilt or love. He's a scared, pathetic, wear person, and he hides behind his other self because he's so terrified of the idea of not being what he needs to be. This is why I relate to him.

I have a lot more to say about this character and about so many others, so if you want me to write anything else I'll be glad to, just leave a request for me!

[miraculouslbcnreactions]

Adrien Agreste and Why Motivation Matters

One of the most important things you can gift a character is a motivation that correlates to their intended role in the story. It's a big part of how they truly come alive. And if they have a motivation that doesn't correlate to their role? That can make them come across as a total ass!

A few days ago I got an ask about Lila. I ended my response with this:

I'm totally fine with complex, master-manipulator Lila, it's just hard to figure out the best way to make her work when we don't know anything about her backstory or motivation.

This got me thinking about motivation in general and how much it plays into the show's poor writing. I talked about Lila above, but I wanted to point out how much it's responsible for Adrien's issues, too.

Motivations are one of the main ways you create strong characters. You come up with the thing they want and then keep that in mind whenever you're writing them. Motivations can be very simple and straight forward (I want to get home) or extremely complex and nuanced (a person wanting to create a new government with a very detailed idea of what that means). A character can even have multiple motivations!

Unfortunately, all motivation are not created equal. There is such a thing as a bad motivation and I'm not talking ethics or morality here. I'm talking about picking motivations that match the character's intended role. For example, Gabriel's motivation is fine! It perfectly suits a villain. On the other hand, Adrien's motivation sucks because it makes him into a terrible hero.

Adrien's motivation as given in the show seems to be this: win the heart of my Lady. Later on, that motivation changes to: date Marinette and be the best boyfriend possible. And that's it. He has no other overarching motivations. Individual episodes might give him a one-off motivation to jazz things up for a bit, but generally speaking, romance is all he cares about. It's why we get baffling moments like this one from Dark Cupid:

Cat Noir: Falling for me already, my lady? (pulls Ladybug down next to him) I need to talk to you. Ladybug: It’s gotta wait. Dark Cupi- Cat Noir: (hushes her) I swore to myself that I'd tell you as soon as I saw you. Ladybug, I-I... Look out! (Cat Noir spins around to shield Ladybug, and is struck by one of Dark Cupid's arrows.)

Or this one from Oblivio:

Nadja:(from a helicopter) Looks like Ladybug and Cat Noir are struggling today. (Ladybug is rapidly spinning her yo-yo to deflect Oblivio's blasts while Cat Noir sits down casually.) Ladybug: And stop calling us a couple!

These are just two out of many examples I can pull from, but they highlight a reoccurring issue: Adrien often doesn't take akumas seriously. He's been shown to happily prioritize flirting over fighting and, as a result, he's put himself, his Lady love, and all of Paris in danger.

It also gives us things like Kuro Neko and Kwami's Choice. Episodes where he quit without any concern for protecting his loved ones or even just protecting the freedom that comes with being Chat Noir, things that he only really cares about in the realms of fanfic. As far as the show is concerned, Adrien doesn't care about his loved ones or his freedom. His only constant driving force is his current crush.

Don't get me wrong, he's going to react if he sees Nino in danger or if his father bans him from going to a party! But in terms of what generally guides Adrien's actions? His father, Nathalie, Nino, Chloe, and Alya are out of sight, out of mind. And being able to leave the house? Well, who cares about that? He'll happily sacrifice freedom for a date. Outside of Origins, I think we only ever see him sneak out or otherwise break the rules so he can have a date.

You'll note that Marinette doesn't really have this problem*. While dating Adrien is a big motivation for her, she has a second motivation: protecting Paris. Sometimes those motivations clash, leading her to make poor choices, but that story never treats this as a good thing the way it does Chat Noir's endless flirting. Instead, Marinette's crush is treated as a character flaw or an interesting source of conflict like Volpina threatening to kill Adrien, making Ladybug having to chose between her two main motivations: love and duty.

This is why I've had several posts where I offhandedly mentioned Adrien needing a second motivation. It's also why I've mentioned that Gabriel should have been claiming that akumas were the main reason that Adrien was getting locked up because that's a really simple way to give Adrien personal stakes in the fight. Are those stakes selfish? Sure, but that's okay because it's a selfish motivation that doesn't go against being a hero. If Marinette was only being Ladybug for the sake of her parents, her motivation would be selfish, but still suited to a hero because it doesn't stop her from being heroic. It actually drives her to be heroic. As written, Adrien's motivations do the opposite. Whenever Ladybug or Marinette are seemingly safe, he will do very unheroic things because romance is his only main motivation and that's a problem. To make him work in his intended role, he needs to match Marinette and have (or discover) a motivation that suits a hero.

*To be extra clear and hopefully save myself a salty ask or two, I'm NOT saying that Marinette never does questionable things in the name of romance, she absolutely does. I'm saying that it's extremely rare for her romantic motivation to get in the way of keeping Paris safe because keeping Paris safe is her second motivation and it overrides the romantic one most of the time. Once an akuma is on the loose, she's usually all business. It's one of the reasons Passion (the episode where Nathalie becomes Safari) is so awkward. They did a full role reversal for Marinette and Adrien and it really doesn't work on Marinette's end because it feels out of character for Marinette to ignore the akuma threat in favor of flirting. She never did that for Adrien or Luka or even Catwalker. The worse we ever saw was a crush distracting her from making the right call, but even then, she was always at least trying to protect Paris. Compare Desperada (Viperion's debuted) to Passion and you'll see what I mean.

