#if you want diverse stories you need to be willing to engage with them in good faith—and to allow them to not be perfect

[daniclaytcn]

idk how to word this but i think tumblr.com needs to examine why the most mediocre, straight, white movies or shows or books are allowed to be popular or hyped up on here without being picked apart; but the minute an author makes an effort to tell a sincere, diverse, queer story, they get ripped apart and demonized if it falls short of perfection and doesn’t perfectly cater to the taste of every single queer person in existence. some of y’all really need to work on your own internalized bigotry idk

[raayllum]

How do you feel about the depth of the world building, and the target demographic and "realism" of the fantasy? The world and show is whimsical. It's targeted to a diverse audience, yet deal with some deep emotions. It's not aligned with human nature. Kings, queens, and generals don't charge in the front lines. Melodasies and fart flowers don't make a lot of sense, but they're entertaining concepts. I feel it's a sketch of the world that lets you focus on the core story and relationships.

I think there's a few things to keep in mind with TDP, specifically

The type of worldbuilding that typically gets included in fantasy

The type of worldbuilding that gets included in similar shows of its ilk (Steven Universe, She-Ra, The Owl House, and other contemporary kids' shows)

For fantasy, I'd say that TDP's worldbuilding is probably more 'shallow' due to the fact its a TV show, and the two season novelizations notwithstanding (which are already packed full of plot and written for a younger audience), it is much, much easier to do detailed worldbuilding in narrative fiction than visual media. Visual media can get away with communicating visual worldbuilding and splendid visuals, but in order for us to learn history or culture or anything along those lines, it almost exclusively has to come with dialogue, which is time consuming and you have to make sure the scene is still engaging; you don't even have the room to info dump a paragraph or two the way you could get away with in a book

So TV show worldbuilding, I'd say TDP is doing its best, considering its runtime and that worldbuilding is absolutely a priority. The expanded look at Xadia and Sunfire elf culture was one of my favourite things about S4

But in comparison to other kids' shows out there that are airing, or have recently aired? TDP is on a whole other level I don't think will be matched anytime soon. ATLA probably has a leg up on cultural worldbuilding (which also makes sense given the run time and nature of bending) but even then, there are plenty of things we know in TDP that we don't know in ATLA, such as history that goes hundreds and thousands of years back, local laws and judicial systems outside of one Earth Kingdom town, what more than one type of culture conducts as a funeral rite, etc.

Of the three other examples given, I think SU has the best worldbuilding, but we still don't really know what the Gem colonization of other planets was like. TOH develops some worldbuilding ideas, but never really wholly takes them to fruition, and even when I was more favourable to She-Ra while it was airing, worldbuilding was never a strong suit or seemed to be a focus of the series. Which is fine, as not every fantasy show wants to prioritize worldbuilding, but damn if I don't love it when they do, since it's one of my favourite parts of the genre as a fantasy reader and writer

And there are definitely kings, queens, and generals who have fought on the front lines in the past; it was expected for them to be involved in warfare. Melodaisies and fart flowers aren't grounded in a worldbuilding need, but neither are our silly real world equivalents of something like say, kazoos and whoopee cushions, that exist for no real reason other than that they're Fun and can be made by human hands. (And there are flowers, and even stink bugs, that do emit smells in nature.)

TDP definitely prioritizes a Top-Down approach in terms of writing from theme first and foremost and then weaving things in as they need, which they've acknowledged. The show, understandably as a story and something operating under story constraints, is more than willing to place plot and theme over logistics, but most stories are, tbh. So I think the sketch is detailed, but the focus is on how the characters interact with each other (and the theme accordingly) and the world is largely built around it - there's a reason it's not a world with a whole bunch of other continents, after all, simply because it didn't need to be. If you're interested in more thoughts in this vein / how TDP constructs itself, I'd recommend checking out this meta I wrote here <3

[ask-the-itsy-bitsy-spyder]

hello, question for the guy behind this blog. i've been wanting to start an askblog for a bit, but i'm worried about messing up... so i was wondering, what does it take to run an askblog? do i NEED to make little plot points? does it have to have a story? how would i promote it? sorry if i'm coming off weird

Hey, it's me! The guy behind the blog :]

It's not weird to ask for advice, especially if it's on something you've never done before. I'll do my best to offer up some advice, as someone who's had like, 3 askblogs over the years. My word isn't law, but I hope it helps!

1.) Don't worry about messing up an askblog, because there's no right or wrong way to run one. At the end of the day, the point of an askblog is to have fun with your art/ocs :]

Some askblogs are the medium for an artist to craft a larger project, some are character explorations for an artist to flesh out a character for a larger project, some are solely used for role play, and most of them are just fun ways to show off your oc.

2.) Other than an art program (if you intend to draw art for asks) and the ability write in character, running an askblog mainly takes motivation and perseverance. A new askblog might start slow - you might not get asks right away, or there may be slow spells, or you might not get as many notes as you expect. That's why it's important that you're making the askblog for yourself, for fun, because you have to be willing to continue making art, even if it's not immediately drawing the attention you expect.

3.) You do not need to have big plot points or a big overarching story! Many askblogs don't, and they're still very engaging. That being said, if you want to introduce plot points, feel free! They can prompt more/diverse asks and give you something to draw or write for if there's ever a time where you don't have asks waiting to be answered.

4.) Promotion can be finicky and in my experience, growth usually takes a lot of time. It might be slow at first.

If your askblog is within a fandom, make sure to use all the appropriate tags for that fandom. Most of an askblog's attention comes from other askblogs. So, some of an askblog's content will be from interacting with other askblogs. Don't be afraid to send other askblog's asks in character, or start a little rp, if the other person is open to it.

So, yeah! I guess the overarching advice I have is to just have fun with your art or writing, because that's what I consider an askblog to be.

Good luck on your askblog, when ya do make it! :]

[rydiathesummoner]

Dawntrail's plot is South Park's giant douche vs turd sandwich episode

OK so I'm not far (just finished the first dungeon) but I can kind of see what they are going so far with the story.

If you've never seen South Park, first of all enjoy the brain cells you didn't lose, but also there was an episode where the two candidates for US president were a giant douche and a turd sandwich. No, literally. The whole point was about how it's hard to vote when all your candidates suck.

I think FFXIV is going for the same idea, albeit in a classier way. ALL the candidates suck one way or another for a position of being in charge of Tural.

The First Promise does have a point about extended peacetime making people complacent, but holy shit dude calm the hell down about the warmongering. You want to take over the world? Dude. You smell like an ascian. Or one being influenced by one. Oh wait, now I'm very suspicious of your Jafar-like assistant...

The Second Promise is academically brilliant and his ideas would absolutely improve many aspects of Turali life, but he's not a leader. And he's definitely not the leader of a giant diverse population. Why? Because he has the social skills of a soggy napkin. I would hire Koana in a heartbeat to be an SME but not as a manager. I do realize this is the internet and this observation may rub some the wrong way, but if you want to be a great leader, you HAVE to have top-notch social skills. You need to like people and enjoy engaging with them. You need people to not secretly dread coming to you. And get your fucking nose out of your book when people are talking to you, you rude little shit.

The Third Promise is a huge case of being way too inexperienced. She does have some great WoL-like qualities. She's kind, willing to help, people approach her, she enjoys people and making friends and allies. But you really can't trust a stereotypical WAR main to run a massive country. She's too young and impulsive, plus she still needs Erenville to babysit her. You can't run a country on enthusiasm. She needs about 10 more years to mature and explore the world.

Taco Stomper is obvious. He has literally no redeeming qualities. At first I wondered how such a boorish asshole could become leader of a country, but then I remembered 2016 happened so eh 🤷‍♀️

I do think where this is going is that each head of the Dawnservant will choose a contender: Head of Resolve will choose Wuk Lamat, and Head of Reason will choose Koana. Those two can make up of the other's weaknesses. It's at least probably better than the turd sandwich we got in 2004.

