#it's specifically written about being biracial

[chekhovs-insurrection]

[1960z]

how people go about interpreting dr bashir I presume? really frustrates me sometimes ngl especially the “jules bashir died” scene.

like that whole scene is about julian revealing the depth of how deeply his augmentations fractured his sense of identity and who he is - which feeds into the themes of the whole episode surrounding how disability and then by extension disabled people are often viewed as a problem to be solved and because of that are often denied the ability to have fulfilling lives because the able bodied people around them don’t believe that they can.

but… idk, when the fandom talks about it there’s always seems to be a push to read a trans allegory into it that I don’t think is really there? I keep mulling over this post in my mind and when I initially reblogged it I didn’t really want to talk about this because the post is about how stories about racism can be hijacked by white people to be made about their own transness and it felt like as a white person, using that post to complain about ableism would be missing the point. but it really helped me articulate in my mind why the trans reading of this episode feels off to me because the same general principle seems to apply and that is taking a story trying to discuss a specific type of marginalisation and putting a trans reading above it because you can relate more to it personally.

“jules bashir died in that hospital because you couldn't live with the shame of having a son who didn't measure up!” this scene is the culmination of julian expressing his pain about what was done to him as a disabled child by his parents due to how they viewed his disability. but often when I see it being discussed, people aren’t really interested in talking about that. instead supplanting it with a trans reading instead which, in my opinion is an allegory that doesn’t even really work when you think about what’s going on in the broader context of the scene.

julian didn’t stop going by jules because he came to the conclusion on his own that the identity didn’t suit him similar to the way a trans person questions or rejects the gender they were assigned at birth, he stopped going by jules because he felt like the identity attached to that name was taken from him because of what his parents did. it’s not julian affirming who he wants to be it’s grieving over who he can’t be and to me at least, it’s honestly kind of harrowing.

and as an aside: when people read transness into a story about parents who change their child’s body and mind at a very young age without consent, which is literally a narrative projected onto trans people by transphobes to justify the curtailing of trans rights, that also doesn’t sit well with me. I think people latch onto this reading because of the idea of “killing a name” but again in the context of the whole episode the trans reading really doesn’t feel appropriate.

I think it’s okay for people to have trans headcanons about julian of course or literally any character they want to really, but I think saying that specific episode codes him as trans isn’t all that great honestly.

[bayetea]

seeing non-black people critique rick's portrayal of black characters is interesting sometimes. only like 30% of the critiques I see make any sense to me to be honest

[writingwithcolor]

Non-offensive Historical terms for Black people in historical fiction

@pleasespellchimerical asked:

So writing historical fiction, with a white POV character. I'm not sure how to address race in the narration. I do have a Black main character, and I feel like it'd feel out of place to have the narrator refer to her as 'Black', that being a more modern term. Not sure how to do this without dipping into common historical terms that are considered racist today. Thoughts on how to handle this delicately, not pull readers out of the narrative? (fwiw, the POV character has a lot of respect for the Black character. The narration should show this)

There are non-offensive terms you can use, even in historical fiction. We can absolutely refer to Black people without slurs, and if slurs is all one can come up with, it’s time to go back to the drawing board. I cannot say which terms are best for your piece without knowing the time period, but hopefully the list below helps.

Historical terms to use for Black people (non-offensive)

African American documented as early as 1782 (documented in an ad in the Pennsylvania Journal). Note the identity isn’t accurate for non-American Black people.

African could refer to African people or “from 1722 as ‘of or pertaining to black Americans.’”

The place of origin could also be used. For example, “a Nigerian woman”

Africo-American documented as early as 1788.

People of Color documented as early as 1796 (with specific contexts, usually mixed people)

Afro American documented as early as 1817, 1831 (depending on source)

Black American documented as early as 1831 

Black was used in Old English to refer to dark-skinned people. Black was not capitalized until recent years, so “She was a young black woman.” would make sense to say, though “She was a young Black woman.” is the better standard today, although not universally adopted. I personally prefer it capitalized. 

Moor was used as early as the late 1400s for North African people, but had a somewhat flexible use where anyone visibly Black / Of African descent or the Afro Diaspora might be referred to or assumed as a Moor. Note, it has other meanings too, such as referring to Muslim people, but that doesn’t mean the person using it is going by the dictionary definition. Not really the way to go today, but okay in a historical setting (in my opinion).

Biracial (1860s), mixed race (1872), multiracial (1903) and multicultural (1940s) are also terms to refer to people of two or more races.

Occupation + description. Throughout history, many people have been referred to as their occupation. For example, the Carpenter, The Baker, the Blacksmith. Here’s an example of how you might go about using occupation and traits to identify a Black character in history. Here’s an example I came up with on the fly.

“You should go by Jerry’s. He’s the best blacksmith this town’s ever seen. Ya know, the real tall, dark-skinned, curly haired fellow. Family’s come here from Liberia.”

Offensive and less-sensitive terms for Black people 

Blacks was used in plural more, but this is generally offensive today (Even writing it gives me **Thee ick*)

Colored was mostly used post-civil war until the mid 20th century, when it became unacceptable. This is not to be conflated with the South African Coloured ethnic group.

Negro/Negroes were also used as early as the 1550s. Capitalization became common in the early 20th century. I'm sure you know it is offensive today, though, admittedly, was not generally seen as such until around the 1960s, when Black replaced it. It does have its contexts, such as the trope “The Magical Negro” but going around using the term or calling someone that today is a lot different. 

Mulatto referred to mixed people, generally Black and white, and is offensive today. 

The N-word, in all its forms, is explicitly a slur, and there is absolutely no need to use it, especially in a casual manner, in your story. We’ve written about handling the N-word and alluding to it “if need be” but there are other ways to show racism and tension without dropping the word willy-nilly.

Deciding what to use, a modern perspective

I’m in favor of authors relying on the less offensive, more acceptable terms. Particularly, authors outside of the race. Seldom use the offensive terms except from actual direct quotes.

You do not have to use those offensive terms or could at least avoid using them in excess. I know quite famous stories do, but that doesn’t mean we have to so eagerly go that route today. Honestly, from teachers to school, and fellow non-Black students, it’s the modern day glee that people seem to get when they “get a chance to say it” that makes it worse and also makes me not want to give people the chance. 

It goes back to historical accuracy only counting the most for an “authentic experience” when it means being able to use offensive terms or exclude BIPOC from stories. We’ve got to ask ourselves why we want to plaster certain words everywhere for the sake of accuracy when there are other just as accurate, acceptable words to use that hurt less people. 

Disclaimer: Opinions may vary on these matters. But just because someone from the group cosigns something by stating they’re not offended by it, doesn’t mean a whole lot of others are okay with it and their perspectives are now invalid! Also, of course, how one handles the use of these words as a Black person has a different connotation and freedom on how they use them.

~Mod Colette

The colonial context

Since no country was mentioned, I’m going to add a bit about the vocabulary surrounding Black people during slavery, especially in the Caribbean. Although, Colette adds, if your Black characters are slaves, this begs the question why we always gotta be slaves.

At the time, there were words used to describe people based on the percentage of Black blood they had. Those are words you may find during your searches but I advise you not to use them. As you will realize if you dive a bit into this system, it looks like a classifying table. At the time, people were trying to lighten their descent and those words were used for some as a sort of rank. Louisiana being French for a time, those expressions were also seen there until the end of the 19th century.

The fractions I use were the number of Black ancestors someone had to have to be called accordingly.

Short-list here :

½ : mûlatre or mulatto

¼ or ⅛ : quarteron or métis (depending on the island, I’m thinking about Saint-Domingue, Martinique and Guadeloupe)

1/16 : mamelouk

¾ : griffe or capre

⅞ : sacatra

In Saint-Domingue, it could go down to 1/64, where people were considered sang-mêlé (mixed blood for literal translation, but “HP and the Half-Blood Prince” is translated “HP et le Prince de Sang-Mêlé” in French, so I guess this is another translation possibility).

-Lydie

Use the 3rd person narrative to your advantage

If you are intent on illustrating historical changes in terminology consider something as simple as showing the contrast between using “black” for first person character narration, but “Black” for 3rd person narrator omniscient.