[jane-d-ankh-veos]

Some people aggressively tried to convince me that it's 100% canon that the Hexcore has its own malicious will and fully controls Viktor, and, well... usually I'm only glad when there is a wide variety of theories – I love exploring them and can peacefully ignore those I don't agree with – but I really can't stand this kind of arguing. Leave others some freedom to have their own interpretations, please...

So, why persuading me into adopting this one is a waste of time and effort: I don't like that it deprives him of responsibility and meaningfulness of personally taking it. The mage admitted that he had chosen a wrong way and attempted to set it right, and this is such an admirable rare strength. It's an important part of his character: staying true to his "in the pursuit of great, we failed to do good" and desires to lessen humanity's suffering, his intentions were always for the best, so he is able to consciously renounce evil when he sees that the consequences betray his ethics. This requires immence willpower and intelligence. His own. He isn't simply cleaning up some unruly magical orb's mess after being its possessed puppet, he acts like a complex personality.

(Just imagine, for example, how boring BG3 would be if instead of its interesting vivid characters all the communication/flirting/teamwork was in fact happening only between their illithid tadpoles...)

Even the original Machine Herald, despite being devoted to the Glorious Evolution for a longer time and certainly not going to abandon it, is also capable of genuine self-introspection and honest abidance by what he thinks is right. (My precious ironclad cinnamon roll ❤️)

And then there is also fans' claim that the Arcane and magic itself is malevolent and corrupting, which is baffling me because there are so many magic users who aren't corrupted or ill-intentioned – Mel (if you need an example from the series first), yordles, other hextech wielders, Lux, Ryze, Nami, Karma and other Ionians, Zilean, Lillia, Targonians, Ezreal... It's just a tool that can be used for good or evil. Sure, Heimerdinger recalls the latter first, likely the Rune Wars, but it's still the same – a weapon in human hands, misused by human will, showing a human culprit at the center of his flashback for a reason. If you want a corrupting kind of magic, there are the Harrowing and the Darkins, but neither has any connection to hextech; or the Void, but it's not even magic in that sense, it's a breach of (un)reality in Shurima and Freljord, far from Piltover and Zaun and likewise never mentioned in the series.

As for the argument that the Hexcore recoiled from Viktor in S1 like a living creature, even our own world's nature has a lot of things that can react to a potential threat without necessarily having sentience. Some of them can even learn and distinguish:

What I could somewhat accept is the version that the Hexcore was given life by his blood. If its alleged independent mind is a direct creation and part of Viktor himself, then at least it's more logical than appearing from nowhere, has actual on-screen basis and doesn't take away his responsibility so entirely.

Anyway, even after their fusion, there are so many scenes clearly showing that it's still this same Viktor who speaks, watches and makes decisions:

Or his monologue at the end of S2's sixth episode. The character himself explains his reasons, that's why I don't get those saying that there were none so the eldritch influence can be the only possible explanation.

Speaking of which, I do get his logic in some of my own personal ways. The heavy burden of empathy... The constant frustration... The feeling that only some near-impossible universal change would be able to make things better because life is so fundamentally injust and so tragically vulnerable to evil/violence/illness/death/pain... But this would require a whole another post, I'm afraid, and would be highly subjective.

What I see as actual villainizing influence is his own despair. First he had already been about to take his life, then he was horribly killed within an arm's reach of achieving a better future for Zaun, then his hopeful commune was destroyed, a close friend/lover shot him, etc... Anyone in his place would run out of patience to act rationally and nicely, so I understand and forgive him wholeheartedly.

[mynqzo]

Hey heard you like vampires what are your thoughts on Twilight

it gets an unprecedented amount of hate mostly for being a show with an audience of young women and girls (so therefore people think oh girls like this so ew). its also undeniable that twilight very much shows the progression of how vampires are depicted in media and is an important facet in the history of vampire mythology especially in books/movies. it being a romance movie with cliche and maybe cringe scenes doesn't take away people's right to enjoy it and by extent its version of vampires (id argue that twilight vampires are just a spiritual successor to vampires like lestate or 'romantic vamps' in general)

with that being said, it is the straightest and most mormon vampire depiction which therefore makes it less enjoyable for me! vampires, historically, existed to represent minorities and people who were considered outcasts to 'normal' society and were first and foremost used as caricatures for racist, lgbtq-phobic and sexist stereotypes, so i feel like their reclamation by queers, poc and minorities in general is the only good way to depict them. bram stoker's dracula represented the english man's fear of jewish immigrants (and immigrants in general, the visual description of dracula in that book plays into popular caricatures of jews during those times), eastern europeans, and queer people (dracula and jonathan yada yada as well as the wives of dracula initiating a saucy moment with jonathan which was a man' job because the man was the pursuer and the woman was pursued, but the roles were reversed. also, i don't think i need to tell you how fangs, blood and the extension of dracula through his wives were used as a gay metaphor). and carmilla by sheridan le fanu, depicting the imagery of a predatory lesbian hunting for innocent upper-class women. during these times vampires were not yet characters with complex personalities and values, but folklore monsters in a way, a way to show an enemy and defeat it rather than learn to understand them, which was a product of its time.

fast forward to the vampire chronicles and especially interview with the vampire by anne rice, vampires became complex people, who's oddities were considered alluring, beautiful, queer and unabashedly proud of it. descriptions of androgynous men, womens love of each other, several nods to gay culture throughout the books with the characters themselves having more to them than just being monsters (with that being said there are several critiques of an interview with the vampire, esp the original book, it is by no means the creme de la creme of queer rep in vampire literature!)

so, circling back, twilight vampires were in themselves like that, kind of. edward wasn't exactly the most macho man as was popular to faun over in media, he was, kind of, more androgenous and sensitive and a character with complex values and thoughts - but that doesn't take away from the fact that the book is lacking a lot of soul and seemingly doesn't show the true reasons why vampires became so popular (amongst young queers especially who found themselves relating to this sense of otherness because of who they were. it is a very sanitized version of a vampire romance, which doesn't mean its bad or that people shouldn't like it! but i'm just saying.

huff

[crimsonhydrangeavn]

I really love the game demo so far. I’ve watched day 1 and 2 of the demo played by a Let’s Player I follow. The writing is beautiful and I very much like Garret.

