#i have only ONCE seen a good and realistic example of a character with chronic pain (one a fellow disabled w/chronic pain writer wrote)

[engagemythrusters]

It would be nice if Star Wars actually treated their "good" disabled characters as actual disabled characters.

We see a lot of "bad" disabled characters have viewable disabling disabilities (ex: the latest The Bad Batch episode featured a cane-user with a prosthetic arm. This man was a hoarder of resources, and quite greedy and self-serving. Disability=hoarding resources is a TERRIBLE thing for Star Wars to highlight, but there they just went. That's a whole post I can make on its own, but I digress.)

But there are so few times that Star Wars truly acknowledges its disabled characters' disability in a positive light. It is always swept under the rug and forgotten about. This is what we have for our disabled "good" characters:

Anakin's hand only ever has problems twice--both of which aren't even true issues. His hand just gets caught by magnets. That's it. Sure, one time a little spark went through it durring the Zillo Beast arc, but despite all other mechanical appliances dying and short-circuting, Anakin's mechanical prosthetic does NOT. They didn't want to show Anakin without the use of his hand. Oh and he's turned into the "bad" character when his disability becomes actually acknowledged. Facisit disabled person... how charming (sarcasm).

Luke's prosthetic hand also does not cause him any true issues--again, minor inconveniences.

Echo's prosthetics are not acknowledged, ever. They act as if Echo has two hands, and he's constantly seen holding stuff as if he has two hands. Sorry, but he can't balance a giant ass box on a scomp like that. He would have to compensate--move his arm so that it balances differently.

Tech does not need to be more than autistic-coded. It's not a requirement to label everything. However, he has only had issues with his autism once. That's a good first step! But it's just a first step. Not to mention, he's a whitewashed savant. This is the most blatant, frustrating autism stereotype. I've already made a post about this.

Kanan and Chirrut's blindness is perhaps the most visibly disabling disability in any of the shows; however, said blindness is magically compensated for by the Force. They both still struggles with many things, which is a good change of pace, but ultimatley, it's not the representation it's meant to be. And, for Kanan, it is CURED at the end, before he DIES. Chirrut ALSO dies. I think that speaks for itself.

Yes, they are still disabled. That is not in question. But it's repackaged in a 'non-disabling' sense. Because why show disability when everything can be magically fixed? Why show disabled characters having realistic issues with their disability when it could be disabled characters made palatable for an abled audience?

Yes, a good number of disabled people would like to be, for lack of a truly appropriate term, ""fixed"" (a whole different topic, though--and a huge one at that). I don't doubt many amputees would probably like the a prosthetic like Anakin's. And yes, it would be nice to be so easily and readily accepted as disabled people like they are in Star Wars.

However.

The continued treatment of disabled people as if they aren't disabled is a massive problem in today's, real-life world. Because we don't have that luxury of being treated as nicely. So as great as it is to dream of a life where we're accepted as normal, IT IS IMPORTANT TO VIEW THEIR DISABILITY AS NORMAL IN THE FIRST PLACE.

It is necessary to see openly disabled people being clearly disabled, while still being viewed as equal, "normal" people. When disability is only shown openly as disabling when it is for the greedy or the facists... that is ableist writing.

All I want is for a main character to be openly disabled, in a disabling way, rather than just magically fixed and unacknowledged. Disability representation can only go so far when it is just "hey, here's a disabled character." We need them to be acknowledged as disabled, too.

[thebibliosphere]

So I'm currently unemployed because I got fired for taking too much sick leave (it was legally sketchy blah blah blah but in the end I just can't work and take care of myself and investigate my mystery health problems at the same time). So I've been spending more time writing!

I really admire your writing and loved Hunger Pangs. I'm looking forward to the poly elements developing and I'm wondering if you have any advice for writing about poly. I've made one of my projects a snarky take on "write what you know" ... Apparently what I know is southern gothic meets Pacific northwest gothic, chronic illness pandemic surrealism, and falling back-asswards into threesomes.

I know this is a very open-ended question and I don't expect an answer, I'm just curious about it if you have the energy. As a writer, trying to write honestly / realistically about polyamory/enm, I'm curious if you have any thoughts on what's different about portraying monogamy or nonmonogamy in books, romance or erotica or otherwise.

I'm trying to read examples but it's hard to find examples that fit the niche I'm looking at. Excuse me if this question is nonsense, it's the cluster headaches.

I'm sorry to hear you've been dealing with all that and solidarity on the cluster headaches. But I'm glad you're finding an outlet through writing! And I hope you're happy with an open-ended ramble in response because oh boy, there's a lot I could talk about and I could probably do a better job of answering this sort of thing with more specific questions, but let's see where we end up.

There's definitely a big difference between writing polyamory/ENM (ethical non-monogamy) and what people often expect from monogamous love stories.

Just even from a purely sales and marketing standpoint, the moment you write anything polyamorous (or even just straight up LGBTQIA+ without the ENM) you're going to get considered closer to being erotica/obscene than hetero romances. It's an unfair bias, but it's one that exists in our society. But also the Amazon algorithm and their shitty, shitty human censors. Especially the ones that work the weekends. (Talking to you, Carlos 🖕.)

So not only do you start out hyper-aware that you're writing something that is highly stigmatized or fetishized (at least I'm hyper-aware) but that you are also writing for a niche market that is starving for positive content because the content that exists is either limited, not what they want, or is problematic in some fashion i.e. highly stigmatized or fetishy. And even then, the wants, desires, and expectations of the community you're writing for are complex and wildly varied and hard to fit into an easy formula.

When writing monogamous love stories, there is a set expectation that’s really hard to fuck up once you know it. X person meets Y. Attraction happens, followed by some sort of minor conflict/resolution. Other plot may happen. A greater catalyst involving personal growth for both parties (hopefully) happens. Follow the equation to its ultimate resolution and achieve Happily Ever After. 

But writing ENM is... a lot more difficult, if only because of the pure scope of possibilities. You could try to follow the same equation and shove three (or more) people into it, but it rarely works well. Usually because if you’re doing it right, you won’t have enough room in a single character arc to allow for enough growth, and if ENM requires anything in abundance, it’s room to grow.

And this post is huge so I’m going to put the rest under a cut :)

There's also a common refrain in certain online polyam/ENM circles that triads and throuples are overrepresented in media and they may be right to some extent. Personally, I believe the issue isn't that triads and throuples are overrepresented, but that there is such minuscule positive rep of ethical non-monogamy in general, that the few tiny instances we have of triads in media make it seem like it's "everywhere" when in actuality, it's still quite rare and the media we do have often veers into Unicorn Hunter fetish porn. Which is its own problematic thing. And just to be clear, I’m not including this part to dissuade you from writing "falling back-asswards into threesomes." If anything, I need more of it and would hook it directly into my brain if I could. I'm just throwing it out there into the void in the hope that someone will take the thought and run with it, lol.

I’d love to see more polyfidelitous rep in fiction, just as much as I’d like to see more relationship anarchy too. More diversity in fiction is always good.

Another thing that differs in writing ENM romance vs conventional monogamy is the feeling like you need to justify yourself. There's a lot of pressure to be as healthy and non-problematic as possible because you are being held to a higher standard of criticism. Both from people from without the ENM communities, and from the people within. Granted, some people don't give a shit and just want to read some fantastic porn (valid) but there are those who will cheerfully read Fifty Shades of Bullshit and call it "spicy" and "romantic," then turn around and call the most tooth-rottingly-sweet-fluff about a queer platonic polycule heresy. That's just the way the world works.

(Pro-tip for author life in general: never read your own reviews; that way madness lies. I glimpsed one the other day that tagged Hunger Pangs as “ethical cheating” and just about had an aneurism.)

And while that feeling of needing to justify yourself comes from a valid place of being excluded from the table of socially accepted norms, it can also be to the detriment of both the story and the subject matter at hand. I've seen some authors bend so far over backward to avoid being problematic in their portrayal of ENM, they end up being problematic for entirely different reasons. Usually because they give such a skewed, rose-tinted perspective of how things work, it ends up coming off as well... a bit culty and obnoxious tbh.

“Look how enlightened we are, freed from the trappings of monogamy and jealousy! We’re all so honest and perfect and happy!”

Yeah, uhu, sure Jan. Except here’s the thing, not all jealousy is bad. How you act on it can be, but jealousy itself is an important tool in the junk drawer that is the range of human emotion. It can clue us in to when we’re feeling sad or neglected, which in turn means we should figure out why we’re feeling those things. Sometimes it’s because brains are just like that and anxiety is a thing. Other times it’s because our needs are actually being neglected and we are in an unhealthy situation we need to remedy. You gotta put the work in to figure it out. Which is the same as any style of relationship, whether it’s mono, polyam or whatever flavor of ENM you subscribe to* And sometimes you just gotta be messy, because that’s how humans are. Being afraid to show that mess makes it a dishonest portrayal, and it also robs you of some great cannon fodder for character development.

Which brings me in a roundabout way to my current pet peeve in how certain writers take monogamous ideals and apply them to ENM, sometimes without even realizing it. The “Find the Right Person and Settle Down” trope.

Often, in this case, ENM or polyamory is treated as a phase. Something you mature out of with age or until you meet “The One(tm).” This is, of course, an attempt to follow the mono style formula expected in most romances. And while it might appeal to many readers, it’s uh, actually quite insulting. 

To give an example, I am currently seeing this a lot in the Witcher fandom. 

Fanon Netflix!Jaskier is everyone's favorite ethical slut until he meets Geralt then woops, wouldn’t you know, he just needed to find The One(tm). Suddenly, all his other sexual and romantic exploits or attractions mean nothing to him. Let's watch as he throws away a core aspect of his personality in favor of a man. 

Yeah... that sure showed those societal norms... 

If I were being generous, I’d say it’s a poor attempt at showing New Relationship Euphoria and how wrapped up people can become in new relationships. But honestly, it’s monogamous bias eking its way in to validate how special and unique the relationship is. Because sometimes people really can’t think of any other way to show how important and valid a relationship is without defining it in terms of exclusivity. Which is a fundamental misunderstanding of how ENM works for a lot of people and invalidates a lot of loving, serious and long-term relationships.

This is not to say that some polyam/poly-leaning people can't be happy in monogamous relationships! I am! (I consider myself ambiamorous. I'm happy with either monogamy or polyamory, it really just depends on the relationship(s) I’m in.) But I also don't regard my relationship with a mono partner as "settling down" or "growing up." It's just a choice I made to be with a person I love, and it's a valid one. Just like choosing to never close yourself off to multiple relationships is valid. And I wish more people realized that, or rather, I wish the people writing these things knew that :P

Anyway, I think I’ve rambled enough. I hope this collection of incoherent thoughts actually makes some sense and might be useful. 

----

*A good resource book that doesn't pull any punches in this regard is Polysecure by Jessica Fern. It's a wonderfully insightful read that explores the messier side of consensual non-monogamy, especially with how it can be affected by trauma or inter-relationship conflicts. But it also shows how to take better steps toward healthy, ethical non-monogamy (a far better job than More Than Two**) and conflict resolution, making it a valuable resource both for someone who is a part of this relationship style***, but also for writers on the outside looking in who might have a very simple or misguided idea of what conflict within polyam/ENM relationships might look like, vs traditional monogamous ones.