-Marika

Add a disclaimer

I liked how this was addressed in the new American Girl books it’s set in Harlem in the 1920’s and there’s a paragraph at the beginning that says “this book uses the common language of the time period and it’s not appropriate to use now”

-SK

More reading:

NYT: Use of ‘African-American’ Dates to Nation’s Early Days

The Etymology dictionary - great resource for historical fiction

Wikipedia: Person of Color

[androdetective]

As a poc, I have a complicated relationship to vbros. On one hand, the world is really immersive and the characters can be really great, on the other hand it is a very white show and has a racism problem. Many of the white characters have done racist things when characters have gotten punished or killed for less. There's also barely any side characters of color. And even then, many jokes get made at them regarding their races, because they're not seen as the norm. Also because it's an adult swim show made by white guys.

Off the top of my head, there are 4 side characters of color (Orpheus, Jefferson, Kano, and Dr Z). If we want to be generous, we could include Al. Maybe even Triana with her being biracial, albeit entirely passing as white. Even with those characters, Orpheus became whitewashed over the years.

However, ironically enough, he's the best written character of color. He's a very nice, multifaceted character. He's even become a fan favorite. He's also had no racist comments made towards him in the show. Which was a pleasant surprise. Especially since he lived on the compound with Rusty of all people. As happy as I am with that, it feels off because why did they spare only him but not others? I'm not sure if his race was ever figured out as the writers. It never got brought up, unlike other characters. I won't lie, that gives me a feeling they didn't write him as a brown man in mind. If they did write him with that in mind, he probably would've been written worse. It feels like they could only relate to him and made his character good by thinking he's white like them. Hell, they even projected their weird breakup feelings onto him.

With Jefferson, his character is a mixed bag. He's a cool character and very capable. He's a solid character, all things considered. It's just that he gets racist jokes thrown his way. And just, the show has one black side character, and they can't even act right. Why is racism, the hatred and otherness of one's entire existence, so funny. I noticed that each episode except one that he was in had at least one antiblack joke. That's an insane ratio. The worst joke was in the Halloween episode, where he was at the party. They specifically made his character open the door to a side character, red mantle, doing blackface. It was to make a shitty reference to some niche movie and just oh my god, can you stop being shitty white nerds for a second? People who think shit like this is funny makes me want to project years of racial trauma into their brains so that they could finally Get It. Again, this is the best black character they have, but they to make him go through cheap antiblack jokes.

At least with Kano and Dr Z their skin tones stopped being yellow. The other times we see characters of color are when they're background characters. They're either there to make a scene feel full or they're labor workers. The worst is when they were what I'd describe as background antagonists. One-off antagonists that aren't really villain villains. Moreso regular criminals. These tend to be depicted as black and latino. This was more common in early seasons and stopped happening over time. Which obviously great albeit bare fucking minimum, still doesn't change that it happened.

For a world that critiques the old mentalities from previous generations and even specifically denounces generational toxic masculinity. They don't say shit about the blatant racism of the Johnny Quest times they parody. And the times they try to, it's just showing racism and doing nothing about it. Princess Tinyfeet is the worst example of this. She's a blatant racial stereotype. Who for whatever reason, used to be married to Sgt Hatred, an American soldier. And Sgt Hatred is a whole can of worms.

With Dr Z who was apart of the Quest era, at least they tried to give him a character. The thing I will say is that he's voiced by a white guy (Publick) doing a stereotypical vaguely Eastern Asian accent. Something I wished when watching the show was for Dr Z to mention the old racist era he lived through, and maybe even how the present is still rough. The toxic masculinity of the era got mentioned, so why not that too. It would've been so obvious too.

I won't lie, a part of me is glad they didn't try to handle the racism because it would've been a horrible train wreck. I can get why they didn't delve too into it, they're white after all. I just wish there were more poc in the team and sensitivity writers because they were desperately needed. But for a show that can't even handle white women, I'm not surprised they can't handle people of color. For a show whose best thing they were able to tackle was toxic masculinity, I find it ironic how misogynistic they still were. Like quick, why were the side effects of misogyny that affect you 🫵 handled the best.

The thing is, if they did try to critique the racism, they'd alienate the audience, and it'd also be strangely hypocritical of them. Venture Bros'/Adult Swim's main audience is white cishet men. The ones least affected by bigotry. They're able to laugh at bigoted jokes, and they're the most marketable people. White guys will appeal to other white guys. In the early 2000s, white creators were able to get away with much more. Not because it was alright but because it was easier for them to shut down minorities calling them out. Despite how "normal" it was, that doesn't change how that fed into a very toxic, bigoted culture. Despite today still being hellish for minorities, it was even worse just a couple of years ago.

Venture Bros obviously did not invent racism/bigotry. The show is very much a product of their time and environment. And whenever I think about that, it feels draining. Especially having had to live through the 2000s. The show can be amazing when it wants to be. There's so much potential and a lot of charm and character. I really enjoy it, and that's why I'm so critical of it. Not only because I want it to be better but because I want something better for fans of color. We barely get anything, and the least we should get are characters that look like us and are respected. Just like their white counterparts. It's like, how am I supposed to feel when Sgt Hatred gets redeemed and made a main character before we got a character of color that didn't face racist jokes/got whitewashed. Or even before we got a female character whose existence didn't hinge on their relationship to a man. Obviously, the show doesn't hate people of color. They've tried to better over time, which again great. But it barely felt like they respected poc enough.

With the movie, despite its own problems (not helped by Adult Swim screwing them over), you could tell they were trying. And it was really appreciated. Jefferson had a big spotlight, and there weren't jokes against him. We even got to know a bit more about him. It was genuinely his best. Ignoring Orpheus still looking like he's in a perpetual state of winter, that aspect of the movie was alright.

I'm very glad to see fans who are critical of these aspects. It makes me more happy seeing them vouch for poc. However, there's still a large majority that ignores or even excuses the racism. Unsurprisingly, these tend to be the white dude bro fans. But I've seen even the more liberal fans excuse/ignore stuff. The fanbase is very white, just like a lot of other fanbases. I can get why a supportive white person feels they wouldn't be best to call out the show's shit. I just wish they'd mention it more with a simple "oh there's xyz in this episode and it wasn't alright." Something as simple as that carries a lot of power in very white environments. Also, of course, uplift other fans of color, especially when they talk about or face racism. Things as simple as that make me breathe sighs of relief. It personally encourages me to interact with communities more.

I'm unsure of how to close this off. This feels like a topic you could talk about all day. All I wish is for things to be better, you know? Hopefully this all makes sense. I just wrote shit off the top of my head. I'd love to hear thoughts expanding or adding on to stuff. Really hope this reaches the right people

[d-criss-news]

Darren Criss embraces technology and his mixed heritage in his Broadway premiere

Late last month, I spoke with Darren Criss for his upcoming Broadway premiere, Maybe Happy Ending, in which he plays a robot (a Helperbot to be specific) named Oliver who’s been deemed obsolete by technological standards. Another Helperbot, Claire, asks to borrow his charger, and thus begins a unique friendship between the two.

Maybe Happy Ending was written and produced in both Korean and English and has had performances all over the world. This production features Asian American creatives both on stage and behind the scenes. Criss himself identifies as half-Filipino on his mother’s side, and has said his feelings on his identity have evolved over the years. In 2018, he was quoted in Vulture saying that he did not identify as Asian American. In 2020, he would later shift his perspective after playing a half-Filipino character in Ryan Murphy’s Hollywood, telling People: 

“It’s a tricky cocktail in America ... Anyone who is biracial can attest to this: No matter how much or how little they look like their respective mix, it’s a constant work in progress … I’ve always been proud of my heritage, of being Filipino. Just because people don’t see it, doesn’t make it any less real to me.”

I got the chance to speak with Criss not just about identity, but about his career at large, how he relates to the character of Oliver, and what audiences will take from Maybe Happy Ending.

This interview has been edited for clarity and length.

Bri Ng Schwartz: As a biracial person with Asian identity, how does it feel to be working on a show that’s been produced and written in both Korean and American? Darren Criss: This show isn’t categorically an Asian show. It is very much a universal human’s show, but it happens to celebrate and represent a large degree of Asian-ness. Anytime you can show up for your cultural identity, that’s always a very exciting thing. It’s very exciting that the vast majority of people working on the show, on stage and off, are of Asian American mix and descent. The Asian experience is not a singular experience. It’s a very large breadth of backgrounds, so it’s been fun for all of us to bring our own experiences and stories to the table. 