That being said, why is the “bad” and “toxic” character the only nonbinary one? I’m nonbinary and use they/them pronouns exclusively myself, so it’s a bit painful to see the toxic ex character be the only one that’s the same gender as me, and I’m sure to other nonbinary people like me.

Can you tell me the reasoning behind making Teagan nonbinary? Or why there aren’t any redeemable characters that are nonbinary? I understand it’s just fiction, but also nonbinary people don’t really get a lot of representation in fiction especially not in dating sims.

Thank you to much for reaching out and letting me know how you found out about Crimson Hydrangea VN and how much you've enjoyed the game and Garret so far! I'm assuming the Let's Player you're referring to is Espoir Du Vide since she's the only one who I've seen make a video about CHVN. I've been following her for a little while and I'm fan of hers as well. She has a wonderful soothing voice and her jokes/memes really make me laugh!

I also want to thank you for feeling comfortable enough to send me such a sensitive and completely legitimate concern. Thank you for phrasing it in such a respectful and straightforward manner. I'm always open to all forms of feedback and am always open to learning and hearing others out.

That being said, I completely hear your concerns and I can understand where you're coming from. Unfortunately Teagan hasn't had a lot of screen time compared to others in the game (Only really showing up in Day 2). And the limited screen time that they have had hasn't really shown them in the best light.

Of course, I'll go into more depth as to why that is down below just in case people don't want to risk being spoiled.

I also summarized what I wrote below for those who don't want to risk seeing spoilers but want to know the main points of what I said.

Teagan isn't inherently bad and they are redeemable.

While their gender expression is an important part of them and their backstory, their gender isn't and should never be considered a factor as to why they're toxic.

They're toxic because of their actions, not because of who they are as a person or what they identify as.

I also apologize that Teagan's current perception is painful for you and others. That was never my intention and I'm genuinely sorry it's come across that way.

!POTENTIAL SPOILERS BELOW!

Teagan's current perception is completely overshadowed by the fact that they're your ex and you had a terrible dramatic break up. The game currently doesn't go into the decade or so of history you two have. All the sweet and meaningful moments between the two of you, how utterly devoted they were to you, how they supported you through difficult times and vice versa.

Unfortunately you're seeing them through the eyes of an ex who is still processing a rough break up and suppressing/ actively ignoring all of the positive traits they originally fell in love with.

That being said, I will say that Teagan has to be one of the most complex characters I've written. Yes, they are flawed but that doesn't mean they are inherently "bad". Their negative actions are currently overshadowing their positive traits. Teagan does have the capability to grow and learn and improve themselves, if you decide to go down that route in the game.

There were several reasons why I made Teagan nonbinary, and I can assure you that none of them were malicious or ill intended.

I don't necessarily want to go into all of the reasons as to why I made them nonbinary since I feel as though it'll spoil a few key elements about their backstory that I plan on revealing in game.

Instead I'll focus on one of the main reasons you actually mentioned in your ask, Representation.

For me, representation doesn't mean that they need to always be painted in the best light. Yes, they shouldn't be painted in a stereotypical or hateful way, but I also don't think they should be shown as perfect and flawless.

You see, I personally adore character development. A complex and flawed character who learns and grows from the people and situations around them to become a "better person" is my favorite kind of character arc.

What better way to honor Teagan than to show their journey of character growth during Crimson Hydrangea? Or at least that's what my thought process is/was.

I also wanted to mention that Teagan and Garret were created to be foils of each other. Yes, they're both yanderes, but they're still completely different kinds of people.

Garret comes off as very sweet and charming because you're only seeing him on a surface level. That perfect version of Garret is a facade he wears for you and others. There's a deep rooted darkness to him that you'll see in later days and you'll discover just how horribly toxic he is/can become. (Perhaps even more so than Teagan...)

Teagan on the other hand, has already shown you their toxicity. It's all come to light because of the break up and there's no hiding from it. You know them better than anyone else and that has it's pros and cons. Depending on the route you choose, they can either dig their heels in and become the worst version of themselves, or they can finally face reality and take accountability for their actions and start to heal as a person ( and potentially as a partner if you so choose.)

I hope my in depth explanation has helped you understand where I'm coming from and see that there was no intended slight meant towards those who identify as nonbinary.

With all of that being said, I will apologize that Teagan's current perception is painful for you and others. That was never my intention and I'm genuinely sorry it's come across that way.