** The author of More Than Two has been accused of multiple accounts of abuse within the polyamorous community, with many of his coauthors having spoken out about the gaslighting and emotional and psychological damage they experienced while in a relationship with him. A lot of their stories are documented here: https://www.itrippedonthepolystair.com/ (warning: it is not light material and deals with issues of abuse, gaslighting, and a whole other plethora of Yikes.) While some people still find More Than Two helpful reading, there are now, thankfully, much, much better resources out there.

*** Some people consider polyam/ENM to be part of their identity or orientation, while others view it as a relationship style.It largely depends on the individual. 

[imaginedmelody]

Thanksgiving “Community” Fic Rec Post!

It’s been a hot second since I posted fic recs on this blog! When I went to put this list together, the “Community” fics vastly outnumbered everything else I was planning to include. So I’m dividing this into 2 posts: you’ll get the “Community” ones now, so I can take time to track down some of my faves from other fandoms.

Not to sound saccharine, but Thanksgiving is about gratitude, and the Community fandom is the one I’m most grateful for this year. Both the show and the people I’ve met because of it made 2020 go from a hell year to...well, a slightly more bearable hell year, if we’re honest. And the fandom produces some damn good fics. So here they are, in no particular order, for your quarantine reading pleasure! And be sure to let me know your favorites that I might have missed!

1. “Advanced Companion Reconciliation” by adorations; Troy/Abed, not rated, complete (but part of a series marked in-progress)

This is one of the first fics that really stood out to me when I started getting into Community fic in the late spring/early summer of this year. The fandom is filled with post-series reunion fics where Troy goes to find Abed in LA, and this one is particularly exquisite. The whole story is wonderful, but I’ll go ahead and publicly state that Chapter 4 of this fic is one of the best single pieces of writing I read on AO3 this year. The level of intimacy and understanding and protectiveness between the characters, even in a non-romantic context, is mind-blowing. Their relationship just builds and builds beautifully.

2. “Lessons in Adjustment” and “Remedial Recovery” by biggod ( @nadir-barnes ); Troy/Abed, mature (LiA) / explicit (RR), complete (but part of a series marked in-progress)

A tender, angsty, but absolutely beautiful pair of fics- the first about chronic illness, the second about mental health. It can be a real gamble to take characters from a piece of comedic media and write about them undergoing scary and sad things, but Cherie does it perfectly here. This series will break your heart and make it soar at the same time, because even as Abed struggles to face a painful (and painfully realistic) diagnosis, the love between the characters and their humanity just shines right through. By the end of “Remedial Recovery,” I could feel that moment of learning to wake up to life again just like the characters were. Can’t recommend it highly enough.

3. “Studies in Evolution of Affection” by onemechanicalalligator ( @1mechanicalalligator ); Jeff/Abed, explicit, complete

There are some writers where the main barrier to including them in rec posts like this is that you want to rec everything they’ve written. Maya is absolutely one of those writers. Her fics may not have been the first I read when I joined the fandom, but they were one of the first where I began to make friends, to have conversations and feel like an active participant in the fandom. Like Cherie (above), Maya has also written fics about the characters going through dark situations, especially Abed dealing with mental illness and Jeff recovering from alcoholism (both of which, while dealt with more seriously in her fics than in the show, are canon-compliant aspects of the characters). And there is a special place in my heart for those, but if I had to choose one fic to recommend out of all of her dozens of works, it would be this one. Jeff/Abed is a rarer, more niche pairing, but one with incredible potential, since both Jeff and Abed are damaged in their own ways (and often understand each other better than the others, especially in the later seasons- even when they’re at odds). Each of the chapters is a little glimpse into a different scenario as Jeff and Abed’s relationship develops. Some of them are connected, and some are more stand-alone, but they’re all filled with lovely fluff and hurt/comfort.

4. “Seminar on the Legality of RomCom Tropes” by ama ( @greenandhazy ); Troy/Abed, teen, complete

No joke, this fic may actually have made me cry a little from all the emotions it gave me. It definitely made me gasp and burrow into the pillows smiling and say “awww” out loud. It starts with a pretty solid romantic comedy fake-dating premise: instead of Pierce requiring Troy to sail around the world to earn his $14 million inheritance, the conditions in this fic are that he must get married in one month and remain married for at least a year. After trying and failing to find a partner, Abed agrees to marry him to fulfill the terms of the agreement. And this begins an epic slow-burn for the ages, that rivals any romance movie I’ve watched in recent memory. The way they have to act like a happily married couple while, at the same time, not acknowledging their growing feelings for each other- it’s so beautiful and the longing is exquisite. By the time it ended, the joy I felt was incredible. This is the only single-chapter non-series fic on this list, so if you’re looking to read just one standalone, this is a perfect heartwarming choice.

5. “Basic Heartbreak Repair” by lgbtrobed ( @lgbtrobed ); Troy/Abed, explicit, complete as of TODAY!

While we’re on the topic of slow-burn... This fic is another perfect example of that. It sets up a scenario where the study group reunites in Colorado at Troy’s house, which they are using for Jeff and Britta’s wedding, years after the finale. They’ve kept in touch, but Troy and Abed have only seen each other once since Troy got back from his time at sea- and they’ve never discussed their feelings. The romantic buildup between them is just amazing; they’ve had all this distance, so things feel new, but at the same time it’s palpable how well they know each other. So every little step they take towards one another is absolutely note-perfect.

I can easily think of a dozen amazing fics that I didn’t even have room to include on this list. This fandom is full of some of the most ridiculously talented writers you can imagine. And now that the show is on Netflix streaming and enjoying a revival of popularity, there’s more fandom activity than it’s seen in years. I can’t wait to see what amazing works are waiting for us in 2021!

[hopevalley]

I've actually enjoyed watching new episodes of the show for the first time in a LONG time! I thought Lucas being frustrated w/ Elizabeth was contrived and misplaced. Was his mom like "me & your father are separated btw i told elizabeth before you?" The bit felt off. But hey, these past three episodes have been fun & much-better written than anything last season. How much of this season's improvement over recent prior ones do you think is due to the season having a new showrunner?

As to Lucas and Elizabeth, I feel this is an issue with shows in general of this runtime and episode length. I like to compare WCtH with Road to Avonlea because both shows had short seasons and 40ish minute long episodes, were family shows, and featured ensemble casts. Avonlea had a similar issue with pacing in the occasional episode. I know I like to nitpick WCtH a lot about its writing, and I never shy from honest critique, but I really do think the hiccup with Lucas and Elizabeth in Ep3 was just a product of needing a few more minutes of screentime—preferably the start of Helen telling Lucas about the situation with his father, since it did feel like him knowing everything came out of almost nowhere. We knew Helen would have to talk to him, but we never really saw her resolve to do so, and I think we earned the emotional payoff of the truth coming out. (As an aside, Helen should have apologized for telling Lucas that Elizabeth knew as well as putting her in a position where she had to keep a secret from someone she cared about. Elizabeth being put in a bad position was awful enough, but then she went and told Lucas that Elizabeth was aware the whole time? Yiiiikesssss...)

I’m pretty confident that Helen told Lucas something like: “I have to tell you something important... Your father...left me...a few weeks ago. I need to apologize for keeping it from you but I didn’t know how to bring it up...” and then probably responded to something Lucas said with a comment about how she’d talked to Elizabeth about it, or Elizabeth suggested she be honest about the situation because Lucas would find out eventually and it would be better if it came directly from her. I could definitely see Helen accidentally being too honest in a situation where she’s nervous about admitting the truth to her own son. She’s probably extremely embarrassed and ashamed, and the episode doesn’t really go into how Helen feels about it. They just jump into talk about love and how it needs to be nurtured and nobody ever asks Helen if she actually loved/loves her husband, let alone if he was a good man/husband to her. 

Not getting a scene where Helen confesses the truth weakens the entire plotline. I’m hoping they’ll just keep improving on this specific aspect of the show, and consider getting rid of unnecessary scenes or entire unnecessary storylines in favor of stronger, more complete stories.

I know their hesitation is based on the idea that not everyone cares about (for example) Lucas, so focusing really hard on Lucas’s relationship with his mother might feel Bad, but the entire “chair” plotline with Rosemary and Lee was unnecessary, as were the longer Florence and Ned scenes. Don’t get me wrong—I enjoyed them! But if they cut those out, or mostly cut them, then there would have been enough screentime for a full scene showing Helen telling Lucas about the truth.

And Chris McNally is clearly an actor who can handle an emotional scene like that, so it would have turned out well, and been well-received by the fans...even the ones who aren’t rooting for Lucas. Because what people who watch this show want to see is...depth, I think. So many relationships feel tacked on or fake. I’ve seen improvement this season, but they could definitely do more to bolster the “community” feel of the show.

--

As to the quality of the season so far...

@trash-god​ and I were chatting earlier this week about how wild it is that we’re both, like, actively looking forward to the next episode regularly. Sure, it’s still pretty early in the season, but we’re 25% of the way through. If the writing stays this consistently decent I think we’ll have the best season in a long time on our hands!

It’s funny because if you lurk on the WCTH subreddit, you’ll see most of the fans there are bored of this season, but I disagree with them in a bit way; this season is DEFINITELY better-written and smoother. As to where to place the credit, I think it’s worth considering the last few seasons and what the writers/writing teams have struggled with.

Season 4: They knew something was going to happen with their lead man so they tried introducing other things and in many ways had success. There were some REALLY GOOD scenes in S4, but there were also scenes or arcs that had a lot of potential that just fell flat. For example, they had that plot where Frank and Abigail got annoyed with each other over the fact that he’s kind of still living (mentally) as a carefree bachelor, and even though it wasn’t as thorough as it should have been, it was a pretty good and realistic storyline. But then later in the season, they introduced Carson, and Frank is suspicious of him for almost no reason (or at least, no solid reason), and then actively is...like a BAD PERSON for NO REASON. Two completely different plots, one was good and felt natural, and the other was awful and cringey. We also have the AJ plotline in S4. It started out super good because it was one of those plots that was genuinely built up to over the course of several episodes. We find out the accountant that was going to testify has withdrawn their statement, then we find out they’ve disappeared and we have a name. Bill discusses it with Abigail and Frank both, multiple times. He thinks it’s a payoff and he’s determined to prove it so he starts poking around. Eventually he gets a lead and follows it, and it’s revealed that AJ is a woman. Bill is annoying. AJ is a liar. I think conceptually this is one of the more interesting plots they’ve cobbled together, but in execution it was lacking toward the end of the story. Bill spent two episodes fighting AJ’s attitude and in the end he just lets her go with a smile? That isn’t like Bill at all. There’s a scene or two missing to make that reaction make sense. They don’t interact enough to give us the idea that Bill *understands* her, let alone would be okay with her literally breaking out of his jail ON HIS WATCH.