BNS: I saw you about 10 years ago at the Belasco when you were starring as Hedwig in Hedwig and the Angry Inch. DC: Oh boy. This will be a little different. 

BNS: Yeah, definitely different. As you return to the Belasco for Maybe Happy Ending, how do you think you’ve evolved as a performer in the last 10 years? DC: I hopefully have evolved as a person. If I’m the same person that was 10 years ago, then we have a serious problem. I’m just still trying to learn, still trying to connect as many dots as I can. Hopefully I never know the answer to that.

BNS: We are forever learning as humans. DC: Exactly. 

BNS: I spoke to your former on-screen father, Jon Jon Briones, a couple of months ago. DC: He’s the best, and he was part of this production! This show has been around in many iterations for a long time, and he actually was part of a reading several years ago. We find ourselves connected yet again, me and Jon Jon. He’s awesome. He’s the best.

BNS: Do you take any advice or inspiration from people like Jon Jon or other seasoned Broadway vets in your work? DC: There are these goalposts that artists may think are the be-all and end-all of what makes a successful career. Jon Jon’s consistency and longevity are the goalposts. He’s one of these guys, if I mention his name, half of the room knows him or has worked with him. There are a lot of guys like Jon Jon who just are constantly a part of things. And that’s the goal. Success in devoting yourself long form to the craft, which he has done in spades.

BNS: In Maybe Happy Ending you play Oliver, a Helperbot 3. Do you think there are any parallels between you and how Oliver perceives the world? DC: I am endlessly curious and endlessly trying to download and learn as much as I can from the world around me, whether consciously or unconsciously. I happen to be a human being, and Oliver is not. 

I’m still getting under the skin of this guy, of this robot. I’m finding a lot of parallels as far as the desire to please. I always say I’m in the service industry. I service ideas and emotions and people. That is my vocation. My programming.

BNS: Do you think that audiences are going to walk away from this show feeling differently about their technology? DC: Technology becomes more human in the way we treat it. When people put away their phones, they get sad. They’re like an appendage. We’ve already started to ascribe emotional connectivity to our non-human components. People will walk away with perhaps a more emotional experience with the human components they have in their life.

The battery life that our devices have are a microcosm metaphor for our own battery life, our own shelf life, and our own energy. The finite amount of time that we have, and really coming to peace with the idea that we are a transient technology ourselves, considering that, and hopefully, making sure that your battery life is spent on the right things, I think is the thing I hope people walk away with this show.

On top of hopefully singing the songs, because they’re beautiful. 

BNS: They really are. Thank you so much for taking the time today. On behalf of mixed theater kids everywhere, thank you. I don’t think I would be who I am without having you to look up to. DC: Thank you for letting me be a part of it.

[acourtofthought]

“Lucien had been there, Cassian recalled. Had gone with Nesta’s father to the lake where Vassa was held captive.”

I loved this post, btw. I can’t wait to see what SJM writes for Lucien and Elain, specifically when they bond over their relationships with her father. But question - did SJM retcon this specific detail? That Lucien went to the lake with their father? I thought in ACOWAR, Feyre said that Lucien met up with their dad *after* he freed Vassa? I do feel like if she retconned it, it’s even more important/telling for Elain and Lucien and all the conversations they get to have in the future!!

I wonder if in ACOWAR she was so eager to reveal Papa Archeron's grand gesture she forgot to think forward in that moment about the plot of future books.

It's during the scene with Drakon that we learn how Lucien met them along the way, how he ordered them where to go but that it was the girls father who freed Vassa from her curse. Feyre even thinks it was Lucien who found her but Drakon says, who? Oh the one-eyed male. No he was pushy telling us we had to come now but it was actually this other guy ............which then cues the ships heading into harbor led by Papa Archeron.

But then when Sarah started writing SF and (hopefully) plotting the setup for Elain and Lucien's book, she remembered / realized Lucien needed to have actually been at Koschei's lake for the things she wanted to write and that's why she had to tweak the events of what actually went down.

The inconsistencies in this series can be frustrating at times but at the end of the day, I do think the most recent information being written is the most important information. Just like Beron was Lucien's father in book 1 but in books 2/3 we learn that she went a different direction. That, with this information Lucien is biracial and Helion's son and that's the new direction we're going.

Like how what Az's shadows did before around Elain do not matter as much as Sarah confirming in his POV that they tend to disappear around her.

And how Sarah wanted us to know as of the most recent book that Lucien had been at Koschei's lake with Elain's father.

Even without that addition, it is meaningful that Lucien got to know him on their travels back to the war, that it was her mate who she can now trade stories with when remembering him.

[chaifootsteps]

Also in terms of Viv being kinda goofy with Alastor - she went through ALLLLLL of this effort to be like 'nooooo guys he's creole!' 'he's mixed!' 'he's biracial!' 'he's a poc, i swear!' only to have the OFFICIAL leaked audition sheets say 'Any ethnicity.' Like, that's genuinely a slap in the face, especially as a mixed person myself. (To play devil's advocate though, I know that could be a note about the actor/not specifically how his character will be written, but Viv put a lot of effort during streams and stuff into saying "oh he's like half black" specifically, so to be like 'oh yeah, any ethnicity can play him' is kinda like HUH??????) I also think it's hilarious that you can tell that the audition sheets are real bc the ABSURD amount of typos and grammatical errors have Vivienne Medrano written ALL over it... even in terms of the song credits! As someone pointed out earlier, she credited a song as being "by Hello Dolly," and I checked Velvette's sheet again and she spelled the band "Little Mix" as "Lil' Mix" which first of all, is NOT the group's name, and secondly, is fully just misunderstanding how apostrophes work... like, how is this woman a writer?! (It should be 'Li'l Mix' if you wanna spell it that way, bc the apostrophe fills in the missing letters) Like, these are PROFESSIONAL audition sheets, how did anyone let these get through???

It's no wonder when those sheets first dropped, people couldn't believe they were real. But no, Vivzie really is that unprofessional.

[sahonithereadwolf]

Sokka winning over Willie Jack in the indigenous character poll thing is just kinda got me feeling a way. Don’t get me wrong, it’s an absolutely nothing issue. This really doesn’t matter. But it does have me thinking about this pattern I see a lot in pop culture where the, sometimes very racist expectations of the, often very white, dominant group and what they read as genuine and representative will often very much not align with the traits, ideas, characterization, and coding the in-group will identify with. I think a very good illustration of this is Overwatch, specifically the handling of Pharah. So, if you don’t know what happened. Parah, an Egyptian character, got skins called Thunderbird and Raindancer. (Yeah, you should already be groaning.) Not really the best. And there are plenty of articles on why they suck ass.

That was enough for a mostly white audience to start fanoning that she might be half-Indigenous. Which isn’t wrong in concept, as a biracial person I can indeed confirm that biracial people do indeed exist. But the why they were marking them was that it was meeting the concept of who and what a native is in their head. A cultural expectation of what it means to be indigenous that indigenous stories rarely get to exist outside of. (And we could turn this into a related discussion of the specter of medicine shows and the hollywood indian or the big three of shitty native reps which originated most of these expectations directly or indirectly, but that is for another time and another post.) Blizzard, being blizzard, tends to like to incorporate fanon into canon if it’s loud enough and doesn’t clash with their plans as a way of making them seem and fans feel engaged. So they made it canon because a mostly white fanbase saw a set of kinda shitty skins and said “indian”. This is despite push back kinda being pretty vocal and visible at the time. It felt hollow, disingenuous, and out of nowhere to a native audience who never read native off her and it never being meaningful before. And nothing meaningfully native was incorporated into her in the future. Nothing that a native audience would identify with or recognize could be seen in her. And it’s not like there wasn’t talk of indigenous coding in overwatch.. But Parah was never the person it was attached to. That was McCree. He has big shitty uncle energy (among other things).

But again. Because one met a mostly white fandoms expectations of native, and thus got more noise. One got the canon and the other got an ugly beach skin where they made him blonde. What we flagged as native and what white consumers flagged as native did not align.