[calamityjimao3]

Writing Advice ??? Don't forget about your characters. I know this sounds stupid and obvious, because, hey, you are writing a story and your characters are right there, but there are less obvious ways of forgetting them. In a story we need to move a character from point a to point b to move everything along, but we also need to remember that they are going on an emotional journey with their own motivations and reactions. Like, if you mention that your character’s mom was hit by a car you really need to think about the impact that has on your character. Yeah, sure, they are sad mom died. Grief and all that. Crying, rage, quiet acceptance and standing at the graveyard with flowers. We all have a checklist of things people do to cope with death and honor those lost. Things we forget about? How that trauma lives with the character. Mom got hit by a car, so how does that change the person’s interactions with cars? Do they look three times when they cross the road? Will they never jaywalk and freak out when their friends do even on empty roads in the middle of nowhere? Do they only cross at lights? Do they wear a ridiculously bright hat so they are more visible in the dark? Or maybe they have an irrational hatred of people who drive trucks in the city. Maybe they have road rage. Maybe they gave up driving and now only take public transit. Maybe they are terrified of hitting a pedestrian. Mom is dead and it is a big deal.  I mean, my grandma died of lung cancer caused specifically by second hand smoke. If you think that didn’t come with its own pile of tricks above and beyond dead grandma you are kidding yourself. I won’t go into places where smoking is okay, especially not indoors. If someone lights up in their own house I will never go to that house again. I stand ridiculously far away from people smoking at the bus stop and I move on the bus when the person in front of me smells like cigarettes. I don’t smoke. I have never tried smoking, be it pot or tobacco. Trauma is something characters carry. It is pervasive and complex and can be surprising in its manifestations. But your character has it and it is important to keep in mind that what you as an author feel is mundane, like roads, is important to your character. This is the same with joy. One of my favorite moments in life is when me and a sibling said fuck it to christmas, watched a totally legal copy of the original tron on their computer, went to the theatre to watch the sequel, and then had chinese food for supper. Now chinese food reminds me of  that day. I order it when I am sad because it makes me happy. I like to eat it with other people because it reminds me of my sibling’s company. Throughout our stories we make things important to our characters and we need to remember those and remember that our character would have a unique reaction in those situations. It also becomes important to really show the audience what’s going on here because it’s been made to be important. If mom gets hit by a car and your character does something car adjacent, mom dying that way is going to become a moment that needs to be explored even if the story isn’t about dead mom or coping with grief. If best memory is linked to Chinese food we’re really going to take a bite and savor it when the character has it, even if it isn’t a christmas story.  You’ve spent all this time building this character you love and then forging a connection between them and the audience. Don’t waste your work by skimming over something that you as an individual wouldn’t care about but would matter a lot to your character, even when it isn’t the focus of the story. Your audience now loves (or loathes) this person. Keep that energy going.

[whosmoraless]

"In case it escaped your notice, I care about you!"

@peterbsideparker

let's make it hurt

Nobody would ever consider Miles an angry person - much less Miles himself. Not in the sense that he never has been, or that he's a push-over, he just never had a temper on him. When faced with vitriol thrown his way, he meets it with a shrug and a quip, or works to diffuse it, or some mix of the two. His patience could usually withstand a category 5 hurricane.

And yet.

In the face of those simple words, from Peter of all people, after everything he'd been through in what was absolutely the fucking worst two days of his life? Hell, the worst year and half of his life?

Miles swears he feels something snap inside him; can practically see the spiky little sound effect bubble pop up near his head.

"Uh, of course it escaped my notice," the teen spits out, his teeth grinding, "How the hell'm I supposed to believe shit you say? You- all of you- were tooootally down with just- just abandoning me."

He can feel it, the way his friends' their pitying, wide eyes bore into him, some with their hands raised like they're placating a wild animal; no doubt thinking him pathetic, or childish, or unfounded in his rage.

But what else is he supposed to feel? His dimension, his home is wrecked, his life nearly ruined by some creepy guy turned cosmic flaw. A rabid vampire-y guy chased and throttled him to shit and nobody helped. He nearly died while stranded in the wrong dimension, all as his father was in imminent danger. And they didn't care. They were complacent in it.

All because of one self-important man with a stupid, half-baked theory with more holes than Swiss cheese convinced them it was for the greater good.

And now they have the sheer, unmitigated gall to think that saving him at the last possible second and having a fucking heart to heart after Miles about fucking killed himself after the battle will make it up to him?

Fuck. That.

He's not that awkward, people-pleasing middleschooler they met so long ago, who would've done anything, put up with anything, just to be accepted. To feel less alone.

He died a long time ago.

They don't get to wash their hands of guilt so easily now. Not now that Miles is older, wisened, traumatized by time and experience and long nights crying and almost throwing his entire life's dream away for them only to realize he wasn't even a blip in their goddamn minds.

Miles has to physically swallow down the bile creeping up his throat.

"I can sorta, sorta get why you two-" he gestures at Gwen and Peni with his non-shredded-by-Miguel arm, "would go along with it, that guy's scary as hell, probably said allll the right things to you at the worst times of your lives."

They wince. Good.

"But you? You, Peter?"

He despises himself for the way his voice wavers as he shouts. The last thing he needs is to start angry-crying; make himself look more like a dumb kid.

"You never, ever thought for a single moment that, yannow, dooming countless people to die if that batshit theory were right, fucking helping it happen, was kinda sorta seriously fucked up?"

(In the corner of his eye, he sees 42-him's mouth twitch. He can't help but feel indignant for him too; this whole time the Society O'hara's band of sheep could've helped him, but they chose not to. Let his dimension go to shit because of that stupid fucking Canon.)

"And then you decide to be all buddy-buddy with me now? 'Cause of what, guilt? Some weird complex? Nuh uh, no way, I am not letting you just- just get away with this shit. You're the grown adult, why'd you never act like it?"

Sure, maybe it's getting personal now, the memories of the way the original group talked shit about him literally directly behind his back; forcing every single complicated feeling he had for them out into the air that he never allowed himself to feel back when he was a lonely kid who just missed their presence.

But... this all goes to show they never believed in him. Not once. It's not a hard leap to go from dumb-kid-who-can't-be-trusted to anomaly-that-can't-be-contacted.