Season 5: They had to write Jack out of the story and had to rush a wedding in to “appease” the fans. They also had to write Shane, Philip, Frank, and Dottie off the show in this season (Dottie because the actress deals with a chronic illness and can no longer do acting work—I want to say she has Lyme’s). So they cobble this like, awkward storyline to write Frank out that doesn’t really make a lot of sense. They put this dramatic story together for Philip (when him just moving away would have been better/more interesting), and they try to bring AJ back for another 2-part episode, which sounded fun until we actually had to watch the episodes. It was at this point that I thought, “The people writing this show...think they’re writing a movie script.” It’s not that I think AJ isn’t pushy or emotionally blunt, but it definitely came across in those episodes that they wrote her that way specifically because the plot wouldn’t work out if she wasn’t. She does unreasonable things. For some reason Bill still has feelings even though she’s done nothing to earn them. (And vice-versa; he’s just so mean to her...why would she be interested?) Everyone was like :O when the AJ episodes weren’t very well-received. But like, I didn’t want AJ to come back for a huge dramatic rattlesnake bite scene. I wanted her back to see her emotional struggle with facing prison. I wanted to really see where they’d go with her seeing Henry Gowen. She says she wants to start over in Hope Valley after prison, but like...WHY? The only people who are nice to her are Dottie and Abigail! And then after this super dramatic poorly written set of scenes that pretty much ensured AJ would never be seen on the show again (because her presence was actively mocked by a lot of fans) they actually kill off Jack and try to have a deeply emotional and thoughtful episode.

The worst part is that...the post-death episode was good. The actors were great. Then you look back at the dramatic rattlesnake stuff and you’re just like, “What went wrong here?”

Season 6: They decided they were going to introduce a love triangle, so they start doing that, but then Abigail’s character AS WELL AS CODY’S CHARACTER has to be cut from the show, so they edit those out. I still think doing this was the right thing—Abigail as a character was literally UNBEARABLE throughout most of S5—but I also can’t deny that it probably brought the cohesiveness and overall quality of the season down by a bit, particularly with Abigail acting as a buffer between Nathan/Lucas and Elizabeth. I have no way of knowing if they edited other characters into those roles (it’s possible Bill became a buffer between Nathan and Elizabeth, for example), but the editing still gave us some scenes that just didn’t...quite work, like the one where Elizabeth comforts Henry, or when Lee becomes Bill’s confidant regarding the position of judge being offered to him.

Season 7: In their attempt to make Lucas seem “mysterious” they accidentally made him come off almost creepy. More than once. They had some good ideas in this season, but the writing felt a bit choppy and isolated from episode to episode. Of course Nathan’s father was innocent. Of course it was resolved in five minutes. You could see they were trying REALLY hard for cohesiveness at certain points (Elizabeth tried talking to Henry about his attitude; Jesse mentioned Frank; Dottie was mentioned), but each episode felt very isolated from the others, almost as if most of them were written completely separately from the rest.

And you’ll notice in S4, 5, and 6, we kind of have a similar problem, where some plots feel like they were written or inserted into the story independent of the other plotlines. Frank breaking into Carson’s room at the saloon to snoop through his stuff was one of the worst things in the season (literally cringey—and not in that “character is doing something in character that is hard to watch” way, but rather, “this character would literally never do that” way). The AJ storyline in S5 felt like the person who wrote it watched AJ & Bill’s interactions in S4 and absorbed ONLY the fact that they bickered a bit (and then didn’t know how to write that dynamic in a pleasing way). Writing Abigail out of the show was for the best, but it forced cracks in the plotlines that weren’t necessarily filled, as well as gave us interactions that didn’t feel quite right.

And I think S7 was trying to get on the right track, but wrote episodes in a very disjointed, haphazard kind of manner. There were good things about it, yes, but there were also some very...bad things. 

And overall the problem almost universally was that it felt like some of the episodes/interactions were written as if they were part of a movie, as part of a one time deal, instead of something that would need to be carried forward. If you go back and look over some plotlines you can start to see where the writers...didn’t know how to write fanfiction. S5 AJ is not the same character as S4 AJ. She doesn’t feel the same. She’s not written with S4 AJ in mind. She’s not a natural version of the character that exists a year later in the storyline...and then she was given a storyline that they had to force the character to fit, instead of tailoring a storyline to match the character. And they continued this trend...over...and over...and over...and over.

And now, finally, it feels that they may actually have a head writer who knows how to write television, who knows that in order to write a successful television series, you have to go back and watch the early episodes. You have to see how the characters have evolved. You have to consider how they’ve gotten to where they are, and where they will LOGICALLY go from here based on things that happen to or around them.

I don’t want to state this as Fact too early, but I definitely think it’s a factor. We’ll see how the rest of the season plays out, but I hope the quality continues to be as good as it is.

[britesparc]

Weekend Top Ten #455

Top Ten Comedy Sidekicks

Ha, LOL, ROFL, guffaw, snort. Comedy, eh? You’ve got to love it, unless you somehow fall through a timewarp into a late-seventies working men’s club in Blackburn and you find yourself choking to death on second-hand smoke, mother-in-law jokes, and a simmering undercurrent of racist violence. Good times!

Anyway, it’s fairly common that even in the most serious of narratives and with the most serious of protagonists, we need a little chuckle very now and again (nobody tell Zack Snyder – actually, no, scratch that, somebody definitely tell Zack Snyder). It lightens the load, makes the world more nuanced and realistic, and even makes the truly dark moments stand out all the stronger. Most films have a bit of a joke every once in a while (and, of course, Shakespeare’s tragedies are full of comic characters or bits of business), and one very common trope is the Comedy Sidekick.

What is a Comedy Sidekick? Well, it’s a supporting character who offers comic relief, basically. sometimes this can be obviously discernible – Luis in Ant-Man, for example, may function as a plot engine from time to time, but has little in the way of actual character development and is mostly there to be funny whilst the heroes do hero stuff. Sometimes it’s harder to define; I mean, are either of the Blues Brothers a comedy sidekick? Arguably Jake is the lead and Elwood is a bit more of a “turn” (he’s almost eternally deadpan and unemotional), but I’d never say one was inherently funnier or “straighter” than the other. And the you get onto films like Aladdin: sure, Aladdin himself is obviously the protagonist, and there’s an argument to be made that the Genie is a comic relief supporting character, but I feel in this case he’s far too integral to the plot, played by a significantly more famous actor, and really just dominates the film to the extent that he becomes the de facto lead (see also: Captain Jack Sparrow). Again, in Men in Black, Will Smith’s J is clearly the “funny” one, but Smith is also the bigger star and the audience entry point; plus, Tommy Lee Jones is hilarious as the deadpan K. So it’s not as simple as it may first appear.

Anyway, the ten in this list are ones I define as definitely being supporting characters. They may be big characters, in terms of plot or development, but they’re definitely there in support of another protagonist. And whilst they may be fully-rounded characters with their own arcs, their primary function is to be funny; they’re the ones who deliver the comedy lines back to the main character, or crack a joke at the end of a serious bit.

Right, I think that’s my usual ridiculous caveats out of the way. Now let’s make ‘em laugh.

Baldrick (Tony Robinson, Blackadder series, 1983-99): Baldrick is one of the supreme comic idiots in all of fiction. Serving as a perfect foil to Blackadder, he is not only supremely stupid but also his niceness and naiveté serves to undercut his master’s wickedness; plus his idiocy is often the undoing of Blackadder’s villainous plans. But he is also charmingly fully-rounded, oblivious to his own stupidity, possessed of “cunning plans”, and with a great love of turnips. A phenomenal turn from Robinson.

Sir John Falstaff (various plays by William Shakespeare, from 1597): is it cheating to include as significant and iconic a literary figure as Falstaff? Feels a bit like it, especially as he's practically a lead (and, indeed, becomes one in Merry Wives). But really he’s the archetype: a supremely vain and self-serving comic foil, but one with vast hidden depths as he’s keenly aware of his own frailties and the inevitable end of his good times with Prince Hal.

Father Dougal McGuire (Ardal O’Hanlon, Father Ted 1995-98): in many ways he’s a slightly watered-down version of Baldrick’s comic idiot; but Dougal is, if anything, even stupider, and less self-aware. He’s like a perfect idiot, a beautiful naïve fool, a supreme man-child with his Masters of the Universe duvet. And he’s divine, just incredibly hilarious throughout; and, like Baldrick, serves as the perfect foil for his more duplicitous and cynical elder.

Donkey (Eddie Murphy, Shrek, 2001): animated sidekicks are very often the comic relief, and I’d argue that Murphy’s Donkey is as good as they come. I actually think Murphy’s prior turn as Mushu in Mulan is probably the better character, but Donkey is just a comic force of nature, a creature who exists only to make everything dafter and funnier. It allowed Murphy a chance to go all-out in a way he hadn’t on screen for quite some time, and it was something we’d rarely seen in animation (arguably only Robin Williams’ Genie is in the same ballpark). Plus, he actually is a good friend to Shrek, bringing out his better nature. Well done, Eddie!

Danny Butterman (Nick Frost, Hot Fuzz, 2007): another of those characters who really skirts the edges of “supporting comic relief” and is really a deuteragonist. But I feel like most of Frost’s characters in his partnerships with Simon Pegg are, essentially, supportive; Pegg is almost always the lead. In this film, despite Danny having some great development and functioning almost as a romantic partner for Pegg’s Nick Angel, he’s usually presented as a beautiful comic foil, his folksy, slobby demeanour contrasting perfectly with Angel’s straitlaced professionalism. And – for the second film in a row – he gets a tremendous C-bomb.

Luis (Michael Peña, Ant-Man, 2015): another comic fool, Luis is the silly, charming, endearing, loveable thorn in the side of Paul Rudd’s Scott Lang. He’s daft, yeah, and comes across as a bit dim, but his permanently-smiling demeanour means we just keep on loving him, even when we can see how annoying he would be. but what cements his position is his rapid-fire OTT explanations, and how the movie presents them; pieces of comedic joy in the MCU.

Cosmo Brown (Donald O’Connor, Singin’ in the Rain, 1952): Singin’ is one of those great Golden Age movies full of witty dialogue (as well as great songs, natch), and by its nature Gene Kelly is the lead and therefore straight man, whereas O’Connor’s Cosmo can be wackier and funnier, and in doing so get to the truth of what his friend is feeling. But what really gets him in this list is his performance of “Make ‘Em Laugh”, running up walls like he’s in The Matrix or something, and feeling like a Bugs Bunny cartoon brought to life.

Silent Bob (Kevin Smith, View Askiewniverse, from 1994): I guess you could argue that both Bob and his less-silent colleague Jay are, as a twosome, the comedy sidekicks in whichever films they’re in (apart from the two they headline, I guess); but if you take the pair on their own, I’d say Bob is the comic of the duo. Yeah, it’s Jay who’s the mile-a-minute loudmouth, cracking jokes and being explosively filthy. But who really gets the laughs? For my money it’s Smith’s perfectly-judged expressions, punctuating the pomposity or reinforcing the eccentricity of whatever Jay’s on about. And then every now and again he gets to speak, and delivers a great one-liner (“no ticket!”) or serious, heartfelt monologue (cf. Chasing Amy).

Semmi (Arsenio Hall, Coming to America, 1988): Semmi is supposed to be a loyal and devoted servant to Prince Akeem, and he is, I guess; but he’s also a true friend. Akeem’s quest to find love in New York is genuine, and despite the film’s high joke quantity, Eddie Murphy has to be relatively restrained in his lead role. Hall’s Semmi, on the other hand, gets to be acerbic, throwing shade and barbs at his lord, questing their quest and seeking his own share of wealth and, well, women. And we all love his line “you sweat from a baboon’s balls”.