Ain’t nothin’ wrong with Sokka. Sokka has a lot of features I wish more native characters got to have on tv. I know a lot of Alaskan Native folks that fuck with him. But if you tell me he’s more native than arguable the most native character to ever been on tv, from a tv show written, directed, and acted by Indigenous folk in a way tv hasn’t gotten the opportunity to be previously, I’m going to side eye you.

[eye-in-hand]

Why I'm Converting to Judaism

I've posted this onto tumblr before on an old blog of mine, fuck if I remember what it was called but lmfao I'm sure some people have seen this before.

There are a lot of reasons why I'm converting to Judaism, but what I talk about in this is a large part of it, and a large part of a lot of healing I've had to do. Getting involved in the Jewish community (at the point of writing this, I had a bit, but was still too scared and admittedly triggered from past events I talk about in this to do so) has been really healing for me, and has made me feel validated and less alone in my experiences. And that's something I can never show enough thanks for.

Also at the time of writing this I didn't have my driver's license yet, but I do now, and that's helped with actually being able to be in a physical Jewish space so that's been nice.

Because it involves (CW:) violent antisemitism and rape, I'll put it under the cut. This was written partly around June/July 2023 and then a couple days after 10/7.

For the last few years I've been seriously considering and researching into converting to Judaism. It's been a little difficult because I live in the middle of fucking nowhere northern Midwest and the closest Jewish community to me is small and an hour away (and I can not drive), but I've been talking with their rabbi for the past few years. Admittedly on and off because I've been ahhhh terrified lmfao for many different reasons (mainly it brings up trauma I've dealt with that I get into that below) but recent events have... really made it clear where I want to stand in this world, and who my heart yearns for the most.

Some back story:

There's a lot that has happened to me growing up involving the idea of Jewish Identity, who is and isn't Jewish—but there are a few major events that really stick out in my mind. The majority of my years in High School, I would often (and I mean, this happened regularly) be asked if I was Jewish, or told "you look Jewish" unsolicited, or asked "why do you [act Jewish]?" I have dark, curly hair, and other "typical Jewish features", or so I'm told. I had no idea if I was Jewish (ethnically anyways, I knew I wasn't religiously), and growing up as an undiagnosed autistic, I had no idea how to respond to these kinds of questions, or what to do about figuring that out, I had no fucking idea about anything. I don't even think I really understood what being Jewish meant. And when enough people ask you if you're X thing, you start to wonder if you are.

When asked, I had two answers: "I don't know, actually," or "why?" I never understood why it was only the Jewish kids being asked this, why was the question always "are you Jewish?" I never seemed to see other ethnicities being questioned (bare the biracial kids, they got asked this a lot too) and I went to a very diverse inner-city school. I knew Jewish kids and they were always asked and bothered the same way I was, sometimes at the same time. I showed interest in learning about Jewish culture and would talk about it at school, etc. Maybe these answers were the wrong ones. I'm autistic, I have no idea. Maybe I should have just said "no, I'm not." but my response was "I don't know, let me look into that," or "Why? Does it matter?" Because I genuinely meant those words.

To keep this short, I was bullied in school for "being Jewish", "looking Jewish", especially as if my dark, curly hair and nose were ugly and weird traits to either mock or touch without asking. Traits I tried to hide my whole life until recently as an adult I learned to appreciate them. I remember a specific incident where my 'best friend' was in a group project with other classmates and as the class was working on them, she came all the way across the room to me, and asked, "are you Jewish?" and I said, "why?"

"Oh because you look like a Greek Jew." Whatever that means.

All I responded with was a forced laugh and "does it matter if I was? Why is the question always about being Jewish?"

She went back to her group and for the rest of the class I was stared and laughed at. Very weird. Autism brain does not understand what is so fucking funny about it. There was another incident with her, or regularly honestly, and this group of people who would compare me to characters from media based on negative Jewish stereotypes and apparently it was just hilarious.

I always had to deal with holocaust jokes, Jew jokes, expected to laugh and go with it because it was just a crack at my appearance.

After high school, I moved towns, and — to keep this short and not too personal. I met a guy who took me in while I was vulnerable. Just became homeless, had no friends or places to go in a completely new town. Turns out, he's a neo-nazi, and I mean that literally. Not in the just a bigot oh he's a nazi, like — he was a proud "Odinist" body builder fuck head who was very proud of being Icelandic and German. The topic of Jewish people was one he brought up a lot, especially towards me. He asked me that same question, and I told him, "I don't know. I get asked that a lot."

I told him I was interested in celebrating Jewish holidays to learn more about Judaism. I'm angry at myself because I was barely 18, undiagnosed autistic, and he was much older than me, a local of the town and who I was depending on for a place to stay, for food. I barely knew what a pagan was, let alone what covert supremacy looked like.

I'm not exaggerating that this all still makes me shake, typing this is hard. I feel sick. He isolated me, kept me in his basement, "joked" about keeping "a Jew in his basement" and how "funny it would be to make that a dead Jew." He sexually abused me, beat me, choked and shook me, called me slurs, he'd talk on the phone when he thought I was asleep to his white supremacist friends about the "Jewish whore" he had. He wouldn't let me get a job, encouraged me to "act Jewish" in a fetishizing way. Told "edgy" jokes over, and over, and over and expected me to laugh with everything. It was all just a joke why are you upset it's funny, what's wrong with you, why are you such a bitch?

Later, when I got away from him (and homeless again in the process) I was in online "spiritual communities" and showed a picture of my face. I didn't realize how much the New Age community hates Jews and I was called a lot of things, especially when I told them that Jews aren't an alien race here to take over the world, or that hating Jewish people doesn't make you a fucking spiritually awakened guru. I was harassed in public for "being a Zionist (edit: yes, even in 2017)" even though I had never even mentioned an opinion on Israel, I never claimed to be Jewish, it was just assumed. My (platonic) partner's mother cried because "my daughter is running off w that k*** boy." I never told her I was Jewish, and neither did my partner. She saw me on Skype once. (Edit: My boyfriend's family are from Russia/Georgia and he's terrified to be seen with me near them and despite being interested in Judaism himself he's scared to go to the synagogue with me because of the possibility of them finding out. (Some of the fear is also because we're gay, but I'm well aware that it'd be even worse if they knew it was gay jews. And he's not scared for himself, he's scared for me.)

I got a DNA test a few years ago. I'm not Jewish. I don't know what happened to me. I don't understand this. Is this valid pain towards an identity I can't even claim? What do I even do with this? I wish I could talk to a Rabbi but I can't tell if I'm overstepping a boundary. A Rabbi's job is for the Jewish Community, they don't have time to hear my sob story about the antisemitism a Gentile faced. I can't just show up to the Jewish community and say "I get your struggles" because I don't. But I feel so alone.

I've stepped in and out of conversion, confused and unsure of who I am or who I want to be, what I believe, and how others see me. Angry at myself for how I handled these questions. Angry at myself for appropriating a struggle that isn't even mine to be struggling with. I'm so sorry.

When converting doesn't scare me, I just want to convert so that maybe the idea of being Jewish can be more than pain to me, and instead be something empowering. But I don't know anything right now or where I should go.

About a month or so ago, a couple coworkers of my partner started harassing us about me being Jewish, and I had directly told them multiple times, that I am not Jewish. I had even dropped the idea of converting because I was too scared of all this past hurt and didn't want to be alone to deal with it anymore, and too scared to talk to the Rabbi for fear of bothering him. But they threatened me, the only place I felt safe to hang out was around my partner's work and that place is no longer safe for me because of these people. I don't know them, and I don't want to know what they're capable of or rather who they know around here, because they're Qanon supporters of the men that tried to kidnap the governor and supporters of Jan 6, trumpy fucking dickheads. I live in a small, incredibly Christian town, I didn't fucking need this shit again.

It really triggered me because I didn't even have the excuse of "well it's my fault, I didn't say I wasn't Jewish" this time. I told them I wasn't but they think I'm hiding some "dark Jew secret" and I "cursed them" because their lives are going to shit.