Maybe Miles isn't thinking totally straight. He's angry, he's hurting, and he's tired - physically and emotionally. Tired of having to prove himself his whole life. Of being expected to be 'mature' and the bigger person even when everything screws him over. Of continually having to prove himself to grown adults who refuse to see past their noses until forced to.

Like Miguel. Like Peter.

A shaky breath. Clenched, trembling hands. "Why wasn't I worth it?"

[wellen-katze]

I see that you are into Asccendent Astarion. Do you have and do you plan to make Spawn Astarion comics (even one shots)? Do you think Astarion is truly evil/roten to the core? Do you think he can have his redemption if he is given a chance?

Oh, I've already drawn some Spawn Astarion comics. I just don't title them 'Spawn' because, well, Spawn Astarion is Astarion lol~ But yes, I'd like to draw some more Spawn Astarion comics.

Well, Ascended Astarion is pretty much written like a disney villian. He wants to take over Baldur's Gate without any remorse, so I suppose you could call those actions 'evil.' But there are also things that surprised me about him. For example, the dialogue options when you romance Karlach with him. If Karlach tells Astarion she wants to die instead of going to Avernus, he is pretty much the worst person ever, and while Spawn Astarion weeps, Ascended Astarion seems to be nearly disgusted by that weakness and acts like, 'well then just go die.' But there is also the loyal side of him, and if Karlach wants to go to Avernus, he will follow. More because he thinks about the power he could get from it than anything else, but still, he actually goes with his partner to the Hells, and that shows how very important bonds are to the character. Maybe it's not really 'love,' but he cares about you, perhaps like you would care about a billion-dollar bracelet (I would care a lot).

The question 'if a character like Ascended Astarion can change' is even more complex (and obviously only the original writer could give you the right answer) because one of the problems about the ascension is that we don't really know 100% what the contract meant. In the end, it was Cazador who made the contract. And I think the game told us enough times that you can never trust a devil. The possibility is high that Astarion lost a part of his former soul. All in all, a 'true' vampire is closer to a mindless monster than ever. And if that is the case, there would probably be no way back.

To me, the ascension stands for a decision a person can take in life. A worldview that you won't get hurt if you have more power than other people. Astarion wants to take that path from the start, and the ascension is like the ultimate agreement.

So to sum it up: Yeah, he is pretty evil, and no, I don't think he could change because, well, why would he want to haha~

[uptoolateart]

Hey, hey, hey - time for a Gabriel analysis!

So. After we learned that Gabriel Agreste wasn't his original name, my mind jumped to Andre Bourgeois, who also once had a different name. In keeping with the themes of the show, we are seeing that secret identities don't always come with masks and comic book names.

We had a hint of Gabriel's secret past in Psycomedian, when Harry visited and alluded to his Gabi days. How, oh how could the Gabriel Agreste we all know have ever been friends with someone like Harry Clown? This is only possible if he was once a different sort of person.

We had further clues in Gabriel's vision of the past, in the time burrow in Evolution - and in Emilie's video messages left for Nathalie, and the photographs of Gabriel, Emilie and Nathalie on some expedition, seen in Passion - and in Amelie's accusation that Gabriel has changed, in Emotion.

Adrien is also aware his father has changed with time, demonstrated when he tells Gabriel that Emilie once said they came from different backgrounds.

The photos shown in Revelation finally gave concrete evidence that Gabriel used to have an adventurous spirit and he used to smile. He was fun...but something changed...and I don't think it was just Emilie's death that caused the personality shift. Based on casual comments Adrien has made throughout the series, his father has been strange for years.

Gabriel tells Adrien that he and Kagami are 'of the same design' - and we know he means this literally. But taking it as a metaphor...for two seasons I've wondered what Emilie's parents were like. We can infer that she comes from a wealthy, 'important' family. Maybe Gabriel struggled to fit in and win the approval of his in-laws. Maybe he never felt good enough. When he tells Adrien things like, 'You're clinging to Marinette because her mediocrity lets you shine more,' perhaps someone once talked like that about him. With that kind of background, it would be unsurprising that he decided to try to forge a new identity.

And let's remember that Gabriel is a designer. His whole empire is founded on inventing personae. Even beyond the sentimonster aspect, he tells Marinette that he designed the image the world holds of his son. Everything is his invention. That speech in Pretension proved just how deep his God complex runs - he fully believes he has made the world in his image. Even the episode title - Pretension - smacks of the image he is presenting to the world in lieu of truth.

At this point, what we're seeing is a 'new money' stereotype - a self-made man who now spurns those who remind him of where he came from. It's one of the most shameful things about him. No matter how much fame and money you get...you can't forget your roots, people. Maybe that's easy for me to say because I'm not rich or famous. But I just can't imagine turning my back on my own origin story. It's what makes you who you are. Gabriel clearly didn't want to be that person anymore...and that's sad.

What's also fascinating is that, if we zoom in on those pictures Nathalie took in Revelation, we see that once upon a time, Gabriel - Gabi Grassette - was a punk. Let's take a moment to appreciate the spiked hair, makeup, leather jacket, ripped jeans, and dog collar - not to mention that smirk. And far from being ashamed of his work with Harry Clown as a human frites (who, by the way, reminds me so much of Mr Banana), he was smiling about it. Man, he loved it. Contrast that with Gabriel in Party Crasher - 'JOY.... What's going on in my HOUSE!?'

If it were at all possible for the old Gabi to meet Cat Noir, I can imagine him loving Cat's costume. On that note, I can't help but compare that dog collar with Cat's bell. I've said before that I see the bell as a symbol of Cat being domesticated and under control. Gabi probably saw his dog collar more as a rebellion, but maybe it too is a symbol of how he once felt controlled by someone.