Dory (Ellen DeGeneres, Finding Nemo, 2003): as discussed above, comedy cartoon sidekicks are a cinematic staple. They’re not often female, however, and even more rare is a female character who gets to be both funnier and seemingly dumber/goofier than the lead. Of course, Dory is full of pathos, a borderline tragic character whose chronic memory loss has a dreadful impact on her day-to-day life. It’s her sunny optimism (“just keep swimming!”) that makes her endearing more than her humour, however; and, of course, it’s this optimism that begins to chip away at Marlin’s (Albert Brooks’) flinty suit of armour. Funny, warm, makes our hero a better person, but can be a little bit sad – perfect comedy sidekick.

There are two that I’m annoyed that I couldn’t fit in so I'll mention them here: Carrie Fisher in When Harry Met Sally and Danny Kaye in White Christmas. In the former case, whilst Fisher’s Marie is hilarious throughout, and definitely comic relief when put alongside the relatively straight Sally, the fact that everyone, really, gets a lot of funny lines in what is a consistently funny film kinda knocked her down the rankings a little bit, even though I feel bad about it, because everything is always better if Carrie FIsher is in it, including these lists. Kaye’s Phil Davis in White Christmas absolutely steals that film from Bing Crosby, with fast-paced witty wordplay and some supreme physical comedy, and the running gag about how he saved the life of Crosby’s Bob Wallace is golden. But, I dunno, he just kept slipping down the list, despite being my favourite thing in that film. Sorry, Danny.

[1358456]

Review Response, Dec 22 - 28, 2019

“28″, but I’ll be including the reviews that came in this morning. Because hey.

And... there are a lot. The most this year.

Legacy Prologue - Kalos

1) That first part DEFINITELY reminded me of the XY chapter, except Y is being the Hikikomori (shut-in) and X is trying to drag her out... It’s a good role-reversal!

I also wanted it to be like the time in XY where Y found out what happened to her mother and she got super depressed. Except this time, X tries to do something about it. Finally.

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Legacy #008

1) LOVED IT!

Thank you!

2) Poor moon. I loved this chapter

Hey, it’s you! <3 Thank you kindly.

3) WoW cool chapter. So blue confessionele next chapter hopefully? Lol have been waiting on that for the entire story so Lets hope its the case

Haven’t we all. ... Except for those that don’t like this pairing...

4) It’s nice to see platinum trying to help blue move things was a good chapter with nice interactions with the juniors and seniors all under the same roof

It’s like a big Dex Holder family! ... But not too big, since there are far too many of them nowadays! And despite Platinum not really wanting to get involved, she helps out anyways, as “foretold” by the Headcanon Chronology!

5) While Moon really should rest, the idea of her getting that Spirit of Vengeance team you posted about on your Tumblr sounds way too awesome. ...Also Umbreon bias since it's my first (and only) shiny, but yeah.

Poor Blue - it really is probably only going to hurt her the longer she keeps it in. Wonder how that is going to play out, since I guess Platinum's now put things in motion. I think the first scene in this chapter is the one I enjoyed the most.

Damn, for Moon's Pokemon to die like that...that's gotta be traumatizing. I have to admire that determination though, even though she's shaping up to be a revenge-obsessed character from what I see.

Awesome chapter as always and can't wait for the next one!

Hehe. Spirit of Vengeance. The amount of curse in that team would be quite terrifying. Hehehe... ... Only shiny, you say? Aww...

Platinum has gotten the ball rolling despite not really wanting to. MVP of the confession? Hehe... Sisterly bonds, indeed. Now, will it work out in favor for Blue??

Moon can’t be filled with a lust for vengeance if none of her friends and Pokemon have perished. And so now she rises from her agony with ice cold determination for blood to be spilled for the blood that had been shed. ... Or does that saying go the other way around? Heh. Regardless. She’s pissed, has a bow, lethal poison, and soon to be a team packed with ghosts (and Dark types).

Thank you as always! And you won’t have to wait long~!

6) Eh lucky really isnt my cup of tea but the way you write stories is pretty awesome keep up the good work!

I could tell by the anon ID you picked. To each their own. And thank you!

7) Awww blue being so shy hahahaha. Its like the roles have reversed since the first time they met thats so cute! Anyway Great story as usual

Hehe. Timid Blue~! It’s new and very cute, isn’t it? And thank you.

8) Hey man Great story looking forward to the next chapter

Thank you. It’s coming very soon.

9) Wow this is A really underrated story I really like how you keep most characters so in character!

Still underrated... in comparison to my previous stuff. But that’s to be expected, I guess. And thank you.

10) Well Colour me surprised ! A Pokemon story thats not forcing crack pairings! Anyway Where is green in this story?

Heh. Crack pairings... Only once in a solar eclipse. And... who? Heh. He’s in Kalos and thus off screen.

11) Wtf did moons Pokemon just die? Great story but damn thats fucking dark

Yes they perished in the fire. “Die, insect” and all. ... And one of them was an insect! Heh. Ahem. ... Dark? That’s not dark. Have you seen the stuff I did in SA and Destiny? Heh...

12) I mean I kinda like the story but isnt specialshipping canon? Also this is really really dark

No, it’s not canon. What is canon is that Yellow has a crush on Red. What’s also canon is that Red is uncomfortable with the idea. And of course he is. He thought she was a guy the whole time and then suddenly found out all at once that she was a girl and had a crush on him. His response is not going to be positive. And again, this is not dark. ... Though I guess that depends on your sensitivity.

13) hey sorry for not leaving A review for so long but I still really like the story lol!

Hey, you’re back. ... Then... who’s the anon with the v2 of your ID?

14) I love your writing style!

Thank you!

15) I somehow found Pearl smacking Black across the face to wake him up funnier than it should’ve been. Haha

I wonder if Blue really will confess to Red today. If so, I wonder how the opportunity would present itself.

Its quite sad that Hau, Lillie, and two of Moon’s Pokemon died. I guess this is where Moon’s overhaul comes in. I cant wait to see Moon’s viciousness unleashed when she inevitably meets the guys responsible for all that.

I look forward to more!

Hehe. Black always getting smacked around in my stories, literally and figuratively.

Will Blue truly confess on that day (which is a day before the stuff in Alola happens), or will she fail again due to anxiety? And will it end well for her??

Moon’s overhaul is happening now, yes. For that, she’ll have to go to Galar too. And I don’t know sh*t about that region, so... that’ll be difficult. Hehe. And much later in the story when she meets her foe... oho, Rage Unleashed Moon!

16) Moon and Lillie sure get burned really bad. Also, what about the kid with the malasadas? Hopefully, Blue will confessed to Red soon...

The local boy with the malasada had the same fate as Lillie. Two stretchers with a body on top, with the white blankets pulled all the way up.

17) I figured that now would be the best time to give a review for one of your works. therefore, I should review my personal favourite.

I been a consistent and long-time reader for numerous years now without ever leaving a review. I simply didn't have an account until recently just so I can give my thoughts on some of the series that you make.

Regarding Legacy as a whole, it truely showcases your ability to take the wide variety of dexholders and thiee different personalities and place them in situations that would absolutely never occur in the actual story. I have always loved the way you portray each individual character, improving thier teama and strategies and having genuine character growth. Although Sun and Moon are my uncontested favourite characters so far, I adore the way you use Platinum B in your stories, giving her a genuine personality and character traits.

You also generate a wide range of different and creative settings for each of the characters to go through. Legacy is the perfect example of this in terms of one truely coherent story setting. by using the opportunity of the highest stakes that these dexholders may ever face, you use the opportunity to explore all of the aspects of each character amazingly and how they would face this danger.

Since Sun and Moon are my favourite characters, the wait for this chapter absolutely killed me. Although it sucks that due to the lack of reviews for these characters I will get few opportunties to read your way of presenting the characters What I am trying to say is that the way you write your characters makes them feel REAL. I genuinely believe that these are the actual characters as they personalties are replicated and refined to perfection The way both Sun and Moon react in this chapter is exactly the way I would have expected them to. Being a Deliveryshipping day 1, seeing even the slightest interactions in any media, especially in your stories always brings joy to me. I have regulary reread most of your works such as Special Chronicals and Distinct Events becuase each story is chapter is amazing in its own right.

Your amazing work has inspired me to possibly start my own project one day. I am sorry for the stress that you have gone through this year and the issues with the Discord. It will get better this year. Seeing as you use reviews to indicate the popularity of a particular series, I had to write this review so that this series can get the update it deserves so that we can all see how this fantastic story ends. Thank your for all of the amazing work you have done.

Whoa, hello. Haven’t gotten a review this long since a certain someone stopped with Destiny reviews back in July.

Accounts aren’t necessary for the reviews. Guest reviews exist! And if you use the same anon ID, I’d know it’s you. But thank you for going through the effort! It’s much appreciated!

Aww, thank you very much! <3 And while I don’t know about Sun, but Moon is going to be in the spotlight quite a lot, so enjoy it! Since Platinum is my uncontested favorite, she gets plenty of development in my stories, with new character bonds, teams, battling style, etc. And unlike in DPPt, she actually gets to do things against the enemy.

Of the three major stories I’ve written (SA, Destiny, Legacy), Legacy has the lowest stakes. But I think it’s also the most personal, which I guess means it’s much more important for individual Dex Holders. Well, we’ll see as time passes. And yes, these are kind of things that would never happen in the actual arcs, so the Dex Holders get to be stress-tested. How would they react given their personalities, tics, relationships, etc, in a realistic situation?

Oh. ... Ahem. Sorry for making you wait 7 months. Ehehe... And while it’s true that Sun and Moon currently have the lowest “viewership”, that changes as time passes. Like Black and White in SA and X and Y in Destiny. As the “meh” torch is passed down to Sword and Shield, Sun and Moon might rise in popularity, thus increasing the chances of them appearing in my stories.

I don’t really know if this was how Sun would react though. But I also don’t know how he would’ve actually reacted, so this might not be outside the possibility range. I kind of had him act like Black, really, but without being as sweet... or loud. Well, there will be more Sun & Moon interactions for you to enjoy in the upcoming chapters, so... there you go!

You should start your own project! Go for it! And eh, Discord. Sh*t happens. I wouldn’t call that stress. Anyways. Yes, I use the review count as an indicator of how many people have finished the chapter. Of course, there are plenty of people who read the chapter to the end without reviewing, and the number of people who review after reading tends to fluctuate. But if there is a trend, that indicates a trend in viewership as well. And that is what I look at. Hence the charts. And yes. We’d all like to see how the story ends. Me included. Keep up with the reviews and we’ll all see it by 2021.

And thank you so much for the review and the... sweet talking. Hehe <3

18) Just found this story and am enjoying it thoroughly. Big fan of your Blue characterization as well, I used to enjoy shipping Red with Yellow, but recently, I've come to enjoy Blue with Red.

A small nitpick - Did none of the juniors comment on Red and Blue sleeping in the same room/bed while they stayed in Red's house in the last two chapters? I would assume the female juniors already know Blue likes Red and so won't say anything unnecessary, but I guess the guys are a little more tactful than we give them credit for?

Looking forward to me. Cheers.

Red with Blue works very well. And it’s cute! Hehe... ... biased.