Then all of this in Israel happened, and it hurt so much. That was the first weekend I had done Shabbat in a year or so, and for the first time it felt so right. It felt like what I should be doing. Then I logged back online, saw what had happened and for the Jewish community around the world it was one of pain. I called my Rabbi this past week after several months of silence on my end, and told him to let me know if there was anything I could do. He was glad to hear from me, and I'm sorry that I kept disappearing.

My point is, I'm converting because no matter what I say or tell people, this will always keep happening, I will never be safe and I don't want to face it alone, I want to hopefully connect with the community (daunting because ahh I'm autistic so I am. Not good at connecting with other people very well), do what I can. I had read about Jewishness being "sharing the fate of the Jewish people" and I believe that I do, it's been proven time and time again no matter what I say or do.

Anyways that's what's been on my mind. I hope this doesn't come off trying to make this tragedy about me, I'm not good at tone and I'm sorry. I'm bringing this up now because this really... marks the time for me to take this seriously, and I never want to shut the door on this again. I need to be there for the Jewish people in times like this because I've felt what that feels like, even if I don't really understand why.

[getvalentined]

may i ask about the very specific vincent headcanon :D from the baby onesie post LOL

This is pretty long, so I'm gonna put it under a cut because it's all headcanon stuff so I don't wanna clutter up the dash or tags for anyone who isn't interested. I explained this in a discord server the same day as that post, so a lot of this is just copypasted from there and thus isn't written in the same tone as my usual explanations, so my apologies for that.

First, some establishing context: my Vincent's mother was named Sayoko (Sayo to her friends) and she was a Summoner out of Wutai. Her family is particularly important to the culture, to the point that they still head up the one remaining summoner temple in the world, because they're the only family that presents with what's colloquially referred to as "aeon matching." This means that sometimes when one of them is born, an aeon is born with them, connected to the summoner in question at birth. The summoner sort of serves as a living materia, and at the point of their death the juvenile aeon disconnects and joins the rest of their kind in the ether between the Lifestream and the Void.

This is referred to as a personal aeon—most summoners even in Sayo's family don't have them, but those that do are almost terrifyingly gifted, and also highly at risk of things like…brain aneurysms. They're also at risk of uncontrolled incarnate summoning, where the aeon takes control of the summoner's body and uses it without their permission, so it's super important that summoners with personal aeons be heavily trained starting quite young, usually around 5-7 years old. (This is around the age it's possible to even tell if the kid has the gift in the first place.) Personal aeons are occasionally picked up on sooner, but it's pretty rare due to the inability for small children to understand the individuality of the mind. Little kids assume everyone knows what they know until they're about 4-5, and it's within a couple years of this that summoning and/or personal aeons present.

Sayo was very rebellious and ran away from the temple when she was 17, crossed the ocean, got an education, got married, and left that whole life behind her—and she had a personal aeon, but because she was fully trained it didn't impact her life very much. It's very very rare for a summoner with a personal aeon to have children who also possess personal aeons, because while summoning is genetic, the binding of an aeon is strictly based on the flow of energy through the planet at the time. Vincent is biracial, since my Grimoire is Junonese, so Sayoko wasn't worried about him at all—the gene responsible for summoning presents equally among different ethnicities, but it's recessive, so the likelihood of it presenting in Vincent at all was slim to none.

Sayo died when Vincent was seven years old, and his personal aeon (a particularly unpleasant creature going by the name of Hellmasker) fronted for the first time when Vincent was eight.

It was just a juvenile, and Vincent was a skinny, bookish, untrained child, so it couldn't do much. But it could essentially "take the wheel" and put Vincent's personality into temporary stasis while causing all kinds of trouble because it's like an untrained and overly energetic dog that's been locked inside for its entire life. This…basically set the stage for the rest of Vincent's life in some way or another.

Vincent being a summoner from a line with the issue of incarnate summoning is where the transformations come from. He has the ability to channel an aeon through his body, and as an adult he could have done it physically rather than just via personality, but doing that is always fatal. The process of reshaping the body to house the energy of what is essentially a demigod, regardless of age, will always kill the host at the point that the demigod withdraws.

…Vincent can't die. Meaning he can just do that. And he will survive. He's untrained so he can't control it, and he doesn't actually have any clue that that's what it is, but that's why it presented that way in Hojo's experimentation.

That's why the personalities of his monsters are so different from his own, while the only other character who had anything close to this ability (Azul) was still in line with himself when transformed. One of the other characters turned into the vessel of a Weapon (Weiss) also doesn't lose himself in the process. This is because they didn't perform incarnate summoning, they utilized controlled mutation.

Hellmasker is a whole aeon to himself, and Chaos is a bigger fish even than that, but neither of them are Vincent.

The other two are. Technically. Sort of.

Galian Beast and Death Gigas are mentally mostly just Vincent with bits of his personality sliced off, because they're not actually aeons so much as…the possibility of eventual aeons? They latched onto Vincent automatically due to a combination of what he is and what was done to him, but they're concepts that were still "cooking" in the Lifestream and are thus neither complete nor unique.

Unlike Hellmasker and Chaos, Vincent's first two monsters are physically based on creatures that already exist in the world, and mentally based on Vincent's experiences under Hojo. Galian Beast is desperation to escape and a thirst for revenge, the feelings of being treated like an animal, and presents similarly to a scary creature that actually exists and Vincent had fought in the past—a behemoth. Death Gigas is pain and trauma and frustration, the feeling of being defeated and defiled, and presents similarly to a scary creature that Vincent had only ever heard stories about—a gigas, which you can find near the Northern Crater in the OG. Galian Beast is too small to be a real behemoth, because Vincent was too weak to get out; Death Gigas is all piecemeal and broken, because Vincent had been taken apart and put back together and he knew it.

Galian is Vincent if Vincent were a wild animal that was backed into a corner, and Death Gigas is Vincent if Vincent were as undead and monstrous as he thinks he is. Both were very much shaped by Hojo's treatment of Vincent in the experiments.

Like...you know how you can use human stem cells and specific stimuli on a rat to grow human ears and noses and stuff? Vincent is the rat, the proto-aeons were stem cells and Hojo provided the stimuli.

And that's what I meant when I say that Vincent looks like his father but inherited his mothers insane powers.

(This is also why Sephiroth was able to fuse with Jenova instead of being consumed by her entirely. In this regard, he takes after his sire more than any of his other parents.)

Also I feel like I gotta explain that in headcanon-land, "aeon" is a term that's rarely used outside Wutai—the common term is "eidolon," but that actually means something different! An aeon is literally anything that can be summoned from the ether (this term is not appropriate to use in describing Weapons, which have physical, tangible forms on the human plane of existence; aeons are energy capable of manifesting physically), while an eidolon is an aeon with a functional summoning materia. Odin is an eidolon, Hellmasker is not, but they're both aeons.

As a note, Fuhito technically performed incarnate summoning, but it was a unique variation because Zirconiade had a semi-functional materia—Fuhito would have died when Zirconiade withdrew regardless, but because it was a Weapon rather than an aeon, the withdrawal process would have taken significantly longer without intervention. Likewise, the materia helped to prime Fuhito to receive Zirconiade by turning it into a summoning process rather than a hosting process as seen in Vincent and Weiss. His whole situation is just a very different animal.

[system-voices]

What to do and not to do for Fictives Connected to a Culture that Isn't your own

by a Japanese fictive in a biracial (White/Honduran) body

Cultural Appropriation is a term that gets thrown around a fuck ton online these days. Here are some educational resources (and more) about it.

Basically, it means taking a culture that isn't your own. Plural systems have this problem with headmates sourced from media where their character is of a different race or ethnicity than the body itself.

So what the fuck do you do when you have a headmate like me who has a different race than the body, hm? Every system is different. Some systems only have their headspace bodies affected while others have headmates form with deeply connected identities that do not belong with the body.

We usually have headmates who are only connected by appearance to a race, but others are deeply connected to deal with cultural trauma we've experienced, not from source, and a culture outside the body affecting the development of a headmate.

Understanding why a headmate is wanting to connect to a culture or identity so much beyond an appearance is important to pinpoint. Is it internalized racism? Some strange concept including racial superiority or believing that race is a choice? Do some good god damn soul searching before diving head first into anything. We all know race is a touchy issue even outside the plural community.