The thing is...the punk movement was all about anti-establishment anti-authoritarianism. Today, Gabriel is the establishment he once rebelled against. It makes me think of John Lydon of the Sex Pistols turning Conservative and advertising butter. Musicians like Donovan - not a punk, but in a similar category, as a 1960s hippie - are rare for maintaining that same spirit all through their lives.

Gabriel is a 'sell-out'. He gave up that spirit and became someone unrecognisable. Those photos demonstrate that Emilie isn't the only body buried in a 'basement' in the Agreste mansion. There is a different person buried under the cold veneer that is Gabriel - a person Nathalie probably misses. I expect that's why she's stuck with him all this time, despite her better instincts. Something tells me Gabi would've made a better father.

The irony is that Adrien's moments of rebellion are probably one of the few things he has in common with his father, if we look far enough back in Gabriel's past. That, and their temper - and randomly breaking into eccentric dance and song. Gabi might have appreciated Adrien more for standing true to his principles. Maybe Adrien sometimes reminds Gabriel of himself and he can't stand it - can't stand thinking of what he's lost along the way.

I believe Gabriel exists in a perpetual state of regret. Part of him probably misses Gabi, too. After all, Gabi got Emilie. What has Gabriel got? Wealth, sure, but Emilie's dead, Adrien all but hates him, Nathalie's wasting away, and Gabriel himself has only weeks to live.

If you think about it, Gabriel's whole quest has been about getting a do-over. He wants a second chance with Emilie - a second chance for Nathalie - a second chance at his own life. He then tells Adrien that his greatest wish is to try to reconnect with him...because he knows he doesn't have much time left with his son. Even then, though, his selfishness prevails. (Psst, Gabi...you can't make up for years of terrible parenting with banana pancakes.)

Thinking of the snake miraculous, the second chance lets you know what's going to happen, enabling you to make better decisions the next time around. In other words: it's about learning from your mistakes. Gabriel never learns, and it is his refusal to accept destiny and his own human fallibility that is causing his disintegration.

The more Gabriel necrotises, the more we can see this as his 'sins' catching up with him. He doesn't seem to grasp that all the blackness devouring him is, in a way, the blackness of his own heart. Even if he erases the whole world, he can't erase his deeds. If he managed to get his Wish and bring Emilie back, she would be horrified. She'd wonder where her Gabi went.

Gabriel is proof that 'evolution' isn't always positive. He reinvented himself once, and now, because it didn't go the way he wanted, he's trying to reinvent things again. Tomoe also hints at a belief that the solution to her problems is to make the world anew - to get a second chance. Felix tries this, too, when he creates the red moon to wipe out all people except his select group.

But Felix does learn - Ladybug helps him see that even if you erase all the people causing you so much grief...you still have to deal with that pain. What Gabriel fails to see is that - like Cat Blanc on the roof, all alone without his lady - destroying your witnesses won't remove the witness in your own heart.

Even if Gabriel wiped everyone else's memory of his crimes, he would still know what he'd done. And when you cross those kinds of lines, you can never go back to who you once were.

Please no post-Revelation spoilers in the comments :)

[theink-stainedfolk]

Author Ask Tag

Hank you for the ask @the-golden-comet and @the-inkwell-variable

This will be about my ongoing work, The General's Bride

masterlist

---

What is the main lesson of your story? Why did you choose it?

The main lesson of my story could revolve around the balance of power and control, and the personal sacrifices one must make for survival and ambition. It explores how individuals navigate complex relationships, face betrayal, and grapple with trust in a world rife with political machinations and personal struggles.

Why choose this lesson? Because:

1. Power dynamics are timeless: It reflects the timeless struggle for power—whether in politics, family, or personal relationships—and highlights how fragile such balances can be.

2. Moral complexity: The story’s morally gray characters allow readers to see multiple perspectives, creating empathy and introspection about how far one would go to achieve their goals.

3. Survival vs. values: It also challenges the notion of integrity, showing how the protagonists (and even antagonists) may compromise their values to survive or thrive.

4. Deep human connection: Amidst the chaos, the story subtly teaches the importance of loyalty, love, and trust—even in unlikely places—offering a counterpoint to the ruthless environment of the court.

What did you use as inspiration for your worldbuilding?

Very embarrassing but what inspired me for this specific story is my favourite Chinese actor's, Tian Jiarui's birthday shoot. He looked immaculate and his body language and expressions made me feel like, wow... an icon.. I'm glad to be alive in the same age as him..

What is your MC trying to achieve, and what are you, the writer, trying to achieve with them? Do you want to inspire others, teach forgiveness, or help the reader grow as a person?

My MC, Luo Xingchen, is trying to achieve stability in an unstable world. His ultimate goal is to protect those who have been discarded by society, reclaim his agency in a world filled with manipulative power plays, and subtly dismantle the emperor's grip without drawing unnecessary attention. While Xingchen's actions are calculated, his decisions often highlight a complex interplay of loyalty, morality, and personal ambition.

And as i writer... idk tbh, I probably aim to show how even in a world of political machinations, personal resilience, and moral gray areas, people can navigate through with purpose and strength.

How many chapters is your story going to have?

I honestly don't know.. but it won't be so long that you get bored for sure.

Is it fanfiction or original content? Where do you plan to post it?

It is original content and for now i guess i will post it on tumblr.

When did you start writing?

This story, i started writing in late 2024.

Do you have any words of encouragement for fellow writers of writerblr? What other writers do you follow?

I just want to say Your words hold power. Whether they spark joy, ignite thought, or weave worlds, they are uniquely yours. Don’t shy away from imperfection—first drafts are meant to be messy. Write boldly, rewrite patiently, and trust the process. Remember, the world needs your stories, your perspective, and your voice. Keep going, even when it’s hard, because every sentence brings you closer to something extraordinary.

