#kenyan character

[cardinal-island]

Street Fighter The Novel Where Strength Lies: Cover art

[kickbutt-avenue]

Chuns utilizing the "Spinning bird kick" & the "Hyakuretsukyaku". Elena vs. Chun-Li.

[nyloww]

Redrew Kamba Miku , had one of those moments when I was like “i like this… but I can do better” so I did better lmao

[an-albino-pinetree]

Cw: Snake!

Introducing, Kevin ✨

[hussyknee]

Seeing characters in romance stories just jetting between countries at a moment's notice with no thought for visa; seeing airports as sites of triumphant climaxes and romantic denouements instead of places of fear and danger where a sword hangs above your head— it all breaks off little pieces of my heart. They're constant reminders that my people will never be human enough in the colonial world order to be allowed to move freely around it. No matter what your race, those non-refugees living in the Global North will never understand what it's like to be part of a global ghetto where your passport is nothing but a trembling supplication and humiliation.

[ambrozians]

truthfully i do think marvel offices sometimes forget (or perhaps choose to forget) that ororo is a black woman. she is the most prominent black female superhero of all time and has been such for decades, and yet, i feel like that part of her is ignored, which is strange considering how intersectionality is an incredibly significant theme for her as a character. she has appeared in thousands of stories but only a handful really try to engage with her heritage and how being a black woman in addition to being a mutant informs her worldview. i am on my hands and knees asking for more of that! and, to be clear, the last thing i want is to see her be hit with anti-blackness and misogynoir because 1) that is not the only way to engage with her identity (and very low on the list of ways to do so), and 2) being a black woman is so much more than the oppression we face and experience.

[runawaycarouselhorse]

[nthflower]

Sometimes I remember sense8 made a white police main character and have him help a black kid who was shot and his partner (who was racially ambitious) were against it. And then he brought kid to hospital and a black nurse said she can't help him in a rude way because idk kid was injured in gang fight and she doesn't care. And white police somehow helped kid to take help and then kid helped him to do police shit against some black group.

Then white trans girl got insulted by a terf who is also black. And her girlfriend who is also black was nothing but her extremely supportive girlfriend no other personality.

Or characters having some shared visions and see some slurs again their own community written on the wall and police characters slur was pig. And German one was nazi. While gay one was faggot and Kenyan one was n-word.

Or one Indian main character having her main storyline her being in love with German guy instead of her fiancé and it was also very tasteless to me.

Or Korean one is good at martial arts and her brother and father is evil and stole her carrier and brother made her go to jail and it's so misogynistic there in Korea.

Like American characters get very detailed and many faced storylines while poc ones get the most basic Stories based on stereotypes and 2d written side characters. .

Anyways and then I became angry out of no reason. It can be such a good show except it wasn't. It was weirdly full of copaganda and racism. And like I see no race style writing.

And then it weirdly became fantasy racism story like X-Men.

[assmaster-8000]

reading boothill fics is 80/20 a miss over a hit whenver they personally write boothills dialogue

[zettaflake]

[ IMAGE ID:

A digitally drawn character reference sheet for an original character, Scarlet Omondi. On the left, Scarlet is posing with full shading and highlights. She is dark-skinned woman floating above a sigil brimming with scarlet-colored flames. She looks to be in her early adulthood. She has straight hair that extends to her neck and is colored dark black, dyed purple in the middle and pink at the end. She is dressed in a purple witch's robe with bell sleeves and a matching witch hat, the latter of which is also partially alight with scarlet-colored flames. The robe splits in the middle, revealing a slip in a lighter shade of purple.

She also wears a pendant with 3 small round dark magenta gemstones, a belt with a large silver buckle engraved with a picture of a crow, dark gloves with more magenta gemstones on the center of each back hand, plum-colored tights, and knee-length black boots with medium-sized metal block heels.

She is looking toward you with a determined smile. Her left hand is extended out toward you, with a bright fireball the size of her palm blazing in the center. Her right hand holds a leather-case book. The title reads, "Harnessing Magic, 4th edition, by Imani Kariuki".

At the top-left is Scarlet Omondi's name, written in curved letters. The first S is styled like a lombardic capital (the first letters in European medieval age manuscripts), with a box bright reddish colors in the black adorned by a scarlet gemstone border. Below the name are Scarlet's pronouns, she/her.

At the top-right is an excerpt of Scarlet Omondi's story. Begin story:

"A witch in training, channeling her passion made flame. Headstrong & well-read, Scarlet’s unrelenting determination to ace her exams is matched only by her unbound curiosity to learn about the magical world around her. Born an overachiever, Scarlet does everything and anything she thinks of to put on talent shows and creative projects that roar with energy and ludicrously deep research. After a blinding lightshow of pyromancy, Scarlet forever ignited her reputation as the talk of the village, but not without a scathing mark on her school record.

Despite her lasting impression as a hot shot, Scarlet’s friends know her as endearingly geeky bookworm, a cauldron of humor, and most of all, an ever-reliable textbook and study partner. Even so, Scarlet’s self-control and workaholic tendencies remained unlearnt life lessons… until she met a transfer student and nurtured the mellow side that no book could write in words." End story.

Below the story box are Scarlet's likes, dislikes, and identifiers. Scarlet likes reading outside, talent shows, painting, fashion, and pastries. She does not like egotists, messes, rain, poorly-written romance, and distractions. She is 5 feet and 7 inches tall, or 170 centimeters. She weighs 138 pounds, or 63 kilograms. She is 19 years old, and her birthday is on April 9th.