Some rules of thumb no matter the answer are that:

1. Changing the physical body to fit a race outwardly is racist.

EX: A white/other presenting body begins to slowly aquire and appear as another race outwardly that isn't the one they were born as. This can involve surgery, cosmetics, use of slurs, speaking over POC on real-life issues, or even just flat out refusing to acknowledge the bodies race and ethnicity.

2. Claiming a closed culture or closed aspects of a culture is racist.

EX: A hesdmate wishing to dabble or participate in Voodoo, a closed culture, wouldn't be able to and why the affects of participating would have negative consequences. There are obligations as a white/other body you have to uphold in this world.

3. Forcing other hesdmates or the body to follow a specific culture or race that does not align with the body for malicious reasons is not only racist but just harmful in general.

EX: Wishing to claim an entire culture because they "deserve it", "want to make others feel bad," "use it against others," or "get access to spaces and rights they're not supposed to" are, I believe, stepping points in this direction.

This will be good starting points to weed out what racist ideals that may be affecting a headmate. If none of these apply and your headmate simply wants to interact with a culture with appreciation and to connect to themselves in safe ways, where do you go from there?

What to do when your Headmate wants to Connect to a Culture

I am a Japanese headmate because my source is based upon Japanese culture and written by an Asian man. However, my culture is not true Japanese culture. My home is based within a fictional version of Japan with different governments, laws, name structures, and history than the one of this world. When your Headmate identifies with a culture, know there are boundaries and perhaps only specific shared aspects that they long for.

For example, within my source, my name, Katsuki Bakugo, is made up of Japanese phrases and do not resemble real names of real people, intentionally by my creator for people outside his culture. Within my world they are common and not unusual. However, in this reality it is. This is a division of this reality and my own. It is still the Japanese language, but it holds no cultural significance outside of words a being chose to create fictional names.

I am capable of claiming my name and keeping it because it is but an aspect of a language that is open for others to interact with. Japanese is encouraged to be learned and taught. For this reason, keeping my name is not cultural appropriation. This may be difficult for other introjects, especially factives or those whose source stems from a tight intertwining of this reality and their own.

Researching your source name, it's history and why it was chosen, will help decide weather it is one crossing appropriation or simply a name you can still keep. I am lucky mine is not. You may not be.

Because my culture from source is influenced and reflects this realities Japanese Culture, that means certain cuisine and holidays I used to participate in are ones I may know or have memory of.

The solution is simple for this one. If the culture you are based upon or stem from has pieces of food, tradition, or holidays that are closed and unable to be shared or refuse to be shared. You simply give up that aspect and move on to the open, shared, and welcomed portions of the culture. Just because you are not within a body that presents as your race does not mean you cannot appreciate it to the extent that is allowed. But this also extends to the part where you just accept and effectively move on from those aspects of yourself to respect his reality and especially, most importantly, it's own people.

For example, I cook frequently in my system. Most foods I enjoy cooking involve cuisine with tofu, mostly soups, because it's my favorite type of food. The soups I cook are not sacred nor am I stealing them in this body. I researched if they are parts of Japanese culture that are open, shared, and encouraged to be learned and appreciated. If the Japanese culture, or any culture your Headmate wishes to connect with, gives you a wildly recognized green flag to participate, than you may. If not, deal with it.

The only reason I participate within Japanese culture despite living in a body that isn't my own in a world that isn't my own is because of multiple factors.

We as a system collectively have interest in other cultures. We read academic research, we involve and uplift POC voices and actually place our actions where our fucking mouth is. No, this doesn't give us a pass. But it DOES give us an understanding and access to what is right and wrong and how that will influence our decisions. We interact with open aspects of culture constantly and are aware of the dos and donts, continuing to learn all the while. We respect Japanese culture, so when I formed this aspect of it, I was allowed to take part as an outsider, to still have a taste of home. It isn't the bodies culture, but once was mine.

Whatever happens you listen to those of your culture from this world and you slaughter and murder the internalized racism you may have formed with. Anyone not willing to do so is a lost fucking cause.

[vaveyard]

Hi Victoria!

Corayne and Mare are some of my absolutely favorite fantasy heroines of all time. Bit of a niche ask, but is Corayne's surname an-Amarat inspired by Arabic? Seeing possible Arab rep in the YA fantasy space is so refreshing when written well, and I was just curious if this was your intention! I remember seeing that you see Mare as biracial white and Hispanic; would you envision Corayne and/or Mare as Arab/Middle Eastern descent as well? I think their strength and resilience really stands out in these representations, and I really appreciate your portrayals (of female heroines in general, regardless of ethnicity!)

Great question!

Regarding Corayne - yes, I very much see her as having a mixed race background from her mother's side. And I was thinking about Arabic surnames when naming her (as well as other characters). Her mother, Meliz, notes that she has ancestry throughout the Long Sea (which I see as Mediterranean coded). Specifically, Meliz is of Siscarian, Tyri, and Ibalet descent (Italian, Greek, and Arabic coded respectively).

But race isn't exactly a construct in Allward as it is in our modern day world. Heritage, skin color, or ethnicity aren't tools of division or oppression, so much as simple facts. I.E. A person of color in a predominately white court might be noticed as not hailing from the same kingdom, but won't be looked down upon or othered. I see Allward as being extremely multicultural with an emphasis on travel and trade linking the kingdoms together. I really did not want to write a world where racism existed and did that to the best of my ability.

So I wouldn't identify Corayne as having anywhere near the same experience as a POC!

[rawliverandgoronspice]

I can kind of see why Hyrule reads as imperialistic to you in totk, but why do they read white? Sonia is brown and rauru is a black goat. What makes the difference between them and Ganondorf so bad?

Hey, thanks for the ask!

So... I have an answer, and it's kind of in layers. So I hope it's fine if I kind of go on Journey TM where I figure out my own feelings on the topic alongside you, the person reading! It's long! Kind of meandery! Sorry!!

Also, I had written a great version of this reply to this ask that Tumblr fucking ate and I'm furious about it, so this version is slightly more annoyed as a baseline because of Tumblr and not the ask itself. But I got stubborn and decided I would rewrite the whole thing tonight. So.

Here we go.

Layer One: My Basic and Unfiltered Gut Reaction

My first, potentially unwarranted gut-level reaction would be: I kind of think it's a stretch to consider them POC-coded. Sonia gives me more tanned Ariana Grande vibes than anything else, but that's... I mean, I'm aware that there are brown people with lushious blonde hair and blue eyes out there, that race as USA-infused Internet understands it is Complicated (I'm half-brazilian, and even though I'm very very white and don't consider myself biracial but bicultural, I had people discussing my ethnicity to my face a non-zero amounts of time, including quite recently, including in my own family! so I super get that it's more complicated than what I make it out to be here). But given vibes don't count as an argument, I completely get + accept if that reading on her ethicity is therefore dismissed. She could very well be brown. Fine by me.

(so, I feel like I have to add this borderline-conspiratory reason why I'm suspicious of her skin color being considered a factor here, which can 100% be dismissed but I still want to bring it to the table: I've been to several meetings and heard about many instances where "diverse traits" are being handed over to characters with the explicit purpose of using that diversity as shields against deeper criticisms of core aspects of the storytelling instead of fixing the storytelling itself, and honestly it could very well be the case here. I really hope it's just the team thinking Sonia would be prettier with a darker skin tone, because her design is genuinely lovely and I really like it, wish she didn't die like immediately and had a character arc of her own, but. Imagine the kneeling scene with two very white ladies and everything else, etc. It might be overly paranoid of me, but I can't help but squint a little bit in this specific instance, especially since the biracial trait here is so toned-down that it's barely there and barely committed to anything. Which would also make a good argument against this suspicion too tbh! Anyway. Just wanted to bring that up so you get the whole picture of where my brain is at.)

Rauru... Okay. Here's the thing: I can't unsee The Rauru. The original one I mean (and his Skyward Sword Gaebora counterpart), aka: the White Patriarch of all times.