[daisies-and-latte]

"you will belong to somewhere you belong naturally."

I remember vividly when I was second year of high school, I used to feel like the outcasted one and it felt sucks until I went for student counseling. And, I told my counseling teacher about my thoughts and feelings yet my teacher told me like this.

"Well, maybe you can try to do their hobbies? Getting to know their interests? Then do the hobbies together."

Well, I didn't know why I couldn't just get it, feeling like that was not a piece of advice that didn't sound right to me personally. What I understood from his saying was,

"Well, you have to try to fit in."

Long story short, I didn't do anything about it and just let myself being engulfed by the loneliness. Yet, I have been grateful to still have few of friends willing to approach me and have great friendship since high school. When I was in the university, there were a lot of people with different backgrounds, beliefs, nationalities, as well as the interests. Surprisingly, I wasn't trying that hard to fit in because there were to diverse and everyone can just engage and talk about anything which is why I love and miss my college life. The social setting allowed me to know different perspective and simultaneously becoming my true self so I felt like I didn't belong to any kind of social groups. Not need to feel ashamed or like a loser when I was going out to stroll around or have meals by myself because I didn't have any pressures of that (althought sometimes I could feel lonely).

Until I returned to my home country and found a job, I am currently working and having a church community. There have been many times that the feeling of being an outcast appeared lately, like how my friends in the community shared in the igstory how they had great time hanging out. This thing really got me trying to be more active because of 'feeling left out' and the tendency to fit in or keep myself updated. Until there was one moment that I feel very exhausting because there was not any significant differences. I realized that I shouldn't force myself to do everything and be too hard for belonging into certain of social groups because eventually and naturally I will find a place where I belong.

I want to re-navigate myself from someone who wants to fit in and try to be others, into someone who just holds the right value and my true personality. Currenty I don't belong to any kind of social groups and when some of colleagues have hangout or great time with each other, I am more like happy for them and delighted to see good moments happening around me.

Well, this post is kinda long but pretty much saying that this platform really becomes a safe space for me to express myself and share my sudden thoughts without any judgements or intervensions from people around me. x

[dmcfinishingschoolpvtltd]

Top Recruitment Strategies to Attract High-Quality Candidates

In today's competitive job market, attracting high-quality candidates requires more than just posting a job ad and waiting for applications to roll in. The best talent is often already employed and only willing to move for the right opportunity. To secure these candidates, businesses must employ sophisticated and strategic recruitment methods. Here are the top recruitment strategies to attract high-quality candidates:

Craft Compelling Job Descriptions A job description is often the first impression a potential candidate has of your company. Ensure that it is clear, concise, and engaging. Highlight the key responsibilities, required qualifications, and what makes your company a great place to work. Use a tone that reflects your company culture and speaks directly to the ideal candidate you want to attract. Leverage Employer Branding Your employer brand is how potential candidates perceive your company as a place to work. Invest in showcasing your company culture, values, and employee experiences. Use social media, your company website, and platforms like Glassdoor to share testimonials, day-in-the-life videos, and stories that highlight what makes your organization unique. Utilize Employee Referrals Your current employees can be your best recruiters. Implement a structured employee referral program with attractive incentives to encourage employees to refer high-quality candidates from their network. Referred candidates often have a higher retention rate and fit better with the company culture.

Engage with Passive Candidates Passive candidates are those who are not actively looking for a job but are open to new opportunities. Engage with them through LinkedIn, industry events, or by creating talent communities. Regularly share content that demonstrates your company's value and growth opportunities to keep them interested. Optimize Your Career Site Your career site should be user-friendly, mobile-optimized, and regularly updated. Include detailed information about your hiring process, benefits, and career progression opportunities. Consider adding an AI chatbot to answer candidates' questions in real-time and streamline the application process. Use Data-Driven Recruitment Leverage data and analytics to make informed decisions throughout the recruitment process. Track metrics such as the source of hire, time-to-fill, and candidate satisfaction. This information can help you identify which strategies are working and where improvements are needed. Offer Competitive Compensation and Benefits High-quality candidates often have multiple offers to consider. Make sure your compensation packages are competitive within your industry and region. Additionally, offer benefits that go beyond the basics, such as flexible working arrangements, professional development opportunities, and wellness programs. Foster Diversity and Inclusion A diverse workforce is not only beneficial for company culture but also for innovation and problem-solving. Actively seek to remove biases from your recruitment process and create an inclusive environment where all employees feel valued and respected. Promote your commitment to diversity and inclusion in your job postings and throughout the hiring process. Streamline the Hiring Process A lengthy and cumbersome hiring process can deter top talent. Aim to make your process as efficient as possible without sacrificing thoroughness. Keep candidates informed at every stage, provide timely feedback, and make decisions promptly. Invest in Employee Development High-quality candidates look for employers who offer opportunities for growth and development. Showcase your commitment to employee development through training programs, mentorship opportunities, and clear career advancement paths. This not only attracts top talent but also helps in retaining them. Build Relationships with Educational Institutions Partner with universities, colleges, and technical schools to create a pipeline of emerging talent. Offer internships, co-op programs, and participate in career fairs. Building these relationships early can help you attract high-potential candidates as they enter the job market. Use Technology to Your Advantage

Adopt modern recruitment technologies such as applicant tracking systems (ATS), artificial intelligence (AI) for resume screening, and virtual reality (VR) for immersive job previews. These technologies can enhance the candidate experience and make your recruitment process more efficient.

Attracting high-quality candidates requires a multi-faceted approach that combines strong branding, strategic outreach, and a commitment to a positive candidate experience. By implementing these top recruitment strategies, you can ensure that your organization stands out to the best and brightest talent in the market. Remember, the recruitment process is an ongoing effort, and continuously refining your strategies will help you stay ahead in the competition for top talent.

Visit - https://www.dmcfs.in/

Call - 8380003377

[apostlenice]

Effective Pastoral Care for Gen Z

In an ever-evolving world, the role of the church remains steadfast, offering guidance and support to each new generation as they embark on their spiritual journey. Gen Z, the generation born between the mid-1990s and early 2010s, presents unique challenges and opportunities for pastoral care. To engage, impress, and meet the needs of Gen Z in the church, we must understand what they seek, value, and care about.

1. How to Engage Gen Z in Church

Engaging Gen Z in church involves creating a dynamic and inclusive environment. Incorporating technology, interactive services, and contemporary worship can resonate with this tech-savvy generation. Engaging sermons that address relevant issues and encourage open dialogue can foster a sense of belonging.

2. What Gen Z Wants in Church

Gen Z desires authenticity and a sense of purpose. They seek churches that emphasize social justice, community outreach, and environmental stewardship. Providing opportunities for them to actively participate in these causes can be deeply meaningful.

3. How to Impress Gen Z

Impressing Gen Z involves more than flashy presentations. Authenticity and transparency are key. Pastors and church leaders should be approachable, open to questions, and willing to address contemporary challenges without judgment. Supporting their personal growth and aspirations within the church can leave a lasting impression.

4. Ways to Attract Gen Z in Church

To attract Gen Z, churches should have an active online presence, including a user-friendly website and social media engagement. Share inspiring stories, relevant content, and upcoming events. Encourage peer-to-peer invitations and create a welcoming atmosphere that appeals to their diverse interests.

5. What Gen Z Needs from the Church

Gen Z needs guidance, mentorship, and emotional support. They value relationships and connection. Pastoral care should extend beyond Sundays, offering youth groups, mentoring programs, and counseling services. Addressing mental health concerns and providing resources is essential.