And i follow:

Tagging @finickyfelix @willtheweaver @leahnardo-da-veggie @illarian-rambling @winglesswriter @paeliae-occasionally @the-golden-comet @thecomfywriter @drchenquill @wyked-ao3 @the-inkwell-variable @corinneglass @seastarblue @keeping-writing-frosty @oliolioxenfreewrites @vesanal

[mywitchyblog]

A lot of the people who are so against race changing make no sense. I saw this one that said that “If you shift for empathy reasons, you have low empathy.” And then five seconds later said “you can’t understand because you’re not a poc!” what is it? Do you want me to have empathy, or am I suddenly not allowed to because apparently according to you only black people have experienced oppression and can understand that feeling?

Do they not realize that there are people who qualify as white and still face racial discrimination? People who are German, Ukrainian, Polish, Russian, Iranian and Egyptian, and many more?

The hypocrisy and double standards are annoying and it makes no sense.

Fundamentally, race is a social construct with no scientific or biological basis. To legitimate something we often see in society: that there is only one race, the human race, and the so-called other "races" are just a sign of a superiority complex that has festered far too long in humanity, bringing us nothing but strife and pain. To claim that some individuals who engage in race changing during reality shifting lack empathy is not only hypocritical but fundamentally flawed.

The idea that race-changing is a sign of lack of empathy or moral failing is untrue. It's clear to see that the condemnation of race changers often blurs the context of oppression and suffering, which exists in countless forms over a very wide spectrum.

It is always important to remember that oppression does not form one solid experience solely for any one group; it takes place in many different contexts, and yet all are based on prejudice of physical appearance or place of origin.

Although the following examples do not reveal racial oppression in its classic sense, they certainly can be viewed as forms of marginalization that rely on superficial factors, such as how a person looks, comes across, or where they are from. It needs to be taken into consideration by anyone that while the experience of oppression varies widely for many, there is a shared foundation of discrimination.

The race-changing controversy in the reality shifting community shows a mirror to this hypocrisy and double standard around most of these arguments, especially people who shift into "fictional" races. Many people will shift into races that are clearly meant to be allegories for real-world POC populations, such as the Na'vi in "Avatar," whether in white or BIPOC spaces.

Why is it then that shifting into a fictional race, oftentimes one that serves as an allegory for the struggles of real-world oppressed groups, is considered acceptable, while shifting into a different human ethnicity is considered to be taboo?

A prime example is the Na'vi from "Avatar."

I have seen white people and BIPOC shift into this race, completely unconcerned, because it is "fictional." But, well, of course this race is basically an allegory for Indigenous peoples: fighting colonization, preserving their culture. Shifting into a Na'vi could be described as shifting into the experience of being Native American with some blue paint on top of it.

But when someone is asked what urges them to become Na'vi, most people reply that they want to "discover the culture," "understand what it feels like to resist oppression," or "experience the beauty of their world." But it is because the Na'vi are considered fictional that they don't receive the same attention as the human ethnic group. This is the core of the hypocrisy: those who bash one for shifting to a different human ethnicity are doing the same, only it is in a supposed "safer" context—around fiction.

They overlook the fact that both types of shifting are fueled by similar, often innocent and pure-hearted intentions, only to explore, understand, and relate with experiences other than the ones outside of one's original identity.

By holding such double standards, critics ignore the broader implications of their arguments and reveal more about their own comfort with real-world racial issues than about any supposed moral failing on the part of those who engage in race changing.

Engage in all discussions here, with consistency and empathy; understand that reality shifting—whether it be into a fictional or human race—can serve profoundly in your tool of personal growth, empathy development, and deeper cultural understanding.

[queer-ragnelle]

Hi! I was wondering if you had any advice on how to craft a well-written, compelling Arthurian OC that isn't obnoxious or out of place but is still unique. I recognize the difficulty in doing so with so many different source texts (I'm most familiar with Le Morte, so that's usually my go-to) and the vast list of already existing characters. I'm just curious about your thoughts on the matter, since you're an author and also very knowledgeable about Arthuriana 💖

Hello there!

This is a tough question to answer! I think it's important to note that everyone will have a different opinion on this, but that shouldn't alter you writing your story how you want to. Some think adding any characters at all is too big of a change, while others write a full cast of original characters and then Merlin shows up randomly and makes the story "Arthurian."

I'm going to say something controversial.

Every Arthurian character is an OC.

Even King Arthur himself is an OC.

I'm going to elaborate on this quite a bit, as it's very important to me. But the TL;DR is that reading more will definitely help you conceptualize the boundaries of what's possible. Le Morte d'Arthur is a great start, but there's so much out there, both medieval and modern, that'll undoubtedly aid in your Arthuriana writing journey! :^)

While I do say things like "I love Arthurian OCs" as a means to convey that I view everyone's new creations as valid and interesting, I actually don't believe in a strong differentiation between Chretien de Troyes' Sir Lancelot or Marie of France's Sir Lanval and what you or I are writing today. We're participating in a tradition which can, at times, necessitate the creation of a new character or repurposing of an existing one. I think as soon as you create a character for your Arthurian story, they're an Arthurian character. Some refer to Lancelot or Galahad as "French OCs" or call Knight of the Cart or the Vulgate "fanfiction" as a means to degrade it's validity. Some seem to have an arbitrary timeline on which the full body of Arthurian works is measured, and the more recently something was written, the less authentic it becomes. I think they're wrong. I believe that whether or not we enjoy an installment in the ever expanding Arthurian tradition is irrelevant; it's all equally entitled to a measure of respect, even the new characters. No character or story is lesser than another by virtue of its age or language of origin or target audience or medium. I disdain the excess of scrutiny put upon certain arbitrary groupings of Arthurian tradition. Each story is full of original characters and building on the foundations of what came before. That's the nature of creative influence. Whether or not Arthur was a real person at some point in history is moot. The guy in the Mabinogion or the Vulgate or Le Morte d'Arthur or BBC Merlin is a character. He's a tool to tell a story. Such as your creation will be! Your brand new Arthurian character stands equally with all the rest who preceded them. :^)