Heh. The girls... already know, since the girls who are in the house were Platinum, White, and Y, and they already know of Blue’s crush and all that. So White and Y would just snicker at the fact that Red and Blue are sleeping on the same bed, while Platinum would just smile. As for the boys... Diamond might notice something if he spent more time talking to Red and Blue before and after. But I doubt Pearl or Black would notice anything odd. They’d probably just assume that Red and Blue are sharing the bed because a ton of guests were sleeping in the living room, so there were no other options.

Of course, all that’s assuming that the juniors know that Red and Blue are sleeping on the same bed. I don’t recall having Red and Blue give them a tour of the house, so as far as the juniors know, there might be another bed upstairs. ... Though a house tour is generally the first thing you do, but... heh. Ambiguity. No one knows for sure.

And I look forward to seeing more reviews from you!

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Well well. Would you look at THAT. Way above the average now. So... looks like I’ll have to keep my word and update Legacy again before this year ends in 3 days. Heh. Of course, I did notice a few things but... well... whatever.

18. That’s the most reviews I’ve gotten in a chapter in all of 2019. Or 2018. ... And vast majority of 2017 (Legacy Prologue - Kanto was in January 2017). If this kind of thing happened much more frequently, I would be updating Legacy like once every two weeks, instead of 3~4 times in a year.

But, there you have it! New record in almost 3 years. As a result... Legacy update in 3 days.

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DE #031

1) Sun and moon are so cute. I love them

Support the new...ish pairing!

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And with that, DE #031 is no longer in the top 4 least reviewed. Yay!

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SC #017

1) Awesome story.

Thank you.

2) Well that was...brutal alright. Thugs deserved it though. I'm mildly surprised no one died, but I think that's more because I'm used to seeing that from your old "doom hammer" chapters.

I admit the Santa part was an amusing touch, and I guess that explains why you needed to release this by the end of the year. Heh, Blue's gadgets are useful as always and very effective - that's a nice disguise. That action scene was awesome and easily the best scene in this chapter. The situation aside...it was nice to see Red be a hero even without his Pokemon.

You were right - this is an enjoyable chapter and I like this "brutal Red" experiment. Can't wait for the next chapter!

Heh. The doom hammer is for serious stories. Not comical ones. So no one dies in the hands of Santa Claus. This time.

Ahem. Well, there’s the inspiration for the chapter, and the reason behind the line of “Or Santa will go jolly on your naughty asses with a candy cane axe”. Hehe. Cheers, everyone, Santa has come to town!

And the duo of Red and Blue becomes much stronger. Mercenary Red with technological support!

Hehe. Much more serious brutal Red (instead of comical) to come up later as the experimentation continues. Ohoho!

3) holy crud, santa beating up a gang is greatest thing ever

Yep. Santa going to town on their naughty asses with a candy cane bat. What’s not to love?

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And with that, the latest SC chapter is now in the top 4 least reviewed. For now?

... Looks like the “A Day at Work” chapters are failing miserably, since they’re at 1 and 3 reviews respectively. So... I guess I won’t be doing that again.

And with this, the longest review response post of 2019 has come to an end.

[bethkerring]

10 Tips on Writing Asexuality

It’s been a long, long twelve years since I first realized I was asexual.

I’m one of the fortunate ones that realized my lesser-known orientation without having to go through years of confusion, uncertainty, and experimentation (because while some might enjoy that, I can pretty much guarantee I wouldn’t have). I was fourteen when I first came across the term and thought it might apply to me, and shortly before I turned fifteen, I officially claimed it as my own.

A lot has changed since then. When I first came out, there was almost nothing out there for asexuals. There was the AVEN website, a few blog posts, and even fewer YouTube videos, but the word basically didn’t exist in common knowledge, even among people who identified as LGBTQ+. Any fiction that included ace characters was almost exclusively unconfirmed, and left up to fans to compile lists of evidence that a certain character was probably asexual—which was usually ignored by the majority of fans, who wanted to see the character in sexual situations, and often later brushed aside by the creators.

Now, asexuality is more and more recognized by the popular media and the general public. Visibility is still lacking, but we’re recognized by major LGBTQ+ organizations, represented (to a small extent) in Pride events, and increasingly represented as characters in TV shows, books, movies, etc. I’ve even found random strangers recognizing the asexual pride button on my purse—and I live in the Bible Belt.

And it’s a great feeling. Every time I see another ace character in popular media, I get a little burst of joy to see someone like me—at least in this one way, if not in others. I’m especially glad to see good representation, especially after years of representation that was questionable at best (Sherlock still comes to mind) and harmful at worst (does anyone remember that episode of House?). I’m also thrilled to see that non-asexual people are really interested in doing ace representation right and are reaching out to asexuals to get their take on what they want to see.

So I thought I would include my perspective on writing asexual characters, because frankly, everyone’s experience and viewpoint is a little difference, and I hope this conversation continues with as many diverse voices as possible.

I hope these tips are helpful and make you at least a little more confident about including ace characters in your own work!

1. Watch out for stereotypes, but don’t throw them out the window. This is almost certainly confusing, so let me explain: I often see people try so hard to avoid stereotypical traits in asexual characters that they forget that aces are incredibly diverse. Yes, not all asexuals are aromantic, but some are. Yes, not all asexuals hate close physical contact, but some do. Yes, not all asexuals are shy or socially awkward, but some are. Yes, not all asexuals have seventeen cats, but some do. Yes, not all asexuals are repulsed by sex, but some are. And the list goes on. You should absolutely be aware if a character trait you’ve chosen is stereotypical, but that doesn’t necessarily mean you should avoid it, especially if you have more than one asexual character. Be aware of it, but focus on writing a well-rounded, realistic character over avoiding every stereotype in the book. No matter what trait it is, if you’re writing it well, chances are good there’s an asexual out there who will empathize with it.

2. Keep intersectionality in mind. Though, as I said, I’m absolutely thrilled to see more ace characters in media, I know there’s still a desperate need for more diverse examples of asexuality, especially those that take into account how people of different races, genders, abilities, national origins, religions, and ages—among other things—experience their asexuality. A man does not experience asexuality the same as a woman. A white person does not experience asexuality the same as people of other races—I can’t list them all here, but from what I’ve seen, every racial identity comes with stereotypes and prejudices that interact with asexuality differently. Someone’s religion might affect how they view their asexuality or how they’re viewed by their religious community, and someone’s asexuality might be brushed aside if they’re “too young,” “too old,” or have a disability. Personally, I am an able-bodied American white woman, so I can’t say a lot about this specifically, but please do your research on this aspect of their experience just like you would any other. It might not be what you’re expecting.

3. Don’t make asexuality their defining trait. Unless someone is an asexual activist (and these are valid characters!), and even if they are, they’ve probably got quite a few aspects of their life that have nothing to do with their orientation. An asexual doesn’t spend all day every day thinking about the fact that they don’t experience sexual attraction. It is, after all, the lack of an experience rather than the presence of one, and is therefore less likely to draw their attention at any given moment. Contrary to some people’s belief, asexuals don’t necessarily have “oodles of free time” since they don’t spend it thinking about sex—but they do have other things that interest them. They are full human beings, just as complex as anyone of any other orientation, and as a certain lesbian character from a TV show I’m fond of once said, “My sexuality is not the most interesting thing about me.”

4. Remember that there are many ways to “humanize” a character without giving them a love interest. This is one of those topics that isn’t exclusive to stories with asexual characters, but is still relevant to them. All too often, I’ve seen characters who seem cold, inhuman, or heartless made more “human” by falling in love, as if the ability to feel romantic and/or sexual attraction is what makes them “not a machine.” This idea goes back at least a century, to Arthur Conan Doyle stating that Sherlock Holmes was “as human as a Babbage’s calculating machine, and just as likely to fall in love.”

Let me make this very clear: a character is not inhuman because they don’t feel romantic or sexual love, and a character is not especially human simply because they do feel these things. Even if your character is not asexual, please don’t make the one thing that “humanizes” them be romantic/sexual attraction—and in the case of asexual characters, please don’t try to “humanize” them by giving them a romantic interest. Yes, asexuals can be romantic, aromantic, or anything in between, but romantic asexuals are no more human than aromantics. There are so many other ways to humanize someone: strong platonic attachment, caring for animals, passion for a social cause, love for the environment, and countless other possibilities. Obviously it’s completely okay for romantic or sexual attraction to be one of these things: but please don’t make it the only one.

5. Think about how they discovered their orientation. Even if your character has known they’re asexual for 50+ years, unless your story takes place in some great fictional society where non-straight orientations are openly welcomed and accepted as normal, how they figured out their asexuality is probably going to affect them—as well as when they figured it out. I discovered my own asexuality in my early teens, but I’ve seen people who didn’t discover the term until they were senior citizens, having felt alone and out of place their entire lives with no idea why. If they discovered it recently, especially after a long time of not understanding themself, they might still be figuring out exactly how they define their own identity.

6. Consider asexuality in the context of your character’s environment. Small-scale and large-scale. Where your character grows up and what environment they live in during the story makes a huge difference on how their asexuality is expressed, and this is true whether you’re writing historical fiction (where views of and experiences in asexuality are obviously very different) or whether you’re deciding if your character’s family is supportive. There’s an enormous spectrum of variation in this, so I won’t even try to go into the details, but keep in mind that whether your character is out, what sort of prejudice they face, and how they feel about their own orientation will all be greatly affected by the world they live in and the people they know.

7. Asexuality is not an illness—but that doesn’t mean life experiences can’t affect it. Remember the House episode I mentioned? For those that never saw it, the patient-of-the-day was an apparently ace woman, married to an apparently ace man, who goes to see Dr. House. House is convinced that no human could possibly be asexual, despite another character, Wilson, mentioning research validating the orientation. In the end, House discovers that the man has a brain tumor suppressing his sex drive and the woman has been faking her orientation to stay with her husband.

This is … extremely problematic for what I hope are obvious reasons. This led to a lot of families and friends of asexuals, who had previously been supportive, suddenly worrying that their loved ones had brain tumors. Obviously, if there is a genuine reason to suspect a medical issue (such as a sudden disappearance of sexual interest when it existed before), one should consult a doctor, but this episode presented only two cases of asexuality, one of which was “just an illness” and another of which was a lie. This led viewers to the same conclusion that House himself reached: that no healthy human being could possibly be asexual.

This is a very bad example of asexual representation, but it’s also worth mentioning that there are asexuals who view their asexuality as being affected by their life experiences, a specific diagnosis, or even a chronic illness, and as long as you do research beforehand into what sorts of experiences can contribute to someone’s identity, and don’t try to “cure” that character’s asexuality as part of your story, this is okay. Ideally, include more than one ace character as a way to make it clear to your readers that experiences differ, and that all roads to finding one’s identity are valid. Sexual orientation is unlikely to change and can never be “cured”—since it’s not an illness in itself—but that doesn’t mean the environment can’t affect it.

8. Exploration and questioning is okay. I also want to emphasize that it is completely okay to have a character that is questioning their sexuality, and either later decides that they are ace or decides that they are not ace. As long as asexuality is treated as a genuine orientation and not just a “symptom”—and again, ideally, more than one ace character is included at least briefly—a character realizing that asexuality isn’t the right identity for them, or only realizing such after exploring other identities, is fine. As mentioned above, the House episode did this very wrong, but as long as you are not “disproving” the asexuality of the only two ace characters in the show—especially when it’s disproved by a guy who believes asexuality is impossible/inhuman—and you are sensitive and respectful, I think this can be done without causing offense.