6. What Every Church Needs to Know About Gen Z

Churches should recognize that Gen Z is not a monolith. They are diverse in their beliefs and backgrounds. Embrace this diversity and create a space where all voices are heard and respected. Adapt to their changing needs, and be willing to evolve as they do.

7. What Gen Z People Care About

Gen Z cares deeply about social justice, equality, and making a positive impact on the world. They are passionate about inclusivity, diversity, and environmental sustainability. The church should align its values with these concerns and actively engage in relevant causes.

By understanding the unique qualities and aspirations of Gen Z, the church can provide effective pastoral care that fosters spiritual growth, meaningful connections, and a sense of purpose. Anchoring our efforts in authenticity and relevance, we can ensure that the church remains a guiding light for each new generation that walks through its doors.

For more insights and inspiration on faith and community, connect with us:

[csgmarketingau]

APAC Trends Series: Blog Title: Building a Foundation for Success in the Asia Pacific Region

The Asia Pacific region is a vast and diverse marketplace with tremendous potential for businesses that are willing to invest in understanding the local markets. 

With different cultures, languages, platforms, trends and purchasing cycles, the key to success in this region is having a well defined foundation with appropriate resourcing and local focus. Navigating these complexities requires a country-by-country approach when it comes to marketing campaigns. 

Let's explore what businesses need to consider when entering or growing their presence in the Asia Pacific region in order to think of effective strategies for successfully operating in these markets.

Localization & Translation Services

One of the most important considerations for any business wanting to succeed in this market is localization and translation services. It’s essential that your website and other marketing materials are localized into different languages, as this will greatly increase your chances of success. 

Localizing your content also means creating content that resonates with local audiences - making sure it speaks directly to their needs, interests and values. It’s also important to ensure that all legal documents are translated correctly so that you comply with local laws. 

This may require engaging a professional translation service provider who can help you navigate any language barriers and cultural nuances.

Social Media Platforms & Trends

It is also important for businesses looking to expand into this region to understand how people communicate on social media platforms. 

Each country has different platforms which are used to communicate news, share stories and engage with brands - it’s important to understand what those platforms are and how they work so you can create an effective social media strategy for each market you want to enter or operate in long-term. 

Additionally, it’s important to be aware of any emerging trends in each country or across the region as a whole, as these trends can provide valuable insights into what people are interested in and help you refine your messaging accordingly.  

Purchasing Cycles & Payment Methods

Understanding how people shop within each country is also essential if you want to be successful in the Asia Pacific region. 

Different countries have different purchasing patterns - some prefer online shopping while others still prefer brick-and-mortar stores; some countries may have more advanced payment methods than others; some countries may have longer purchase cycles than others 

All these factors need to be taken into account when creating a comprehensive eCommerce strategy for each market you wish to enter or operate in long-term. 

Additionally, it’s important to understand which payment methods customers prefer within each country so that you can offer them convenience while still remaining compliant with local laws and regulations.    

Conclusion

The Asia Pacific region presents an attractive opportunity for businesses looking to expand but there are many things they need to consider before entering or growing their presence here – from localization & translation services through social media platforms & trends right down to purchasing cycles & payment methods – all of which will shape their success (or lack thereof) within this dynamic marketplace. 

By taking a country by country approach and investing time into understanding the differences between markets, businesses will be much better equipped for success when entering or operating long term within this competitive landscape.

Contact us at CSG Marketing and we’ll guide your business in its expansion into the Asia Pacific Landscape.

[santajp]

It also makes it worse to find things, at least in my eyes. If you want to simply see art for example, many of these systems don't do that well, being made to show you things that grab attention, clickbait, and raise engagement first. It's in their very design. It's how they are so big, so wide that they make dangerous pipelines not even the companies who make the numbers can even fully comprehend and overload us with information.

And perhaps this will make me sound like an old person as well, but the focus on algorithms has really made what people see as the world limited in a way that is hurting their own lives and the general enjoyment of things. People will legitimately think art (of all kinds by the way) is dead beacuse of simply Twitter or others online, which is wrong in both ways.

You can find more art in your local communities or perhaps just talk to a friend on it to see what they like. Maybe you can make what you want, or at the very least, support those who are newly going into the art forms with new ideas and new visions, especially when companies are against doing so if it shows a minority story, being based on bluntly Queer themes for example. Though even online, you can find artists doing different things, new things, diverse things if you yourself are willing to look further than trending posts. You could look back too, see what cultures in history have made! There are resources for such, and those all can be fun, inspiring, and generally make you find things you like in the least expected places!

Though- like stars almost- it feels as if people are too willingly giving in the idea that there is nothing above them, nothing outside the immediate vision. They look at what is given bluntly, what is easily in front of them via algorithms and labyrinths of massive systems, and almost assume that is how it has to be, that their perception is immediately right as well.

But that isn't true. Though I can look up at night and see a void, I can also know my mind simply not seeing the array of stars and the near infinity of the universe doesn't mean it isn't there. It is there. I just need to go somewhere dark enough to see it. I just need to change perspective, where I look.

There are many things wrong with bloated social medias and the internet shifting to be more corporate, but if anything comes from this ramble, just don't let the monoliths make you belive they have to be.

We don't need only one search engine. We don't need one site for everything. We can have our own spaces, for artists of all sorts, for information, for expression, and, most importantly, to support one another. Don't let these systems make you think they matter more than people. They never will.

The centralization of the internet into a few monolithic walled-garden social networks and multiplayer games into matchmaking services are both symptoms of the same problem, and create many of the same issues due to their problems (hacking, moderation, etc,) not being solvable at scale.

Forums, dedicated servers, these had many of the same issues, but when you have two or three admins curating a regular playerbase/social group of a few dozen people instead of literally millions, they tend to be better-managed.

Plus, y'know, if a private game server or forum sucked, you could. Y'know. Leave. If Twitter sucks, well- you see what's happened.

This is true of most things btw- monolithic structures are doomed to fail. It's very much why I'm "live for your immediate world/friends/surroundings, not things so far beyond your scope you can't possibly manage them"

[sitp-recs]

Hidden Gems by @vukovich

I was rereading holemate the other day and it occurred to me that one could consider Vuk’s works an “acquired taste” - in the literal sense of an “appreciation for something unlikely to be enjoyed by a person who’s not had substantial exposure to it”, in other words the more we get, the more we’ll want 😔🙌 Vuk’s works are bold and fresh, engaging, intriguing and with such a distinct feel - it lures me enough to go check anything they decide to write, and I love the thrill of never knowing what to expect when I’m starting a new fic.

It’s not every day you find an author in whom you’re willing to trust to take you out of your comfort zone, and I do it consciously, knowing I’m gonna thank them for the experience no matter how the journey goes. Vuk’s writing is sexy, confident, unapologetic. I love the grasp they have of the characters, and that precise understanding of where they want to go with a story. Their Draco and Harry are deeply flawed, complex and adventurous - what’s not to love? They feel very human and I love that for them and for us! Whenever I’m looking for something outside the box, clever and full of personality but also edgy, hilarious, fucked up, devastating or haunting, I know where to go. I listed below my faves that I revisit often and I think they’re a great showcase of Vuk’s genius and range. Vuk also has a fabulous collection of short stories for peculiar prompts that you can find here. Go ahead and feast!

Manna (2021, E, 814 words) - brilliant sexy short feat. public sex, this got me at the edge of my seat!

Harry developed a taste for hiding in the Slytherin train car. And maybe for getting caught.

"I'll Figure It Out." (2021, E, 2.6k) - brilliant idea perfectly executed with hot af & hung lawyer!Draco putting Harry’s mouth to good use. One of my favorite PWPs 🔥

For the prompt: "Don't let your mouth get you into something that your ass can't handle." Harry's mouth repeatedly gets him into situations his arse can't handle. Then, he finds himself in a situation his arse can handle better than his mouth.