Now, it can be helpful to distinguish between a medieval character and a modern one, sure, as they may represent different things depending on what point in history (or part of the world) they were created in. But Arthuriana isn't a franchise one must obtain express permission to contribute to, and it doesn't have a "canon," so therefore differentiating a character as "other" can be counter productive when developing a story. I don't believe Sir Robin from Monty Python and The Holy Grail (1975) or Brian from The Adventures of Sir Lancelot (1956-1957) are any less valuable as characters, even if they do draw on traits of existing Arthurian motifs in order to commentate on them or otherwise expand. In fact I think they're great characters and serve their narrative roles beautifully. One simple and one complex. I recommend watching those to see how it's done well and that may help you develop your own characters. But I'll delve into it a bit here to illustrate what I mean.

Sir Robin carries the coat of arms of a chicken, he's a cowardly knight followed around by a troupe of musicians that sing songs about all of his exploits. That is, the things he's run away from. Rather than use an existing Arthurian character and degrading them, Monty Python developed Sir Robin in order to tell their joke.

The flipside is Brian, a bona fide kitchen boy, who attaches himself to Sir Lancelot and desires to squire for him. Brian's narrative purpose is to deconstruct the nobility in a way that Gareth Beaumains, whom Brian is plainly inspired by, could not. Brian begins as a true serf forced to endear himself to Sir Lancelot to elevate his station. Merlin forges papers of nobility to convince King Arthur that Brian is worthy of this privilege. Even after that, Brian must face the brutality of his fellows while living in the barracks with them, as they don't take kindly to a "smelly kitchen boy" in their midst, plotting to get Brian to incriminate himself as a thief and get evicted from Camelot by Sir Kay. This role is incongruous with Gareth as Sir Gawain's brother, who was always noble, always a prince, and merely cloaked himself in the guise of poverty to prove a point. Gareth could return to the comforts of wealth whenever it suited him and his reason for going stealth was to intentionally distance himself from that privilege. The character Brian exists in order to commentate on the injustice of the upper class's oppression and dehumanization of the lower class in a way Gareth, or even Tor, could not, as they are of noble blood, even if it came by way of reveal. That's why Brian is a great addition to the Arthurian tradition.

Really, it comes down to treating the creation of your new Arthurian character like you would developing one for any other work, one entirely separate from the tradition. If they're a good character, they're a good character! Try not to get hung up too much on whether or not they're going to mesh well with the rest of the cast. For centuries, writers have transformed historical figures into Arthurian characters. (See: King Mark of Kernow better known as the Cuckhold King from the Prose Tristan, Owain mab Urien better known as Sir Yvain from Knight of the Lion by Chretien de Troyes, Saint Derfel better known as Derfel Gadarn from The Warlord Chronicles by Bernard Cornwell, etc.)

Speaking of Prose Tristan, would anyone consider Sir Dinadan an OC? Or Sir Palomides? They're characters added to a story drawing from a much, much older tradition, and I think they enrich the story. I feel likewise about the many Perceval Continuations, including the German Parzival by Wolfram von Eschenbach, which adds a half brother named Sir Feirefiz, or names Chretien's anonymous haughty maiden Orgeluse. What about Sir Aglovale's son Moriaen in the Dutch tradition? Amurfina in German Diu Krone by Heinrich von dem Türlin? Morgan le Fay's daughter Puzella Gaia in Italian La Tavola Ritonda? Not to mention the countless Middle English additions. The Green Knight and his wife? Dame Ragnelle and Sir Gromer? Or how about everyone's favorite Savage Damsel, Lynette of Castle Perilous? Is she not a late-era addition to the tradition courtesy of the man, the myth, the legend, Sir Thomas Malory himself? And then here comes Tennyson, who read Le Morte d'Arthur, and got to the end of dear Gareth Beaumains' story and had the same reaction we all did: "What the hell? He marries her sister?" And then he went about changing that in Idylls of the King. Speaking of Lynette, what's up with her niece Laurel? She's just a name on a page, the vast majority of retellings choose to ignore her, even if they do keep Lynette and Lyonesse. Laurel can scarcely be called a character, after all. She doesn't even have dialogue. So as I've gone out of my way to make her a prominent, fully developed character, with her own culture and back story and motivations, does that make her an OC of mine? And Henry Newbolt who included Laurel in his play Mordred: A Tragedy. And Sarah Zettel, who wrote from Laurel's point of view in Camelot's Blood. We did all the work, but we threw an Arthurian name on the character, so therefore, she isn't ours? But if we changed her name, she would be? Who gets to decide?

All of the Arthurian characters belong to all of us. That's the beauty of writing in a long-standing tradition, which exists apart from all other forms of writing. We have complete creative liberty to do what we want and refer to it how we want and no person or corporation or anyone can dictate otherwise. The intellectual property of Arthuriana belongs to the people. So invent a brand new wife for Gawain, and well, you're only the millionth author to do it! Just make sure she's an interesting character and that's literally the only requirement. Can't wait to meet her. (And all others you create!)

Have a great day!