9. Remember that ace views of attraction can be different than non-ace views. Much of society (at least Western society) seems to lump all attraction into one form: sexual and romantic combined. As asexuality gained more visibility, the idea of romantic and sexual attraction existing independently became more popular. On top of this, other types of attraction got more recognition: for instance, strong platonic attraction (like a non-romantic crush), sensual attraction (the desire for non-sexual physical contact), and aesthetic attraction (the attraction to the physical appearance of a person or object, but no desire for interaction). Note that this isn’t an asexual-exclusive experience, and a story definitely doesn’t need ace characters to explore these topics: many non-aces do experience these varied types of attraction, but haven’t had as much context to recognize or explore them. Asexuality, in recognizing that there are human beings with no sexual attraction, helped open the door to these ideas, but they have always existed. And even though this doesn’t necessarily relate to ace characters, I think it will go a long way to helping asexual experiences of attraction be better accepted.

10. Asexuality is a spectrum, and it’s more than okay to write all along it! I’ve been referring to the most general idea of “asexuality” in this post—probably because I fall completely in that category—but asexuality isn’t as simple as that, and the line between “ace” and “non-ace” isn’t so cut and dry. “Grey-asexuals” are a big part of the ace community, and their experience is both similar to and different from people who just identify as “asexual.” There are also demi-sexuals, who feel sexually attracted only once a strong emotional connection has been formed—and yes, these people deal with a lot of the same issues as asexuals, though of course, many parts of their experience are also unique. Keep this spectrum in mind as you’re writing your characters, even if you do end up writing someone who just identifies as “asexual.” It’s important to remember that the spectrum exists, if only because it’s a reminder that all of us, ace, non-ace, or anywhere in between, are part of the same immensely diverse gradient, instead of simply black and white.

Original post on my website.

[prevsapphism]

make chronically ill characters you tepid fools.

another Interesting thing i’ve noticed in my time on here in the rpc is that the rpc is mostly peopled by able-bodied characters. in my almost decade ( Lorge Yikes ) on this site, i’ve only seen two ( 2 ) Actually Disabled characters. in all of the hundreds of thousands that exist or have existed here. two. Count Them. Two. 

i’ve also noticed, in fic, when characters are disabled, they usually seem to have their disabilities ignored or erased ( fanon alana bloom, anyone? she was pushed Fairly Violently out of a window? and most fanworks of her have her Completely Upright And Fine as though the injury were very minor and not. You Know. Life-Threatening? ) or, we serve as Inspiration or a Sad Pitiful Comparison to make Shiny Ablebodied people look better. ( looking at you, fanon charles xavier. ) if i didn’t know any better, it would seem as though the rpc is doesn’t want to write disabled characters because they find us repulsive, cumbersome and generally gross and undesirable. 

but since so many of you don’t know what ableism is when it’s not right in front of you, i’m going to be nice, give you all the benefit of the doubt and show you how to write us better.

first of all, you, the presumably abled writer and / or character, need to heed these four ( 4 ) factors before i continue:

please remember your character is disabled. i can’t tell you how many times in fanwork that i’ve seen disability acknowledged once and never come up again, which is especially disrespectful to real live disabled people because we don’t get to forget. neither should you lmfao.

disabled characters are usually written with very little or no insight into the disability itself, which makes for a shit portrayal. this post should not be your only character building source for disability. as you should with every other foray into a subject you’re unfamiliar with, do ya research and do it thoroughly. i’m not saying look at medical textbooks five hours a day, but don’t just spend five minutes on webmd and then call it a night holy fuck.

if you have a Gasping Need to make your disabled character exist alongside an abled one and have them ( the abled character ) look better, do it, i suppose ( sarcasm, ) but think about where your decision for making them disabled comes from and why you want to do it.

don’t use person-first language. don’t use person-first language. don’t use person-first language. don’t use person-first language. don’t use person-first language. your character does not have a disability, ( ie they’re not a ‘person with ____,’ ) they are disabled. they are a disabled person. disabilities aren’t some Wicked Cool Limited Edition Skin you get in your Human Person Loot Box that you can take off whenever you want. they are very often integral parts of our identity and you demonstrate a very superficial knowledge of what disabilities actually are when you phrase them this way.

but queen morgaine, how am i going to make my disabled character good and compelling? fear not, reader-- here is a list of disability and chronic illness things you can and are encouraged to apply to your character to make them more realistic and nuanced!!!!!

able-bodied people can and are encouraged to reblog, other disabled people are enthusiastically encouraged to add on. 

sleep. sleep is a very loaded subject in disability. a lot of us, like those with fibromyalgia or chronic fatigue, sleep a lot. being incapacitated by your own Flesh Enclosure all the time saps so much of your energy you Would Not Believe. we also very often do not feel Refreshed or Energised when we wake up because of our pre-existing conditions. we sometimes take naps in an attempt to assuage our fatigue, but they’re usually hit or miss-- i like to say that We Do Not Take Naps, Naps Take Us. on the other end of the scale, a lot of us don’t sleep at all or sleep very little because our disabilities keep us from falling asleep for long stretches, whether it be from being in pain, being sick, or being Overall Uncomfortable. here’s how this could look in your disabled character:

cancelling plans to take a nap or lie down.

leaving plans early to take a nap or lie down.

erratic fatigue-- not being tired when they should be ( ie in the middle of the night ) but being overwhelmingly tired the next day. 

like i said, not feeling refreshed, or even more tired when they wake up.

feeling pain in their sleep.

sleeping an entire day or very long stretches.

being kept awake for long stretches by their illness. 

physical aids. this isn’t a given for every disabled person, but i’m putting it here because characters that are disabled don’t often have them in fiction. for openers, they should absolutely be portrayed in a positive, or at the very least neutral light. most of us irl are happy to make our lives easier as much as we can, so it doesn’t make much sense to have them suck in fiction. ( except for . You Know. Ableism, but like i said. benefit of the doubt. ) a physical aid can be as simple as a fidget toy that keeps us grounded in our brainfog or something as complex and noticeable as a service dog or a wheelchair. here are some ideas:

Ever-Present water bottles and especially electrolyte drinks like gatorade, vitamin water and my Personal Favourite, sobe lifewater ( not sponsored. ) very useful for those of us with vitamin imbalances, or those of us with pots or vertigo that makes getting dehydrated very easy and very unpleasant.

also taking supplements in or with our food for these deficiencies. 

canes!!!! canes!!!!! canes!!!! canes!!!!! especially on younger people!!!!! people under 40 use canes!!!!! give us cool canes!!!! give us canes that match what we’re wearing!!!! give us canes that fold up to fit in our bags that we carry round all the time!!!!! give us canes!!!!!

service dogs!!!!!

crutches!!!!!

meds we carry round all the time!!!!! i know very few chronically ill people that don’t take meds throughout the day or at least once!!!!!

also, if your character uses mobility / household aides or prostheses etc they'll need maintenance or replacing at some point! maybe even multiple points!

variability. chronic illness is an extremely mutable subject. this means a few things-- one, our range of ability, whether it be mental effort, physical limits or otherwise differs from day to day. sometimes even from hour to hour. two, our ‘okay’ or ‘personal best / Weekly High Score’ may not match up with your ( able-bodied ) ‘okay.’ your ‘did okay today’ may mean ‘went to class, did homework and tidied desk,’ but our ‘did okay today’ may mean ‘changed our clothes and / or took a shower’ or ‘ate [ a decent ] lunch.’ and that was The Most we accomplished all day. chronic illness saps all your energy and your motivation. this is especially important if your character is mentally ill as well. this also means that some of us can go out dancing one night when we were bedridden the day before, but going down a long flight of stairs the next day or earlier that day can be too much. anyway here’s how this can look:

like i said, getting excited about or talking about their Little Victories to other people-- how they ate breakfast, washed their clothes or hair, looked after their pet, and that was it. ( please congratulate us / them for these, by the way. it means a lot. )

being able to do one thing but not another, like being able to clean a set of dishes or walk a dog, but not being able to walk four blocks or clean a bathroom.

conversely, being fine earlier, but not being all right now-- like being pretty okay with walking four blocks, but feeling terrible an hour, or even ten minutes, after and being in too much pain to walk. 

getting too hot and needing to go somewhere to cool down, or being really cold and needing a sweater within a very short time period.

being nauseous from not eating or drinking but being too nauseous to eat or drink.

new symptoms or issues popping up out of nowhere or periodically-- ‘oh shit, my hips are aching again. what have i done now.’ ‘great now i have headaches for some g-dforsaken reason. are you kidding i only get those when its cold.’ ‘uGh why the fuck am i shaking all over? i thought i stopped doing that!!!’ 

appearance. many of us have the energy to keep up with a personal style or Aesthetic. some of us don’t. this is kind of self explanatory, but here’s how it could look in your character: 

wearing the Lowest Effort outfit-- a shirt, some leggings and a sweater.

wearing a Really Nice Outfit, but having their range of mobility for the day compromised due to having to set aside some energy to look nice.

not combing or brushing their hair.

messy living spaces. we don’t have the energy to be tidy all the time. we barely have the energy to get out of bed most of the time. your character should probably follow suit.

The Medical Debacle. doctors can often do chronically ill people more harm than good. a lot of us are treated as Medical Mysteries™ due to having rare illnesses or having symptoms that don’t make sense, whether it be because they conflict with other symptoms we have-- for example, it took, and is taking, ages for me to get a proper fibro diagnosis because i’m chronically anaemic and have a fluctuating but pervasive eating disorder as well, so it’s very hard for medical professionals to distinguish which illness is causing what. Or Something. also, a lot of our insurance companies may not cover certain procedures or meds, which we often learn by surprise when we go to get checked out or treated. doctors can deliberate on giving us a diagnosis when everything we’ve told them we have matches up with that illness because it doesn’t ~fit us~ or some bs as well. they will also suggest or prescribe things that we’ve already tried and don’t work ( i can’t tell you how many of my hypermobile friends have been told to try yoga. ) sometimes we have to Actively Battle for certain types of treatment or for a certain diagnosis. here are some more examples for characterisation. 

health scares that end your character up in the hospital.

multiple urgent care, doctor or hospital visits.

having to fight for or argue with a doctor for a diagnosis.

The Hospital Smell. You Know The One. we have nightmares about this smell.

ambient Hospital Noise in a setting. 