(this has nothing to do with anything but Link's little recoil animation here is so funny to me, like he looks so shocked and his nose is so pointy)

I do think that removing the origins of this character from his DNA for TotK is kind of overly convenient when discussing this iteration, especially when his role in this game is basically a mixture of OoT Rauru and the Unnamed King of Hyrule (and every king of Hyrule that came after). I mean, okay sure maybe the Unnamed, Unseen King of Hyrule wasn't white but... it's obviously not true, right? And while I understand this is a different iteration of that character, many characters in the series maintain their base ethnicity across different reimaginings (even Blue Pig Ganon remains a gerudo at heart post OoT, at least in the way we keep on understanding him). And beyond this, given the fact that Rauru retains this energy of a Founding Father (in the largest possible sense), I feel that, at the very least, that patriarchal energy is extremely important to his character to a core degree.

But even so, yes. Rauru is now indeed a Goat Man. Not only is he a Goat Man, but he dresses in ways that are very inspired by mesoamerican cultures; undeniably so. So that would make him at least mesoamerican-coded, right?

I mean... I guess? I guess. Sure. But. I have now to introduce the Layer 2 of my argumentation, which is that...

Layer Two: Zonai Culture is Hylian Coded

So. Pretty bold claim I know. Let me explain.

Now I certainly do not want to say that mesoamerican civilizations are not *everywhere* in the aesthetic inspiration for the zonai culture in Tears of the Kingdom; I'm sure these real life references are overflooding the moodboards, from the color palet to the symbols to the artstyle, the costumes and the buildings. It's the main way the game communicates zonai-ness to us the player. And it's great! I wish they had went even harder in that direction (I think there's even pretty dramatic differences between the zonai ruins on the surface, much more interesting imo, than what was done with the actual zonai architecture at its peak).

But now, I will ask a question that I asked myself often while playing. What is zonai culture, beyond the feathers and the indented patterns and the swirls and the dangly bits? What characterizes it? I would say that zonai civilization is primarily interested in automation, technology, mining to develop said technology, and things that float in the sky. Beyond this, and from the limited perspective the game gives us through Rauru and Mineru, we see a society ruled by a patriarch (neutral term, it is just patriarchal in nature), married to a woman who is a priestess and doesn't seem to hold an equal amount of power (she doesn't speak as much, seems content to handle the religious side of things), who values collaboration and engineering prowesses, has an army, servants, robot servants, administrates other races through, to be docile and go the game's way, collaborativeness... It's Hyrule. It's just Hyrule, except older and with a different paintjob; but at heart, the style of society upheld by Rauru is very (eerily?) similar to what we get to know in the TotK/BotW era. Actually, this version of Hyrule seems extraordinarily similar to the Hyrule we get to see in BotW pre-Calamity: replace the zonai technology with the sheikah's, and what's the difference --except that this later version of Hyrule isn't trying to pass itself off as perfect? Zelda doesn't experience any kind of culture shock. Even the language seems to be basically the same. It is Hyrule, because it is. It's the origins of the kingdom. This is the whole point of the zonais: being that familiar thing that we know and love, except more pristine and more glorious and more mysterious so we can be sad when it gets destroyed.

So is it aesthetically inspired by mesoamerican cultures? Yes. Does it evoke specific details about said culture? The way politics and religion interconnect perhaps (unless we consider Rauru coming from the gods as such, but it's nooot super specific and not really elaborated upon)? What that culture valued, or what we assume it once valued? Cultural shortcuts we tend to make with these cultures, for better or for worse? I may be extremely uncultured here, and if that's the case I apologize, but I never really saw any of the aspects highlighted as the core pillars of the zonais commonly associated with either mesoamerican ancient civilizations, or current living native decendants of these civilizations. The biggest connexion or shortcut I see is the "mysterious ancient advanced civilization", which is pretty vague and was honestly more convincing in BotW.

Then of course, it doesn't invalidate that connection. But now, as a point of comparaison, to see what happens when Zelda takes active steps in coding one of their fantasy races... Let's take a look at the gerudos, shall we?

(Urbosa appreciation break. She's just so freakin cool look at her goooo!!! okay now we can keep going.)

I have said my whole spiel about the gerudos about a bajillion times now so I will try to make it quick. My tl;dr is: gerudos were always meant to be culturally disruptive. It's their whole point in the Zelda series. I won't rehash the whole thing about the crescent moon, the orientalism etc, but I think it's important to remember that they are meant to be considered foreign in a way no other Zelda race ever is. What I mean by this is, if we return to OoT: they are the only race hostile to Hyrule enough to not only consider and carry out an invasion, but to forbid entrance to their territory if you are not one of them. They have a different (apparenly evil-looking) god and their ears are rounded when everyone else is some sort of elf, their script is different, their cultural values are different, it's a weird semi-matriarchy where the man-king's occasional patriarchy has a very different social role than the king of Hyrule even if we don't get to see all the details... Won't return on the thievery and the 90s islamophobic kick of that time period, but the gerudos were very obviously crafted to be culturally deviant to the Hylian norm; their difference so great that getting accepted by them is an actual fighting and infiltration challenge. And even though they are much friendlier in TotK/BotW, they are still, by far the most innaccessible and different race out of all the rooster of, and it's worth mentioning, fish-people, bird-people and rock-people. They are the only one with their own language, their own strict rules that oppose your freedom as a player, a series of side-quests that directly address the subject of culture clash and differences; and, even then, they still parallel the real life western fantasy about the Orient TM (even more-so in TotK I would say, which I didn't love): the locked-in harem foreign men are forbidden to enter. This core idea is so entrenched that it becomes gameplay.

When it comes to Ganondorf, the parallel remains, more present than ever: in that game he gets to embody the foreign, cruel, brutal, cunning, manipulative, uncomfortably feminine at times, envious, physically intimidating, oppressive Man of the Desert in a long tradition of Men from the Desert and the rich legacy of literature and movies that portray them. It's not new to TotK, to be very clear: but TotK did double-down on the trope at the cost of Ganondorf's specificity as a character instead of questioning the trope that birthed him the way the series had tried to do in the past (even TP wasn't that bad, doing away with a lot of the baggage altogether --for better and for worse).

So to me... saying that zonais are mesoamerican-coded, in a world where we simply do not actively interact with these cultures all that much anymore (not at all to minimize the very real oppression of their descendants and the extreme and sickening violence their ancestors were met with to be extremely clear --I'm just saying that the violence wouldn't have worldwide cultural resonance in the same way and I don't think would have much reality in Japan unless, again, I'm saying dumb things and in that case please do correct me), or the extremely mild and non-invested way Zelda handled these cultures (to me it's much more costume than coding), positively too (good!), and comparing them to the active coding of the gerudos (and especially Ganondorf) as a means to equalize them as "basically the same thing" feels... a little off to me.

But! Now we're getting to the last layer!!

(you have no idea how long I searched for this gif, I typed "Ganondorf kneeling" in the gif search, like a fool, and parsed through much, much horniness to finally find my little dude anyway layer 3!!!)

Layer Three: It Isn't What Actually Matters Now Is It (at least according to me, the person writing this post)

Honestly, I don't really care whether Rauru and Sonia are white-coded or not. They could be, they could not be, cool by me either way. I don't really care if the zonai culture is meant to stand-in for mesoamerican cultures for Real for Sure or not, and heavily doubt it was done to increase diversity (otherwise Rauru wouldn't be, like, a Goat-Man but just a brown man). I do appreciate the visual diversity of the cast of NPCs, that hylians can look like a whole number of people and it's really cool Hyrule is moving into that direction instead of being very typecast into a sort of Japanese-ish representation of western middle ages/fantasy/fairy tale thing.

But at heart, what bothers me between this whole dynamic has less to do with whom is coded as whom than the fact that this game twisted itself into knots to tell a very suspiciously clean story about its complicated world and complicated history, and I feel like it's completely fine to ask for more than the bare minimum of visual representation and question the way these characters get to interact with each other and how their real life struggles are meaningfully talked about in the worlds Nintendo spend millions crafting? Sometimes, what they do is already great! Sometimes it's half-great! Most of the time, it could be so much better --especially when some of these subjects have been talked about to death for over 25 years (sorry to beat that dead horse one more time btw)

At the end of the day, the story itself is strange for many reasons. The power dynamic between the characters is attempting to be several things at once; maybe it's not on purpose, but either way, the world TotK paints is a strange one that only holds itself together if we accept to take it at face value. Which we don't have to.