Epitaphs in Autographs (2021, E, 7k) - deliciously angsty and devastating, only Vuk would lure me with tags I usually make sure to avoid. Prepare the tissues. Cw: MCD, infidelity, implied domestic violence, sad ending

A series of works surrounding death, imperfect relationships, flawed coping, and humanity. Also a firing range of writing style.

Harry Potter: DILF Hunter (2021, E, 11k) - hilarious Himbo Harry shenanigans, this will make you laugh non-stop, major kudos to Luna & Neville (they’re both so great!) and that hot hot ending with dilf Draco and dad Harry finally doing the dirty together 😌

Auror Potter doesn't know what a DILF is, but if Malfoy's one, then Harry's gonna be the Ministry's best DILF Hunter ever! Or, five times Harry heard Draco was a DILF, and one time he found it to be pleasantly true.

holemate (2021, E, 19k) - it’s about the yearning!!!! Devastating soulmate AU with Draco whump and oblivious Harry, we love to see it! Smut & angst as per, but don’t worry it’s a happy ending :) Cw for recreational drug use, wasting condition and some police brutality

Most people never get a soulmate. Harry has buried three. When the mark appears again, this time alongside an American Auror, perhaps a diversion can keep everyone alive. A diversion that looks a whole lot like a chaotic, fuckable Malfoy.

The Foxing Ring (2021, E, 24k) - my first Vuk fic is probably the fluffiest story she’s ever written and one of my all-time faves. Playful and clever, with an unusual plot, witty humor, and unexpected fur kink! Love the squib Harry + powerful Draco combo, they’re a perfect match and white fox Draco is everything we need in life 🙌

What. The. Fluff.* Harry's got no magic, one good ear, no great dating prospects, and a nice little wand workshop. Draco's got too much magic, a history of biting off ears, no great dating prospects, and a growing fondness for wandmakers. And a very fetching tail. Read my rec here and check perfect fox Draco art by @ihopeyoubothstaysafefromharm here.

Fearful Trill (2021, E, 29k) - the most romantic dark fic you’ll find! An intriguing and brilliant angst with a happy ending with unredeemed prisoner Draco, inexperienced Head Auror Harry, BAMF Hermione public sex, lots of angst and smut. Cw: terminal illness (cancer)

Harry should have come out and met someone when he was younger. He should have seen a doctor about the pain in his hip while youth was still on his side. Now, he's made his peace with dying young, but maybe not with dying alone. Draco should have got the Kiss. He should have died in Azkaban decades ago. Instead, guards throw him in a Ministry lift with a dying man who could stand to live a little.

[anamericangirl]

You're a huge hypocrite, which is exactly the point of the post. You do realize how idiotic you sound by going "omg how are you upset about a cartoon fictional character being black? It's a cartoon!!!!" and then immediately proceed to get upset about cartoon fictional characters being white, don't you?

Literally WHO the fuck is upset a cartoon being white? We are the ones saying it’s not a big deal if a mermaid is black or not. because it’s a literal FISH.

You say you don’t care about race but you made multiple paragraphs calling us hypocrites for what? How are we hypocrites? What role does Ariel’s race play in the original cartoon? Is her being white relevant at all? Yeah I didn’t think so. So how the hell are we hypocrites? There’s nothing wrong with POC wanting representation. We are literally the minority. And there’s nothing wrong with white characters, we only get upset when white actors take roles SPECIFICALLY made for poc because of the LACK of representation we already have. Most of the times those roles tie into specific cultures of POC.

A mermaid is not specifically made for any race, that’s why we are saying we don’t care if they would’ve made her any fucking race.

You people need to get your head out of your ass, you’re not smart about hiding your clear distaste and racism. You’re the only one here acting dense like you don’t know why poc would care about race when it’s clear why we care. This is a diverse country, that’s why we care. Crying about how you “don’t care about race” is literally the most tone deaf shit I’ve ever heard.

I'm not saying anyone was upset about Ariel being white. This isn't specifically about The Little Mermaid.

I'll try to break this down one more time but I don't know if I can do it any plainer than I've already done.

What I'm referencing in these posts about The Little Mermaid is the whole narrative surrounding "representation" that you brought up. You're hypocrites because no one gives a fuck about race except for the people, like you, who care about representation and then if anyone else even engages in the discussion or points out double standards you'll immediately jump down our throats saying shit like "omg why do you care so much about race? Are you a racist???" When the only reason anyone is even talking about race in the first place is because you brought it up. And that's a big problem. You'll can say all the shit you want about race but if anyone responds in disagreement they're racists who are making a big deal about race.

This isn't really about The Little Mermaid. Her race isn't important to the story and her skin color doesn't fucking matter. I don't even really care about "racially accurate" casting in anything as long as the plot of the story doesn't rely on it. If Disney had made her black originally no one would even be talking about this. But the thing is they didn't. Ariel is a very prominent Disney figure that's been around for a long time and people have grown up with her looking a certain way so if you announce you're making The Little Mermaid again, which is pretty much supposed to be live action shot for shot remake of the cartoon classic, people might get excited to see Ariel and it might throw them off a bit when the Ariel they see is not the one they grew up with. Now anyone who doesn't like it is being called a racist and people don't like being called racists when they aren't.

But if you don't see the hypocrisy and the double standards in your side of the debate then it just seems like willful ignorance to me. You're a hypocrite because you throw fits when you think a role that should go to a poc goes to a white person and then celebrate when roles that, if being historically accurate is important, should go to white people go to poc (like Hamilton, for example).

But here's what my point really is with all this so tl;dr representation doesn't matter. Not in this area. Like I can't think of a bigger non-issue. People who need their race to be "represented" in movies and tv are pretty pathetic. Movies should be made to watch and enjoy and I can't imagine how you enjoy anything being as hyper focused on race as you are. What does being a numerical minority matter? Why does the number of people with certain skin colors matter? The diversity quotas that came from everyone crying about representation is a big part of what ruined the entertainment industry. It's not like there weren't poc in the movies before the representation narrative starting taking over everything. Demanding representation is how you get token characters or shitty live remakes that no one likes of timeless classics. There are now more movies than ever before where a black character serves no purpose other than to be The Black Character™ and it's obvious when that's the case and it sucks.

This isn't about the mermaid. This is about the politics and the reason Disney changed the race.

So yeah, you're a hypocrite for going after people who talk about not liking that instead of creating original stories and casting black actors Disney is just doing lazy remakes and race swapping classic characters when the whole reason it's even happening in the first place is because you made a big deal about "representation."