The Debt They’ll Rack Up for being in and out of the Medical Circut all the fuckening time if they don’t have good insurance. sometimes even if they do. Chronic Illness Is Magic. 

your character’s meds getting switched round a lot while the doctors try to figure out what they have and their reaction to those meds.

getting annoyed with ( a ) doctor( s ) for not diagnosing them with something they know they have or not prescribing them a treatment they know they need.

your character getting an mri or some other screening / evaluation and getting a wrong diagnosis that’s much worse than or not enough for what they actually have.

your character not having a diagnosis at all or having their symptoms overlooked and being frustrated about it.

some nice touches you should also include in your characterisation:

please consider making your character the protagonist of their story. so often we are sidelined and eclipsed by abled characters, so it would be very much appreciated if we got to drive the narrative for once.

a lot of us are mentally ill as well-- i can’t think of a single one of my physically ill friends who isn’t neurodivergent too. please consider making your physically ill character mentally ill, or even autistic, in combination to their physical illness. a lot of us are also self-deprecating to cope with all that we go through every day, so a few jibes at themself every once in awhile is good to include in your character too.

disabled people date and fall in love. aro rep is well and good or whateva, but ( head )canoning a disabled character as aro is not at all revolutionary in any respect and it contributes to the Undesirable Cumbersome stereotype you want to stay away from.

Disabled People Have Sex. we often have to have sex Around our disabilities, ie circumvent them before, during and after sex, But We Have Sex. ace rep is well and good or whateva, but making a disabled character ace is not revolutionary and again, makes us look incapable of being worthy of sexual desire, as well as having pretty Nasty Implications overall. disabled. people. have. sex. i encourage you to make your disabled characters have sex.

don’t make your supernatural monster character disabled unless you make your monster’s disability and their Monsterhood mutually exclusive, and better yet don’t do it unless you have a good disabled character too. it reinforces the stigma that disabled people are to be ostracised and othered for something we can’t help. your monster is not a monster because they’re disabled, your monster is a monster because they eat people or whatever the fuck.

Anyway Thats It Bye send me an ask here or over at @trustawitch if you have any questions and @ me or send me an ask here or trustawitch if you end up making a disabled character! i’d love to see them!! xoxo

[lilaswordsandthings]

Terminal/Chronically Ill Characters in Literature & Media (A Writer/Survivor’s Perspective)

As someone who has struggled with chronic health issues and has also lost friends and family to variations of the same condition I was born with, characters that are like me and my loved ones, and relationships similar to those I had with the people I’ve lost are something that I naturally gravitate towards and pay particular attention to. However, I find that it’s so rarely done well… so let’s talk about it.

 For the structure of this post I’m going to be talking about 4 examples, two bad examples, and why they’re so flawed, and two good examples and what they got right that the others didn’t.

 For some reason, writers seem to find it difficult to pull off a (main or important) character with a chronic or terminal illness, especially when that character has some kind of relationship with a character who is either healthy or somehow medically better off.

 Usually, what we get are things like Me before You (I apologize right now to anyone who enjoyed that book/movie but I really didn't) or Everything, Everything by Nicola Yoon, (which I liked but I still feel like it was a bad portrayal of what I'm talking about).

 Now let me fully explain why these portrayals fail epically.

 In Me Before You by Jojo Moyes the character William has been severely and permanently injured and is now wheelchair bound. He also wants to die. Yes, you read that correctly, this character has literally given up to the point where he can’t wait to just end it and there is no amount of effort by those who care about him that can convince him that his life is still worth something. This is problematic for a couple of reasons but firstly because he’s a horrendous example for anyone who either has been injured that way or knows and cares about someone who has. Secondly, he’s a total 100% STATIC character. His outlook doesn’t change in this story, at all. At the beginning he wants to die, and by the end the people around him have given up trying to change his mind. I mean, I get that he’s not really the main protagonist here, Louisa, his caregiver/girlfriend is, but that actually makes it worse! Not only do we have a completely static secondary main character; but we have a defeatist protagonist who literally gives up trying to save the man she supposedly loves. What kind of thematic message was the author trying to send here? I just…can’t get over how messed up this is…

            Now, as I said above I personally enjoyed Nicola Yoon’s novel Everything, Everything and its film adaptation. However, I did have issues with it in terms of this topic for several reasons.

 1.      Bad research. This was largely corrected in the film (or at least glossed over enough that it wasn’t really noticeable) but the Main Character Maddie’s illness, as described in the book, is not SCIDS (Severe Combined Immune Deficiency Syndrome), they tell you she has SCIDS but in terms of what they’re actually describing? It is actually presented as matching an even lesser known disorder called Mass Cell Activation Syndrome. When I first read it I tried to rationalize it as (spoiler alert) being that Maddie’s illness isn’t real and is a figment of her mentally ill mother’s mind, her mom can make up her own rules and boundaries in terms of Maddie’s condition and this was yet another subtle hint at the hidden truth. However, honestly, I don’t think the quality or accuracy of the book lends itself to Yoon pulling that off quite this well if that’s what she was going for; and it’s a shame.

 2.      She’s not really sick! This goes off of my last point but the fact that she turns out to have been fine this entire time cheapens all the drama and risk that came before that revelation, including her relationship with the novel’s male lead, Ollie. Which is why it’s a terrible portrayal of that kind of relationship, because the barriers and hoops they have to fight their way through to be together just *poof!” disappear. That’s not life! Since Mass Cell Activation Syndrome can appear and/or change at any moment and spontaneous recovery is at least theoretically possible, we really could have had something if Maddie had actually had the condition that was actually described in the book and you know, really had it at some point but then her mom kept it going because she’s incredibly paranoid and not right in the head. Sadly, however, no… that’s not what we got.

 This lack of honest and positive representation for people with chronic illnesses, the spectrum of form and severity even a single condition can take, and the relationships between the chronically ill and those with a different health status than them, fortunately, is beginning to improve. Two of the best recent examples of this that I can think of are John Green’s novel The Fault in Our Stars, and the Manga Your Lie in April originally created by Naoshi Arakawa and brought to life on screen by A1 Pictures and the stunning voice talents of both the original Japanese and English dub voice casts.

 The Fault in Our Stars by author and YouTuber John Green is a beautiful story about two friends turned lovers who find meaning, support, safety, and even hope in each other when the universe seems to be conspiring to take everything else in life away from them, because well…cancer can do that… I loved reading and watching these two interact and the best part about it is that neither is defined by the hand life has dealt them, it has profoundly affected who they are and how they see themselves and the world, as of course, it would, and it continues to throughout the novel. However, we always see this in the context of who they each are, it never becomes who they are. That balancing act of being honest about what situations like that do to people is what is missing from so many works that attempt this kind of story and this is a great example of when it’s done right. There is, however, one that I feel is even better.

 Your Lie in April originally written in manga form by Naoshi Arakawa is easily my one of my favorite series of all time and is probably the best example of chronic illness/relationships. Let me explain why.

 Plot Summary

 For those of you who haven’t seen/read it, let me give you a ballpark idea. Kousei Arima was once a competitive pianist and child prodigy, trained, brutally, by his abusive and terminally ill mother. Once a great pianist herself, she is now weak, wheelchair-bound, and running out of time, so she brutalizes her only son mentally, emotionally, and physically in her rush to train him to play the music exactly as written, knowing that this will allow him to succeed on the competitive scene and thereby support himself after she’s gone. Soon after his mother dies Kousei suffered a breakdown under the pressure and after that day, gives up music almost entirely until he meets the beautiful and vibrant Kaori Miyazono. Who is a violinist but plays with a freedom and grace that Kousei has never seen before, and it is her constant prodding that brings him back to the stage. Kaori however, has a secret. She has been diagnosed with an unnamed terminal illness that, as the story progresses, gradually robs her of her mobility and coordination and becomes an increasingly prevalent threat to her life.

 Kaori is where this story really shines in terms of our topic because her journey with her illness is among the most human and genuine portrayals of a situation anything close to hers, that I’ve ever seen. For a few reasons:

 1.      Kaori is more than her illness. Again, we see how her illness has affected who she is and how she sees the world and her place and purpose in it, but it is never her defining feature. We also see who she is apart from it, her love of sweets, her upbeat and freewheeling personality, and of course her obsession with music.

2.      How she copes: She’s had this illness for most of her life but the gravity of her situation doesn’t really sink in until she’s thirteen or fourteen and catches her parents crying in the hospital waiting room. To quote the Anime: “That’s when I realized I didn’t have much time.” And the moment she realizes this, she hits the ground running, determined to make the absolute most of every minute she has left, so that she can die with as few regrets as possible.

She doesn’t run from her illness, she keeps it from her friends until it becomes obvious for their sake, she fully accepts the reality of her situation and does what she can to make the best of it. This includes wanting to do something good for someone that’s going to matter, in the form of dragging Kousei out of his emotional funk.

That said, she’s not an angel by any means. She doesn’t suffer in silence the entire time, there are moments even before her friends find out that we see the cracks in her façade. We see her cry, and lament, and break down, and towards the end even start to give up. Even then though, unlike in Me Before You she doesn’t give up to the extent that she’s unreachable, all it takes is a kick in the pants (not literally) from Kousei and she renews her will to fight and go on as long as she possibly can. To quote the anime again: “Maybe I’m just greedy, but I want to dream again.”

3.      The Ending: In the end of course, Kaori dies, the show takes a no holds barred realistic approach to the situation, there’s no miracle cure, there’s no misdiagnosis, nothing to save our heroes from the inevitable tragedy that will tear them apart. Unfortunately, as I know all too well, such is life. In life sometimes there are no magic answers, no way to save the day, only the harsh reality to swallow. The fact that this series was willing to attest to that, just makes it all the better.

4.      Kaori X Kousei: Over the course of the story we see Kaori and the progression of her illness mainly through Kousei’s eyes and the tumult of emotions he goes through in reaction to it is not only realistic but beautifully done. At first, he notices little things here and there, her collapsing after their duet, how thin she is, the more obvious her illness becomes the more apprehension he feels at the possibility of losing yet another person he’s come to know and love. At one point, he even avoids her for a time, unsure of what to say or do, which while not the most admirable reaction, is a totally normal and human one.

Kaori sees him struggling emotionally and laments ever getting involved, wondering out load during one of his visits if it would be better had they never met, and giving him license after her impending death to forget all about her and forget everything they’d shared. By the end though, Kousei decides he could never do it, and chooses instead to cherish Kaori’s memory and let her continue to drive him forward in music and in life.

This last point is very, very important because this a question that everyone has to ask themselves at some point. Was it worth it? Is it better to love and to lose than to have never loved at all? What both positive examples have in common is they answer that question with a resounding YES!. 

So what have we learned? We all know that one-dimensional characters are neither interesting nor realistic and should be avoided at all costs. An illness or disability does NOT warrant an exception to that rule. Or the rule about avoiding static or passive characters either. It’s nuts that we seem to somehow think it is. 

[sexlessrpmemes-mod-human]

Sometimes I feel like no matter how careful I am with what I write, no matter how strict I am with research and expanding and creating my muses to try and make them realistic, I'm always gonna have someone come after me telling me that I'm wrong. I made a Deaf muse once, I was really proud of him and then I had someone tell me that I wasn't allowed to write a Deaf muse if I was hearing. (pt1)

Or one time a friend of mine was debating on making a transgender muse, and doing all sorts of research and they have a family member who's trans, but before they could make the muse, someone rushed in and declared that if they aren't trans they aren't allowed to write a trans character.