And to me, TotK felt particularly shallow in that specific department of representation due to the whole... Imperialist Vibes thing (the other ask about this is queue'd, it's coming!), which nullified a lot of these efforts for me. It's not only about who's represented, but how they are represented as well, and, very importantly, why.

[writingwithcolor]

Representing Biracial Black South American Experiences…Through a White/Asian Mixed Race Character in Europe

@colombinna asked:

I have a YA story that's in very early development - pre-alpha, if you will. For now what I have developed is the characters: one of the MCs is a biracial asian queer girl (her dad is thai-american and japanese, her mom's white), she has a medium/dark brown skin, and lives in a very white context in a fictional European country. The contact she has with her extended family is limited to phone calls and regular visits because her dad moved from the US to said fictional European country.

I'm a biracial black queer girl myself, living in a very white community in South America, my extended black family also lives in a different place, and I'm taking a lot of my experiences of being not white and queer whilst living in white communities into her story (the feeling of not belonging, the impostor syndrome, standing out as one of the only POC kids in class, etc) and thinking back to what I've heard asian friends and classmates say about their experiences in the same school/community context as mine. But I want to know how different her experiences as a dark-skinned asian girl would differ from mine and my friends' in a similar context (white community, small number of other asian people - and POC in general - in the social circles, and limited contact to her extended family), and what experiences could make sense if the character was biracial black like myself, but won't if she's biracial asian.

Why not write a biracial Black girl if those are the experiences you want to represent? 

This MC is straddling, like, 3 different cultures. Having multiple immigrant identities in not-Europe is not the same experience as being Black in South America; while both are complex minority experiences, there are too many differences in intersections and histories to compare. Not to mention, it really depends on what European culture(s) you’re basing your not-Europe on. 

I think you’ll find that the written result will ring much more genuine and rich in depth if you either translate your experiences more directly or pick a more narrow focus, instead of assuming that there is a universal for racism and colorism against biracial people that is transferable across contexts. Because there isn’t. There can be overlaps, but if you’re looking to cover the entire range of What It’s Like in general, it won’t work.

This isn’t to say that people can’t use other identities to write about specific experiences of their own, but in this case you need to think about what story you want to tell and what your reasons are. Marika’s commentary will go more into when and how this can be done effectively. 

Also, if the point is to make her a dark-skinned Asian, as a white/asian mix myself, I implore you: why must you make her 1/4 Japanese and 1/2 white? Even with the Thai ethnicity thrown in, Thai people very much range in skin tone and have their own domestic issues with colorism. It’s not impossible for dark-skinned examples of your MC’s ethnic makeup to exist, but still I don’t recommend it for two reasons: 

It's going to make researching people whose experiences fit that much more difficult. Most experiences of colorism, othering, and other forms of discrimination that mixed white asians tend to face are completely different from mixed race asians who tend to have darker skin & features.

There's enough Japanese & white mixed Japanese rep in the Asian rep sphere as is. Consider that this individual could be mixed Asian (not Japanese) with something else (not white)! 

But again, think over your motivations. I’ll spare you the copy/paste of our Motivations PSA, but re-read it and consider. Why do you wish to write a mixed Asian character to tell the story of your experiences as a mixed Black individual instead of a mixed Black character? What does it add to the story? Is it an effective vessel for the experiences you want to convey? 

~ Rina

I think Rina brings up some good points here: I’m not hearing a lot of specificity in your query. As you doubtless know firsthand, the more intersectional and complex an identity, the more of a chance the identity may come with unexpected baggage and nuances that fly in the face of what is common sense for less intersectional identities. This can make writing such characters challenging just because there is so much choice on which identity themes to emphasize. 

I once spent about 15 minutes explaining to a person the thought process I used to determine when I could wear jeans depending on which country I was living in as a mixed race person who is perceived as different things in different places. It might seem trivial, but it’s actually very important to me for the purposes of identity, safety and gender presentation, so I personally think it’s interesting. But will my readers think a character’s multi-page internal monologue on whether or not to wear jeans is especially compelling? Does the writer-version of me want to research the version of myself musing on my specific jeans conundrum to that extent? Or do I want to talk about other things related to attire a lot of other people would relate to? I think those are all YMMV questions, but hopefully, they provide some perspective that will help you be intentional about how you might want to tackle something potentially very time-consuming.

When I say intentional, I mean that when covering a complex identity with which you are peripherally familiar, it will always be more effective and easier to use it to tell a specific story extremely clearly than to be extremely broad in scope and try to include almost everything about your own experiences, especially because some of those experiences might not be as relevant for your character’s background as they are to yours.      

One of my favorite childhood picture books is written and illustrated by a Nikkei writer-illustrator team. The book is titled Ashok by Any Other Name (link). The story features a desi child growing up in the US who wishes he had an American name his friends and teachers wouldn’t think was strange. It covers how being othered for his name makes him feel, and how he copes with that feeling. Speaking as someone both Japanese and desi, I think through the plot device of names perceived by the majority of Americans as foreign, this book aptly shows how many immigrant/diaspora creators are capable of relating to the pressures of assimilation experienced by other immigrant, even if the creator, the audience and the story’s subject’s backgrounds all don’t completely overlap 100%. 

There will be aspects of your Blackness, mixed identity, skin color, sexuality and living in a local community lacking diversity as a member of many minority groups that you will find resemble/ resonate with the experiences of mixed-race, Japanese individual in a Europe-themed setting, and I think any story that leans into those themes will be considerably easier for you to research. In other words, instead of asking us “How does my experience differ?” I would approach this issue by deciding what narrative you want to show about your own experience and then research the specific contexts within which your desired story overlaps with elements of mixed-race Japanese experiences. 

- Marika.

[thewingedwolf]

The outrage for the gender swapping by the black community is justified in my opinion. Using a monoracial darkskin black woman as the gender swapped version of a white man is downright malicious. We have been facing constant racism if we're given some role that is desired especially on netflix. And there has been an ongoing trend (a pattern mainly us black women have noticed) to use the darkskin black woman as the queer character that's also masculine (or the sassy best friend, the mammy type, oversexualised). The actress will not only be a subject to homophobes but the not so quiet racists that plague most fandoms these days. It's quite funny when a white man is seen chasing after a 'black' woman, she is a light skinned biracial (Ruby Barker in season 1 who was still subjected to racism and was given a storyline was quickly written off the show).

i mean sure and i'm not trying to be rude here but have you actually looked at who is complaining the loudest about this? it's almost exclusively white women (mostly straight at that) who are specifically really mad because "the best guy" was taken away for "diversity." i'm not discounting that the racial politics of this show are wild and god awful but

they've been like that since season one and got significantly worse with it by treating the sharmas and young danbury Like That, this casting doesn't really change that or make it more obvious, it's just more of the same weird tone deaf shit

michael doesn't do anything particularly heinous but he is a dime a dozen rogue with a heart of gold in an incredibly typical regency romance, and i understand why they've decided to change that a bit when their whole schtick is diversity and stunt casting. the complaints are all about how michael is the best and it's silly because he literally makes several comments about baby trapping francesca, he's not any better than benedict or anthony or simon (he IS better than colin and phillip tho but that's not a high bar to clear).

i don't think fandoms being racist or queerphobic is a good enough reason to never include queer black women in these stories? it's about whether the production team and the cast stick up for her as the harassment inevitably ramps up. i do understand feeling like this poor actress is being thrown to the wolves (especially because shonda doesn't have a particularly great track record with this and ruby barker has talked about how upsetting it was to do the show) but i think if the cast and production make a good faith effort to defend her and warned her to like, turn off her comments on social media, there's no reason to bend to the complaints of racists and queerphobes if you want to tell a regency romp story with a black queer main.

cannot stress enough that the bulk of the criticism is bad faith nonsense using the word "diversity" like a slur against black women and queer women because the white women that watch this show don't want to see two women kissing and That was the backlash i was talking about. i'm sure there Are people talking about the colorist and generally annoying way they like to racebend the characters, but i also feel that acting like the bulk of the criticism is good faith when it so clearly is just straight white women having a breakdown is silly.

also.....can we not use square quotes around the word black when talking about a black biracial actress, it's weird. just say black and biracial, or black and light skinned.