[meggannn]

guerrilla does something interesting in HZD with aloy and her motivations and how they let her goals differ from the player's goals. most of the time when a main character's driving goals differ from the audience's, it means the writing has misfired and it feels jarring when you shine a spotlight on it. but it definitely works in HZD because guerilla knew what the player's immediate interests would be—they open their game with huge scenic shots of a pre-industrial community contrasted with these enormous robot dinosaurs! they want you to be sucked into the mystery of why things are the way they are—and they also knew going in that they had had to tie the player's interests to aloy's goals as a character (john gonzalez, the narrative director, talks about it a bit in this interview). and over time, the two start to bleed over as aloy starts to care about the old ones and we start to care more about her. i don't know if they'll continue this strategy in HFW, but they've set themselves up in a really unique situation with the contrast of aloy's focus on the present/future and the audience's interest (mostly) in the past.

i've been trying to find a way to articulate the ideas in this post for a while, and i am really tired so forgive me if this gets redundant or some sentences don't make sense lol. spoilers for HZD obv

in HZD, aloy, the motherless outcast, is largely concentrated on finding out the mystery of her origins. i mean hopefully we, the player, are also interested in that because it's a pretty unique set up (it's not possible for someone to not have a birth mother... right?), but i'm willing to bet that most of the audience was overwhelmingly more interested in figuring out what the hell happened to the old ones of this world (us) and why robots are wandering around everywhere, than we were about figuring out what happened to aloy's mom. (i'm aware that is a large assumption, but i think it's a pretty safe one considering the reactions i see when people finish the game usually mention APOLLO in some way, or ask if it's still around or there's a way to bring it back.)

for aloy, the status quo of robots-that-nobody-really-understands wandering around is just a constant of her life, and discovering her mother is her pressing issue. for us, this world's major differences between our world (why did we die off and why are robots now the dominant species on earth) are more fascinating. so guerrilla ties the micro and macro mysteries together so that we are also interested in aloy's journey about her origins: by making the story of her birth and the history of the world woven into the same narrative fabric

aloy even directly says "it (finding out info on the past) isn't why i'm here" and sylens replies sarcastically "of course, what's the whole of human history compared to the search of one girl?" it isn't until after aloy realizes she's a clone, that she doesn't have a traditional birth mother, when she faces the nora and decides to stop HADES because GAIA asked her to, in a sign of extreme maturity and character growth (imo), does her goal of helping GAIA by beating HADES now start to align with the player's goals of trying to "set the world right" (by helping GAIA by beating HADES).

it's interesting because if anything, sylens, the anti-hero and arguable deuteragonist, is the character whose goals most match up with the audience's own throughout HZD: he's the one who is seeking out the knowledge of the old ones, he's the one who mourns losing APOLLO the way we do. aloy doesn't really react to what became of APOLLO at all (when it's revealed what happened to it, her immediate response is sorrow over the alphas' deaths, the more human element compared to sylens's laser focus on info-hunting). sylens is... also a total asshole and might be an anti-villain in the upcoming games (i hope not; i hope he's more of a rogue agent than an actual villain, personally) so it will be interesting if the audience eventually starts feeling torn between aloy's goals (save the world today) and sylens's (recover what can be saved the world of the old ones)

for aloy, APOLLO's absence is not a loss because she's never known a world without the knowledge of the old ones. why does she care about expending energy to hunt for info on our music and art and politics and wars? how does shifting through datapoints about things she doesn't understand and tools/tech she doesn't have access to help the planet today? after discovering GAIA's origins and purpose, i'm sure she'd probably be interested in recovering APOLLO if there is anything left of it to recover—even she's only interested in it to honor samina/elisabet's memory and the effort of PZD—but a lot of the fandom (myself included) keeps hoping and speculating and wondering if APOLLO is still around because APOLLO is the audience, or rather, it's the last scraps of what's left of us. we have an interest in APOLLO but aloy never shows any interest in or sorrow over it besides to vaguely wonder what happened to it. her interests are in the here and now.

when the audience looks at her world, we see what we've lost, and we know APOLLO is a way to get some of it back. for aloy, she's definitely engaged and interested in the old ones' technology and wants to make sure PZD's work is continued and restored and rebuild GAIA, so if APOLLO turns out to be around i'm sure she'd be interested in it, but for now, she's got too many things going on to consider it a priority. and even if she did, it would have to come after she's taken care of the immediate threats of the other chaotic subfunctions; and she would have to justify the time and energy spent on APOLLO to the value it gives her world (a world that doesn't utilize focuses as much as PZD had hoped, and a world whose language has likely changed enough that they might not even understand what they were being told) because she'd have to do it for her world. her world is already here, the old ones' world is gone, and her world the one that needs saving, not the possibility of bringing the old ones' back

so guerrilla has set themselves up with something very interesting here imo where the protag and the audience have mostly aligned but largely separate primary interests and i'm very curious to see how these interests will keep aligning, or not, in the future. personally i think they'll make the main focus of the series discovering and befriending the subfunctions and restoring GAIA, while also wrestling with modern-day politics in an effort to start preparing contemporary groups of people for a more holistic understanding of nature and machines, with the hopes of preparing them for GAIA's return and a future where they 1. take care of the planet and 2. stop attacking machines for parts lol. and i think they'll drag out the mystery of APOLLO possibly still being around until the end (assuming there will be 3 or more games).

personally, when i look at what we've been given so far (everything could change when HFW comes out), i could go either way on if APOLLO is still actually around or not. it would be an interesting (if expected) twist, but i wouldn't want it as wish fulfillment; i wouldn't want it to be used as a cheat that suddenly means ted faro's harm can be negated, or brought back as a HEA in a way that implies knowledge will suddenly be used and spread equally or even easily. also we should consider APOLLO is now an AI of its own! it will have opinions and things and the will to act on them!

discounting the overwhelmingly difficult logistics of introducing APOLLO to a new world that has evolved without its involvement from its inception, if APOLLO comes back in the way the we, the audience, want it to, then spreading several millennia's worth of knowledge to several diverse, warring peoples is full of difficult challenges that you are now suddenly introducing; aloy + GAIA + co. would now be in charge of not only taking care of humans on this spinning ball called earth, but also educating them equally and fairly. it's a huge task to introduce on aloy's already very busy schedule! so frankly i wouldn't be surprised if they wrote APOLLO off and went with an "it sucks but we have to make the most of the world the old ones left us" angle—or, alternatively, have aloy (or sylens!) dedicate the rest of her life traveling and hunting down and/or spreading what remains of APOLLO'S knowledge?

idk! there's a lot to dissect here about what guerrilla is doing and where APOLLO fits in as both a possible ally/villain and a narrative tool to keep us interested (it is a carrot on the stick for the audience)! and i find it all very interesting!!

[up-to-some-good]

Part 5: 5 times I fixed it...

“Mr and Mrs Potter,” Dumbledore started. “I’m afraid I have some bad news regarding the prophecy.”

Lily had had a bad feeling when he had pulled them out of the meeting early to talk. They had heard about the prophecy a month ago, but at that point it was between her baby and Alice’s, both born at the end of July.

“He thinks it’s about Harry,” she said.

She thought of her son. He was with James’s parents at Potter manor while they were at the meeting. He had been asleep when they left for headquarters. It was hard to believe there was a target on his back.

“Indeed,” Dumbledore responded.

James took a sharp breath and pulled Lily’s into his lap, squeezing her fingers. He reached for her whenever he needed comfort; every time he found out about another casualty, he pulled her into his arms. It was a comfort to both of them, but it didn’t work this time.

“What do we do?” James asked quietly.

“I believe you should go into hiding,” Dumbledore said. “Are you aware of the Fidelius charm?”

“Yes,” Lily said. “You conceal the secret of your location in another person. You cannot be found unless that person chooses to divulge the secret, but it cannot be coerced or otherwise forced out.”

“Correct,” the old man said, his eyes twinkling.

For a moment, Lily felt like she was back at Hogwarts, answering her Professors’ questions to win back the house points the man sitting next to her had lost.

“I suggest you use it to hide your family, until all is safe,” Dumbledore said calmly.

“All due respect, Albus,” a voice came from the door. “But that is a terrible idea.”

Professor McGonagall walked into the room and passed each of the Potters a biscuit from the tray downstairs. Dumbledore gave her an indecipherable look.

“We all know there is a spy in the Order,” she continued. “You cannot guarantee the person you choose will not betray you and, even if they do not, they could be found and killed or tortured until they revealed the location.”

“What do you suggest, Professor?” Lily asked.

“Leave the country,” she said simply. “Go somewhere far away, like Australia, where there are no Death Eaters, and return when the war is over. I suggest the Longbottoms go with you as a precaution.”

“How do we stop Voldemort from simply following us? We won’t have back up in Australia if he comes for us,” James questioned.