At this point, I'm beginning to feel like if you're not a minority, then you're not allowed to write a muse who's a minority, and it's beginning to really make me upset. We are writers. If we do our research, if we're respectful of lives and cultures and difference, then we should be allowed to write a character that's not a "majority" person. I want to expand my writing capabilities, but I can't if people keep shutting me down, even if my intentions are always good and respectful (pt.3)            

It's killing my love for roleplay because I'll have this idea for a cool muse and start researching, only to remember that because I'm a white able bodied person, I'm "not allowed" to write a character who's in any way different from me. And I'm sorry if this whole thing sounds angry or self entitled, I'm just venting some frustrations. I want to portray an accurate muse, whether they be black or Deaf or trans, but I can't because people tell me not to. So. I don't know anymore. (end)

Before I go into this I’m going to tell you that I am writing this from my own perspective, that of a queer autistic white female with ADHD and a few other mental things who has had to deal with chronic pain for five years already and will continue to deal with it for the rest of the foreseeable future (barring scientific miracles or dramatic advances in medicine.)

First things first, you don’t sound angry or self entitled AT ALL. If I am being honest I love having Rp partners like you and your friend, and wish more writers were like you. Doing all the research needed for their character, listening to the opinions of others when they are about things you don’t know about, educating yourself so as to write them properly.

If someone with your degree of respectfulness were to come to me and ask for my personal opinion on if they could write a character with chronic pain or an autistic character I would tell them to go for it without any hesitation, as it would be extremely likely that they do their research and make sure that they are doing their character justice.

With people who say “you can’t write x because you’re y” I always find their reasoning to be counter-intuitive. For me the thought process for it may seem a little convoluted, but basically it’s all about intent

White individuals who fetishize PoC probably shouldn’t write muses of colour (because they’re probably just getting their rocks off and being gross and racist af)

Straight (and/or) cis individuals who fetishize those who are LGTBQA* (or whatever the newest variant is, I am not up to date) probably shouldn’t be writing muses that are LGTBQA* (See above reason, shipping a gay ship doesn’t mean a person can’t be homophobic, sorry to burst some people’s bubbles)

That blue puzzle piece organization shouldn’t be ‘helping’ autistic individuals (because they’re not actually helping anything and aren’t listening to autistic individuals at all [This one’s been well established by now, and I honestly don’t care if someone’s gonna disagree/send me hate])

If you’re planning on writing a muse with a disability simply to be able to “fix” them (or to have them score pity points or whatever), or are ignoring a disability in a canon character/writing it out then no, I don’t think you should be writing that character.

If you’re planning on writing a muse of a different sexuality than yours because you think it’s super hot and want to do the smut then maybe no, you shouldn’t be writing that character. (same with writing trans muses, I’ve seen some of the things people do and just no, not cool)

If you're planning on writing a PoC muse and doing zero research then maybe you shouldn’t be writing that character. (Same if your “research” is reading the orange cheeto’s tweets, he is not a credible source people. I’d cite Wikipedia in a scholarly journal before I trusted a single word that man said about minorities.)

On Tumblr it’s been a thing that people can write a white character no matter who they are, same with writing a gay/bi/pan/[insert any sexuality I missed here] character, but with many other cases people get angry even if the things are well researched and done in a respectful way.

So to you anon, I personally think you should write your Deaf muse, research the hell out of it, talk to Deaf individuals (in a way that is accessible to them), ask them about any harmful stereotypes they see with deaf people’s portrayal in the media then listen to their answer and remain mindful of them when writing...basically research the hell out of it like I’m sure you already have given how your message was.

To your friend, they should go for it with the trans muse. They sound like they were off to do their research and they were talking to a trans individual, getting important information from them and incorporating that into their portrayal, and likely also learning what not to do when writing a trans character.

If you’re doing all the research and being extremely respectful and not gross (for example are doing so because you want to write that character, not because it’s super hot or to get brownie points for representation when you’ve just combined all the stereotypes and then giving the character a name much like that of Jim in Huckleberry Finn) I feel you should be able to write that character.

At the end of the day people can’t get more representation/diversity (which is what people are asking for in so many cases and what the RpC and mainstream media both need) if individuals are restricted in the characters they write.

tl;dr If people are being respectful and doing their research then they shouldn’t be harassed just for having a muse that is a member of a minority when they are not a member of a minority. If you just “have” to tell someone off then save the telling off for someone who’s being a real problem, not someone who’s trying to grow as a writer and learn how to actually write characters who are members of a minority properly.

[recentanimenews]

Who Are the Best 'Bad' Teachers of Anime?

What makes a “bad” teacher? Is it someone who can’t connect to their pupils? Doesn’t understand their subject matter? Or just someone who's super lazy? Depending on who you ask, it all really just might be a matter of perspective — or perhaps a stroke of untapped genius. With so many anime taking place in schools, it’s no surprise that there are just as many colorful teachers as there are students. These sometimes misunderstood classroom superstars might not embody the traditional educator model, but one thing is for certain this Teacher’s Day: They’ve all managed to score an A+ in our heart regardless of their eccentric ways.

All’s Fair in Love and War

Jiraiya and Naruto begin their training

One of the Leaf Village's finest, Naruto’s Jiraiya is a man who needs no introduction. Of the three Sannin, Jiraiya takes our understanding of mentorship to a whole new level. When you think of your favorite teacher, you probably don’t picture their wild side. A proud pervert like Jiraiya certainly doesn’t fit that traditional image — because he’s definitely everything but your typical instructor. Jiraiya, despite being someone you might not want to bring a parent-teacher meeting, doesn’t mess around when it comes to training his pupils into the best shape possible. Business, after all, always comes after pleasure.

Jiraiya offers to teach Naruto his legendary summoning technique

After his legendary encounter with the powerful ninja Hanzō in the Rain Village, Jiraiya was approached with his first pupil: a young boy named Nagato. For Jiraiya, this would spell both the beginning of his teaching life, and many years later, the painful end. Jiraiya, of course, would go on to mentor Minato and his son Naruto during his journey to tame the power of the raging Nine-Tailed Fox inside of him. Of Jiraiya’s many lessons, one of the first remains the most memorable: teaching Naruto his legendary Summoning Technique. But before Naruto can even jump that hurdle, he first must learn his most important lesson yet — the power of concentration, failure, and unending perseverance. Having seen both the best of people and the gruesome realities of war, Jiraiya has shown us what a truly inspirational teacher looks like: someone who never gives up on you and expects the very best, not just on the battlefield, but in your heart.

Hang in there, baby!

 "I was fully prepared to die!"

  Some teachers are tied up in their careers. Others are tied up in an entirely different way. Sayonara Zetsubou-Sensei’s Nozomu Itoshiki is one such hopeless teacher. One spring day he attempts to hang a noose around his neck before one of his students saves the day — forever sealing his high school educator fate. Mister Nozomu is a man with an extremely bleak outlook on life and is almost always ready to kick the bucket on a moment’s notice. Fashioning himself as a realist, Nozomu isn’t too shy to talk down to his kids, nor remind them that death is all coming for us. Nozomu is based on the main character Ōba Yōzō from the classic Osamu Dazai novel No Longer Human, a personal favorite of Zetsubou-Sensei artist Kōji Kumeta. Like Dazai’s character, Nozomu had become so disillusioned with society that he’s taken it upon himself to let the entire world know. Nozomu isn’t exactly a “bad” teacher by trade — but he definitely isn’t espousing the beauties of your high school years, either. 

On the first day of class, Nozomu passionately asks his students to fill out "despair surveys"

But what’s a teacher without his students? Nozomu’s colorful class includes students eager to pin animal tails on his behind, a hikikomori, phone addicts, a chronic tsundere, and a radical perfectionist. Even on his best days, Nozomu’s homeroom resembles something like a zoo rather than a proper place of learning. And yet somehow, despite field trips and haywire lessons gone wrong, Nozomu still manages to stick by his students and their wacky ways until the very end. He may in fact, actually be the nihilist saint we need today.

Welcome to the School of Hard Knocks

"...and have fun at Duel Monsters Community College!"

Professor Vellian Crowler of Yu-Gi-Oh! GX fame would like to remind you he has a PhD in dueling and he worked very hard for it, thank you. Among the many faculty members teaching at the prestigious Duel Academy, no other teacher strikes fear into the heart of Obelisk Blue students like Professor Crowler himself. Best known for his brutal Ancient Gear deck, Professor Crowler doesn’t hesitate to go all out during duels to assert the pecking order. Whether he always wins or not, of course, is an entirely different story — especially if your name is Jaden.

Professor Crowlers gives his student a full workout before hitting the duels

To call Professor Crowler unorthodox would be an understatement. In fact, it wouldn’t be too outrageous to call him a bully at his worst behavior. Going so far as to almost sabotage many a student’s Duel Academy career, Crowler has had his truly awful moments. However, toward the end of Jaden’s studies at Duel Academy, Professor Crowler undergoes a much-needed change of heart. Maybe having your spirit possessed by a vampire Shadow Rider does that to you. Or maybe it was when he was spirited away into another dimension and stripped of his winning deck? Or maybe it’s just tough love and good old-fashion character growth. For all his “bad" behavior, Professor Crowler successfully shifted his focus to being a career advisor after being promoted to Duel Academy’s flamboyant vice-principal. Regardless of all the flack he’s given his pupils, Professor Crowler shows unwavering support for their transition into the professional world of dueling. Like every teacher hard on their students, Professor Crowler wants you to believe in your dreams — whether you know it or not. But only if you got enough grit to last.

Making a Heroic Homeroom

"U.A.'s selling point is how unrestricted its school traditions are. That's also how teachers run their classes."

My Hero Academia’s Shota Aizawa, also known by his hero name Eraserhead, is the only teacher on this list for whom “no sleeping in class” doesn’t apply to. Shota doesn’t immediately give off the best impression that he’s interested in his students. Famous for once failing an entire class of hero hopefuls in the past, it almost seems like a cruel joke that anyone would end up with him as their instructor. But don’t let Shota’s seemingly apathetic demeanor fool you — beneath those baggy eyes and, erm, sleeping bag, is a teacher fiercely determined to see the best in his pupils.

Sound advice from U.A.'s best sleeper hit instructor

Shota doesn’t hesitate to tell his students what being a hero is all about, and most importantly, what their weaknesses are. A good teacher — for all the praise and support they give — also needs to find the places where you’ve yet to grow. Although that might be easier said than done when it comes to Class 1-A. Shota is hard because he has to be. Heroism isn’t for the weak-spirited. Even going as far as to defend his student’s decision to fight villains during the disastrous Kamino Incident, Shota’s proven himself as a teacher that would rather see his student thrive beyond the books. In fact, he shines brightest as a teacher outside the classroom. For example, after failing to rescue Eri, a young girl with a mysterious quirk held captive by a crime group, Izuku Midoriya and his peers meet to discuss their next plan of action. Rightfully disappointed, Izuku is practically at a loss of what to do, until Shota gives him these words of encouragement: "If you're going to do this, do this properly, Midoriya." Shota isn’t just raising heroes strong enough to work for agencies or save the day for views. Like the greatest “bad” teachers that ever were, Shota teaches us that in order to learn our hardest lessons we must be ready to get hurt and stand right back up again.

Did we miss out any of your favorite "bad" teachers? What's the greatest lesson you've ever learned in an anime classroom? Let us know in the comments!

  Blake P. is a writer who would actually love to earn a Ph.D. in dueling. He likes old mecha anime, computer games, books, and black coffee. His twitter is @_dispossessed. His bylines include Fanbyte, VRV, Unwinnable, and more.

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By: news+feed@crunchyroll.com