In the middle of the image are 3 sketches. The first depicts Scarlet with circle-framed glasses and her mouth open, revealing a small fang. She is excitedly talking about one of her new favorite creations, indicated by a speech bubble. The next shows Scarlet posing back to back with a friend, who has straight hair as long as her body, two horns made of ice, a teardrop shaped gem embedded on her forehead, and a snow-patterned kimono with oversized sleeves. The last sketch shows Scarlet coming up with an idea, with her hand on her chin in a thinking pose, and an exclamation mark above her head. There is text next to her that reads, "Hat fires up when focusing or excited".

On the right of the image are two designs pertaining to her accessories. The first is her primary sigil, used to channel most of her magic. It is made of 7 letters, reshaped and put together to resemble an active fire. The letters are P, S, N, M, D, F, and L, borrowed from this phrase and Scarlet's desire, "Passion made flame". The second is a close up of her belt buckle, showing a more detailed design of the same crow.

On the bottom-right of the image are 3 full body drawings of Scarlet, drawn in different angles and with flat colors. She is drawn facing forward, to the side, and backward. She holds the same pose in each, with a neutral expression, standing up straight, and relaxing her left arm while extending her right arm slightly out to the side.

Finally, in small letters on the bottom-left of the image, is the artist's signature, Zettaflake.

/. END ID ]

----------------------------------

Oh my gosh, I'm so excited to be back!

Scarlet Omondi, the passion made flame, ignites her debut as character sheet #6!

An emerging witch brimming with a library's worth of knowledge and a personality hot to the touch. She's a free pass to ace your exams, if you can handle the heat!

As for the transfer student she met... she's up next, muahaha >:)

[nebulouscoffee]

I just feel like ben sisko would make SUCH great kenyan food. no specific canonical basis for this really it's just that the image of the whole senior staff crowded around a table digging into a huge bowl of ugali and scooping up some god tier stew with it sparks joy

[face-claims-central]

Doris Aseka - German Kenyan, Unknown

[kickbutt-avenue]

By Betten Court

[nyloww]

update: he’s got lineart and flat colors now

[a4astudios]

Character model sheet for the character toothy. Glad with the design of the character one of the few chatacters that I created from scratch coming to life slowly excited for the opportunity to be it's creator.

[writingwithcolor]

Not all Second-Language Speakers are Made Equal.

@waltzshouldbewriting asked:

Hello! I’m writing a story that features a character who’s first language is not English. He’s East African, specifically from Nairobi, Kenya, and is pretty fluent in English but it’s not his primary language, and he grew up speaking Swahili first. I’m struggling to figure out if it’s appropriate or in character to show him forgetting English words or grammar. From what I’ve researched, English is commonly spoken in Nairobi, but it wouldn’t be what was most spoken in his home. For context, this is an action/superhero type story, so he (and other characters) are often getting tired, stressed, and emotional. He also speaks more than two languages, so it makes sense to me that it would be easier to get confused, especially in a language that wasn’t his first. But I’m worried about ending up into stereotypes or tropes. For additional context: I’m monolingual, I’ve tried to learn a second language and it’s hard. A lot of how I’m approaching this comes from my own challenges correctly speaking my own, first and only language.

Diversity in Second-Language English

You seem to have an underlying assumption that second language acquisition happens the same for everyone. 

The way your character speaks English depends on so many unknown factors: 

Where does your story take place? You mention other characters; are they also Kenyan, or are they all from different countries?

Assuming the setting is not Kenya, is English the dominant language of your setting? 

How long has your character lived in Kenya vs. where he is now? 

What are his parents’ occupations? 

What level of schooling did he reach in Nairobi before emigrating? 

What type of school(s) did he go to, public or private? Private is more likely than you think. 

Did his schooling follow the national curriculum structure or a British one? Depends on school type and time period. 

Does he have familiarity with Kenyan English, or only the British English taught in school? 

Is this a contemporary setting with internet and social media?

I bring up this list not with the expectation that you should have had all of this in your ask, but to show you that second language acquisition of English, postcolonial global English acquisition in particular, is complex. 

My wording is also intentional: the way your character speaks English. To me, exploring how his background affects what his English specifically looks like is far more culturally interesting to me than deciding whether it makes him Good or Bad at the language. 

L2 Acquisition and Fluency

But let’s talk about fluency anyway: how expressive the individual is in this language, and adherence to fundamental structural rules of the language.

Fun fact: Japanese is my first language. The language I’m more fluent in today? English. Don’t assume that an ESL individual will be less fluent in English compared to their L1 counterparts on the basis that 1) it’s their second language, or 2) they don’t speak English at home. 

There’s even a word for this—circumstantial bilingualism, where a second language is acquired by necessity due to an individual’s environment. The mechanisms of learning and outcomes are completely different. 

You said you tried learning a second language and it was hard. You cannot compare circumstantial bilingualism to a monolingual speaker’s attempts to electively learn a second language. 

Motivations?

I understand that your motivation for giving this character difficulties with English is your own personal experience. However, there are completely different social factors at play.

The judgments made towards a native speaker forgetting words or using grammar differently are rooted in ableism and classism (that the speaker must be poor, uneducated, or unintelligent). That alone is a hefty subject to cover. And I trust you to be able to cover that!

But on top of that, for a second language speaker, it’s racism and xenophobia, which often lend themselves to their own ableist or classist assumptions (that those of the speaker’s race/ethnicity must be collectively unintelligent, that they are uneducated or low class due to the occupations where they could find work, or conversely that they are snobby and isolationist and can't be bothered to learn a new language). Intersections, intersections.

If you want to explore your experiences in your writing, give a monolingual English speaker in your cast a learning disability or some other difficulty learning language, whatever you most relate with. And sure, multilingual folks can occasionally forget words like anyone else does, or think of a word in one language and take a second to come up with it in the other language. But do not assume that multilinguals, immigrants, or multiethnic individuals inherently struggle with English or with multiple languages just because you do.

~ Rina