“A simple diversion will do,” McGonagall responded. “We will place two houses under the Fidelius as if you were living there. They will serve the purpose to hide your true location without putting you at risk.”

“Who will be the secret keeper?” James asked.

“Myself and Alastor,” McGonagall said easily.

“Okay,” James said. “I trust you.”

Two days later, the Potters packed their bags and headed for the airport. They said goodbye to Euphemia and Fleamont the night before at dinner, pretending they would be reunited, but knowing the elder two would not be around much longer. Alice and Frank met them at the airport with Neville and gave them tight hugs. No one in the Order, not even the other marauders, knew where the families were going, just that they would be in hiding for the foreseeable future.

“Ready to go?” Frank asked.

“As much as we can be,” Lily said.

The six passed through the airport and boarded the plane together, disappearing for the next year.

***  

When he arrived at the flat, Sirius poured himself a glass of Firewhiskey and retreated to his bedroom. James and Lily had been gone for a month and things were getting harder. The remaining marauders were always on separate missions, gone for days at a time and not telling each other where they were going.

Remus came back injured and held on to Sirius as tightly as he could when he came back, but they didn’t talk. Sirius loved him as much as he ever had but wondered how much longer he could go without knowing what Remus was doing or telling Remus what he was doing.

Peter did nothing but talk, guessing who the spy was and changing his opinion daily. The day he suggested Remus, Sirius asked him to move out of the apartment. He had to trust Remus and Peter. They were all he had left without the Potters.

A sound from the living room startled him. Someone had apparated into the flat, someone unexpected. Remus always apparated outside the front door, so his boyfriend wasn’t back, and Peter always sent an owl ahead, so it couldn’t be him.

He grabbed his wand and stormed into the living room to find –

Regulus, lying on the floor and drenched. He looked like he was breathing, but the strain of apparating had clearly knocked him out. There was some sort of locket clutched in his hands.

“Merlin,” Sirius said, running to crouch at his brother’s side.

He started casting every healing and warming spell he could think of, grateful for Remus’s lycanthropy for the first time. Regulus was a known Death Eater so Sirius shouldn’t have been helping him. He was his little brother, though, and he couldn’t watch him die on his living room carpet.

Eventually, Regulus started awake, sitting up rapidly and nearly collapsing again from the effort. Sirius caught him before he fell and moved him carefully to the sofa.

“Sirius?” he asked weakly.

“What the hell happened, Reg?” he asked.

Regulus started laughing, leaning his head back on one of the throw pillows. Bewildered, Sirius watched his brother laugh hysterically for a few minutes before he calmed down and looked back at him.

“I should be dead,” he said eventually. “I thought for sure apparating to a place I barely remember from underwater would kill me, if the inferi didn’t first.”

“What are you talking about?”

Regulus didn’t answer. Instead he sat up and threw the locket at Sirius, who caught it easily.

“What do you know about horcruxes, Siri?” he asked tiredly.

Within the next few days, Regulus repeated his story multiple times, to Dumbledore, Remus, Moody, and any other Order member who wanted to hear it. He wanted to join the Order, help with the hunt for horcruxes, but few trusted him.

“I’ll swear an Unbreakable Vow,” he said eventually. “I’ll vow that I won’t betray the Order, that I’ll be loyal.”

Dumbledore agreed and, once the spell was cast, Regulus was welcomed into the Order of the Phoenix.

Everyone’s missions were cancelled, unless absolutely necessary, in lieu of the hunt for horcruxes. Dumbledore guessed at the number and objects and sent them out to look for them. Within a few months, the Order had gathered the cup, locket, diadem, diary and ring after a few daring missions and one small, albeit destructive, heist from Gringotts.

“Now what?” Sirius asked. “How do we get rid of them?”

“There are two known methods,” came the calm answer from Dumbledore. “Basilisk venom or Fiendfyre.”

“So we’re fucked?” Remus asked incredulously. “Unless someone as a pet Basilisk they’d like to share?”

“There’s rumoured to be one at Hogwarts,” Regulus said mildly. “But I don’t know where.”

The Order looked at the objects on the table and collectively sighed. The few months tracking them down meant nothing if they couldn’t destroy them.

“Anyone have a house they’re willing to burn down?” Remus asked the room eventually. “Preferably one with an astounding amount of protective charms so we don’t have to cast them?”

Sirius and Regulus shared a look. Walburga Black had died just a month ago, leaving Grimmauld Place entirely empty. Orion had been an especially paranoid man, so the house had always been protected with every charm he could find. Neither of them wanted the house and they had already set Kreacher free – it was perfect.

“Actually,” Regulus said. “I think we do.”

Watching the house burn was incredible, skulls rising from the smoke as Voldemort’s soul died in the fire. It was almost fun – until the Death Eaters arrived.

A fierce battle started, everyone fighting to get to the centre, where Voldemort himself was fighting Dumbledore. Sirius stood with his back against Remus’s, righting Bellatrix and Rowle simultaneously. Remus was engaged with Yaxley and Malfoy, occasionally shooting a jinx at Goyle, busy fighting Regulus.

Across from them, Peter and Snape were engaged in a duel, neither of them focused on anything around them. Unexpectedly, Peter stunned Snape and moved on. Even more, unexpectedly, he joined Sirius’s duel – on the Death Eaters’ side.

“You little rat, Pettigrew,” he yelled. “How could you?”

“You’re not going to win, Black,” Peter yelled. “Last chance to switch sides!”

“Fuck you,” Sirius sneered.

A second later, everything changed. Dumbledore landed the killing shot and Voldemort crumpled. Bellatrix pointed her wand at a distracted Sirius. He yelled in pain and fell to his knees, but she didn’t let up, keeping her focus on torturing her cousin as if he were personally responsible for her master’s death. Peter cursed Remus before disapparating with the other Death Eaters as Moody began stunning everyone in sight.

Remus collapsed next to Sirius, blood pouring from the cuts on his chest.

“Avada kedavra!”

A green beam of light hit Bellatrix in the chest, she and Sirius collapsed simultaneously, the latter panting and shaking.

“I never liked her,” Regulus said mildly, pocketing his wand.

Sirius and Remus woke up to a sound in the living room a week later. They had left the hospital a day before, both of them still exhausted and still in pain, but alive. They slowly got up and grabbed their wands before padding to the living room, where they were tackled into a group hug by a flash of red hair.

“Lily,” Sirius said breathlessly, hugging her tighter. “You’re back.”

He pulled away and looked up to see James, holding Harry, who was almost a toddler at this point.

“We’re back,” James said quietly.

[wolfstar-in-color]

June Creator Spotlight: BigBlackDog

Hello, colorful cuties, and welcome to our first creator spotlight!!

Each month, we will highlight a different creator in our lovely fandom who features diverse characterizations. We will invite you to get to know them better through questions and answers, Fandom Discourse(tm), and a featured prompt created by our guest!!!

For our first spotlight, we are more than pleased to highlight the incredible work of bigblackdog!!! See a little snippet of this wonderful interview below, along with bigblackdog’s prompt! Look below the cut for our complete interview. Don’t forget to share and interact with this post, and if you have anyone you’d like to recommend for a spotlight, shoot us an ask! You can find our first guest’s Tumblr here.

“I've experienced ups and downs in the wolfstar fandom. It often feels like the wolfstar fandom is willing to engage in discussion about every political issue but race. And the few people who are trying to talk about race consistently encounter this silence.”

bigblackdog’s prompt: I want to see more latino characters who are not impoverished or criminalized. Give me a joyful latino/e remus!

Hello, I'm bigblackdog! I'm almost 30, and I've been active in fandom on various platforms for about seven years now. I'm latina/e and live in the u.s. with a small white dog.

Q: How did you start creating in the fandom? What did you wish to bring into the fandom? 

A: Like a lot of fans I started with self insert fic as a middle schooler. Sometimes the practice of self-insert gets ragged on in fandom, as if you're not doing real character work, but I think it's really cool. And if you're an under represented identity in the traditional western canon of literature, self insert is a radical practice. Making space for yourself in a story that refuses or ignores your identities is a radical act. And that's what i want to bring to fandom-- disruption and self care.

Q: What things about s/r as characters or in their relationship inspire you to create around them? 

A: Wolfstar was the first queer ship I was introduced to. I wasn't someone who arrived in fandom with my own robust queer reading skills, I needed other queers to hold my hand and introduce me to queer ships and how to find them and build them. My interest in r/s was simply a clinging to queerness I wasn't finding in other places. I really think it could have been any characters, as long as they were queer.

Q: What things would you like to highlight about the Wolfstar fandom and your experience in it? 

A: I've experienced ups and downs in the wolfstar fandom. It often feels like the wolfstar fandom is willing to engage in discussion about every political issue but race. And the few people who are trying to talk about race consistently encounter this silence. It's hard not to feel bitter. But i've also met some amazing people and overall feel that fans really are trying their best to be welcoming and inclusive.

Q: What type of content do you wish you saw more in the fandom? 

A: I want to see more discourse that aims at amplifying underrepresented voices like wolfstar-in-color. I want to see more fans of color joyfully and irreverently writing themselves into the magical world!

Q: What is your favourite wolfstar fancontent (fic/fanart/gifset/etc) and how does it inspire you? 

A: I love dontthinkonithermione's rp. Not only does she do an amazing nerdy know it all Hermione, she envisions Black characters in every corner of the hp world. Have you seen her Hogwarts p.e. professor rps? i love the space she creates for herself, and the joy she does it with.

Q: Which of your own identities inform your creative processes? How has that process been for you? 

A: I started out in fandom really trying to feel out the nooks and crannies of being queer. As i've spent more time in fandom and become more confident in my queerness I've started looking closer at some of my other identities-- Latina, mixed, adhd-- and how i can squeeze them into the hp world. For a long time it was hard, especially with being Latine and mixed, to envision how that identity could belong in a 90s British boarding school in the Scottish wilderness. I also really struggled with the feeling that i would get "diversity" wrong. I’ve also struggled with feeling like I have to write diversity because i'm an underrepresented voice. Brown people are often pressured to do the work of educating white people about racism and in fandom spaces that often means pressure to write the reality of racism instead of the fantasy that white writers get to play with. And sometimes i just want to write a pwp without worrying about the revolution, you know? But i really love fandom for its refusal to play by the rules of capitalism and canon, eventually i started to feel like putting more of myself into my writing was another rule i could break.

Q: What advice do you have for other content creators with diverse backgrounds in the fandom? What would you say to people that might feel they don’t have the “right” history/experience/characteristics to participate in the creation of content related to Wolfstar? 

First, there's a lot of content on tumblr that aims to silence your voice, learn how to recognize the difference between cancel culture and encouragement. Sometimes content that seems well meaning still presents writing diversity as a list of black and white rules (and virtue signaling) instead of encouragement for underrepresented voices to share their own messy experience. Set those rules gently aside. Second, fandom is built on the idea that the author isn't the only person who gets to play. we all get to play. It doesn't always feel like we were invited, but the great thing about fandom is there is no barrier to entry, no prior experience or publishing hoops to jump through. This is our playground too. If canon is dead then why can't our stories be brown and queer and neurodivergent? Third, find your people. i've found that having just one other person to talk about race with has made the whole space feel more welcoming.

Q: How could we build a more diverse fandom? 

A: We have to stop prioritizing white and cis male voices. We recognize that policing irl is a problem inextricable from whiteness and maleness, but we don't see that fandom policing online is also a problem deeply embedded in whiteness and maleness. White and cis male people frequently use their discomfort with difficult topics to change the subject from a critical discussion to one that prioritizes their white and/or male feelings. The same thing happens online when personal discomfort is used to cancel or undermine content that's challenging to a white or male voice. White and cis male voices are used to having their needs met above others. And we still cater to that in fandom spaces when we privilege 'fetishization' discourse over racial discourse. When we lift up bipoc and women/trans/nb voices and the issues they're concerned with we'll make fandom a more welcoming place for underrepresented voices.

Q: What’s your favourite thing to modify in Sirius’s or Remus’s characterizations to bring new perspectives to them? 

A: It really depends on the story i'm writing and what issue i'm trying to figure out. Sometimes i need Sirius to be Adhd to come to terms with my brain, sometimes i need two brown boys to fall in love and be happy against all odds.

Q: What does diversity mean to you? What does that encompass in fannish spaces? 

A: This is a hard question! I tend to think of diversity as those voices that are disenfranchised or pushed to the margins. And fannish spaces have all the same hierarchies and blind spots as other spaces. In fannish spaces there's the idea that you can curate your experience to some extent, but for marginalized voices, at least in my experience, no matter how much you curate the marginalization is still there.

Q: What are your ideas about the notions of culture and ethnicity? How do you relate to those notions? 

A: There was a time in my life where relating to my ethnicity was largely a process of recognizing larger systems of oppression and how they worked against my various identities. And for a while it was a really helpful way to frame my experiences. Now I feel a little less attached to ethnicity as like, a monolithic concept threaded through my whole life and more attached to the small things that I enjoy about my ethnicity and culture-- making a really good pot of beans, for example.

Q: Leave us with a quote or work of art that always inspires you. 

A: "Caring for myself is not self-indulgence, it is self-preservation, and that is an act of political warfare." Audre Lorde

[scripttorture]

I'm trying to write a character who gets depression/anxiety after a few days of torture, but I'm worried that from an outside perspective the tiredness, lack of interest, and hyper vigilance are going to look like the character has been beaten down into meekness/compliance by the torture. Any advice on how to avoid the trope that this character was broken by their expeience when most days they're too tired to argue about anything and are slowly checking out of life due to the depression?

That’s a really good question. I think the best thing to do is combine several different approaches rather then relying on one particular thing.

 My first piece of advice holds true for writing any kind of minority experience. If you think you could be suggesting that an entire group has a particular feature/characteristic include another character from the same group who doesn’t. The more characters you have who are torture survivors the easier it is to show that they’re a diverse bunch with different symptoms and experiences.

 They don’t need to be major characters. They don’t need to be in the story for very long. But having them there makes a big difference.

 This is a lot easier if you’re talking about legally defined torture in a prison of some kind. But if that’s not the kind of story you’re telling consider bringing other survivors in during the character’s recovery. They could meet people while waiting to see the same doctor or mental health professional. They might be advised to join a group, either for group therapy or communal support. They might meet people while looking for financial support or jobs. If they’re religious they might be introduced to people through their priest or broader religious community.

 The next thing worth thinking about is: what can your character practically do?

 We have this tendency to conflate resistance with big, obvious, violent acts. Most of the time torture victims are not in a position to do that kind of thing. And in situations where people are held for a very long time (ie slavery, prisoner of war camps etc) what you tend to see are a lot of smaller or less obvious acts. Enslaved people did oppose slavery violently, with organised military action and with smaller acts of violence like poisoning slave owners.

 But they also did a host of other things. They sabotaged equipment or products they were supposed to produce. They broke valuable objects. They provided each other with material support and aid. They escaped and set up separate societies. They channelled resources into these societies. They aided others in escape attempts.

 It’s always worth thinking about what your character can actually practically do and what the risks or consequences of those actions might be.

 I talk about that in a post over here. Characters can take meaningful action even when they can’t take effective action. It’s worth taking the time to think about what would be meaningful to this character and figure out ways to show them prioritising it.

 It’s also worth considering what depression and anxiety can look like because yes, the features you describe are common in people with depression and anxiety. But they’re not necessarily constant and they’re not the only ways these conditions manifest.

 Depression can look like sleeping all the time. It can also look like not sleeping and a lack of sleep feeds into anxiety. Insomnia also causes paranoia after a while, makes it harder to interpret other people’s responses and can increase the risk of violent behaviour.

 Similarly depression can look like eating a lot, but it can also look like nausea, like being unable to eat full meals and struggling to keep food down. From the outside anxiety can be read as fear but it can also be read as aggression.

 It wouldn’t be unrealistic for this character to be more depressed at times and more anxious at others. It wouldn’t be unrealistic for them to be incredibly sleep deprived, paranoid and less able to see the risk in something like… spitting on a guard some days even if they’re generally incredibly tired, lethargic and apathetic.

 Basically even if this is the predominant way depression and anxiety manifest in this character there’s still leeway. There’s still moments when you can have them go against that. Even if it isn’t very often.

 The choice to use an outside perspective does make things harder. Especially if that perspective is a character who believes these kinds of tropes and has a poor understanding of mental health. One way to get around this is to have the point of view character’s perspective change with time and have them come to (and lead the audience to) the conclusion that they were wrong.

 But the character doesn’t need to reach that realisation if you work in enough signals to the reader that they’re unreliable. One way to do that is to contrast what the point of view character thinks with what the survivor character actually says and does.

 Let’s say the point of view character is having a conversation with another person who isn’t a survivor and they present the survivor as this sad case, broken by what they experienced because of a specific behaviour. Like sleeping a lot or being listless or not engaging with things in the way they used to.

 On it’s own that scene could easily back up these tropes (though it’s not an unrealistic scene because these tropes are commonly believed.) So let’s imagine the scene with the survivor’s response.

 They could respond that they sleep a lot because they have chronic pain or because their depression makes it hard to eat properly which leaves them exhausted. Physical symptoms like that are often easier for people to understand and it underlines the point that this is illness not some state where they’re permanently incapable. They can also respond with the steps they’re taking to try and make their life better. For chronic pain in torture survivors that can mean medication or physiotherapy. Perhaps they’re working on changing their diet or the schedule they eat at and sleep at, to work around these physical limits.

 You can apply the same kind of logic to the other points here, talk about why depression makes the character listless or stops them engaging and what they’re doing now. The aids that help them focus, how therapy is going, the new hobbies they’re exploring instead (perhaps because old ones contain triggers.)

 It’s harder to apply the same thing if the character is still imprisoned and still being tortured. But you can still do it. May be the dreams and plans the victim character had before seem meaningless now, but there will still be things they want to do and there will still be things they find meaning in.

 May be they don’t think they can be a Nobel prize winning doctor any more and may be to an outside perspective that looks like ‘broken’. But it’s harder for the audience to agree with that conclusion if the victim character is saying ‘My priorities are different now. I regret spending so much time working and I miss my family. If I get out I want to make them my focus instead of work.’

 A self aware character might be able to say ‘I don’t think I could achieve that dream anymore. But I think I could achieve this instead.’

 You can have other characters, doctors, psychologists or anyone who has worked with survivors for a long period, refute the idea these people are broken. Hurt, yes, but that doesn’t mean they’re incapable of living or of living well.

 If the perspective is more of an omnipresent narrator you’ve got more scope to show little acts of resistance the character might be engaging in. You’ve also got more scope to just straight up tell the readers what’s going on in this character’s head.

 It’s worth stressing that characters like this do still have and make choices. They are choices in incredibly awful situations and they are not free choices. But that capacity to choose is still there. And there are understandable, though not always rational, thought processes behind those choices.

 Depression doesn’t always mean checking out of life. I’ve known a fair number of people with depression who kept going with things they considered important. They just also… got no enjoyment out of it. They were miserable and in pain. But they were still trying to do the best they could for their kids or finish their degree. These efforts weren’t always successful. Depression makes most things more difficult.

 But a character willing to give up on themselves isn’t necessarily willing to give up on other things.

 At the end of the day the symptoms you choose for your character and how those symptoms manifest isn’t the problem. There’s nothing wrong with picking the symptoms that are right for your character and there’s nothing wrong with writing them in this way.

 The problem comes when we start telling people that there’s no hope, that nothing gets better. It comes when we imply that natural, physiological reactions to trauma are somehow the fault of the victim or that those reactions mean they are forever controlled by their abuser.

 Torture is an awful, effecting and life changing experience. It leaves lasting wounds.

 But humans are incredibly resilient, stubborn creatures. Our capacity for survival, to find ways to live well, is astounding.

 There’s room for optimism here and it’s worth making space for that in your story.

 I hope that helps :)

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[gwenllian-in-the-abbey]

I will just add, I think it was a mistake to try to portray the Valyrians as more progressive (and this was the takeaway for lot of show only viewers), and it makes for a less interesting story, which is ultimately what I care about. Valyria was not a progressive place. The civilization there was built off of slavery and conquest. When blood purity and eugenics play a large role in the world building, and when the only book!canon POC dragonrider is called "a low creature without a hint of dragonblood," ignoring that can only sanitize canonically racist characters. We didn't want to do that. Keep in mind this is a fandom that unironically calculates the percentage of pure Valyrian heritage that their favorites have in order to prove their worthiness for the throne, and giving people who engage in that sort of discourse Rhaenyra's proverbial "Black friends" to use as cudgels to counter the accusations of white Valyrian supremacy was perhaps not a great choice. The Valyrians were conquerors who imposed their wills on populations using weapons of mass destruction, and George didn't make them lily white with silver blonde hair out of nowhere. He knew what he was doing. Sure the books and shows needed more diversity, but if you're going to accomplish that by race bending characters, then you need to think about the broader implications of that choice. It's not gone unnoticed, for instance, that the Black Velaryons arguably get much worse treatment in S1 of HotD than their white book counterparts do. Was that intentional? I doubt it. But anti-Blackness can seep through even when writers are well-intended, especially when their goal is broadly "diversity" without any real deeper examination of their own biases, the biases of the source materials, and the biases of the audience.

Making the Hightowers POC would have been such an interesting choice, but the show chose a house that has a large role but which is broadly unproblematic within the story itself (again, if you ignore the Valyrian supremacy thing), likely because they didn't actually want to engage with racial dynamics at all, they just wanted diversity. Compare that with the race-bending in Interview With the Vampire, which tackles that subject head on in a way that is often really uncomfortable, but in a thought provoking way. Or, on the other side of the spectrum, there's absolutely nothing wrong with making the Little Mermaid Black, because there are no racial dynamics inherent in that story whatsoever, you just have a Black mermaid and that's fucking beautiful. And look, I don't have anything against the HotD actors, they're lovely and doing a great job, and arguably the show is telling, or I guess attempting to tell, a story that is broadly about patriarchy rather than an intersectional story about what happens when the interests of white Valyrian supremacy, patriarchy, and imperialism clash, but the latter is a story I would have found more interesting. Granted, it would have been a lot harder to pull off. But that's what fanfic is for! Or so I thought.

Ok, I've gotta ask, why make Baela and Rhaena white? You and your co author have to see how that absolutely reeks of racism, right? Like we get it, the disdain you two have for the show/source material is just unmatched, you're so above it all, blah blah blah but it's just such an unnecessary change back to the book material when even GRRM was like "no, I agree with this change, this cast and story needs more diversity."

You don't even have to answer this. Hell, you probably wont. But maybe sit in the reason why you felt the need to do that in the first place. Because theres no reason that makes you coming out looking good.

I'm going to let @aifsaath answer this one, since I've shared my thoughts before!