#the man who is putting every minority community in danger of major harm and death because he���s an old miserable fart

[monkeyspawnskydiamond]

Prostitution: A Word That UN Women Does Not Want to Hear

by Barbara Crossette

https://www.passblue.com/2015/03/31/prostitution-a-word-that-un-women-does-not-want-to-hear/

On the eve of a speech Ruchira Gupta was to give on International Women’s Day in New York as the recipient of a Woman of Distinction award, she got a strange email. Gupta, who has collected numerous awards for her work against sex slavery in India — including an Emmy for her 1996 documentary, “The Selling of Innocents” — was asked in the message not to speak on prostitution “or put UN Women on the spot.”

The email came from the organization that had chosen Gupta for its highest award, the NGO Committee on the Status of Women, NY (NGO CSW/NY), which supports the work of UN Women and the United Nations Commission on the Status of Women, whose annual session was about to begin on March 9. The NGO Committee had itself used the word prostitution in its announcement of the award in January.

“I was surprised that the UN was trying to censor an NGO, and that they should tell me not to speak on prostitution, when my work was with victims of prostitution,” Gupta said in an email interview to PassBlue. She is the founder of Apne Aap (meaning “self empowerment” in Hindi), a multifaceted support group for women trafficked into sex slavery in Mumbai and other South Asian cities. Apne Aap now has international reach.

In her speech at New York’s iconic Apollo Theater, where UN Women’s executive director, Phumzile Mlambo-Ngcuka of South Africa, was also on the program, Gupta ignored the request and chose to speak forcefully “to represent the voices of victims and survivors of prostitution” in her own organization and others around the world. In late 2013, UN Women, in a note on the issue of terminology, had said it would use the terms “sex work” and “sex workers” and “recognize the right of all sex workers to choose their work or leave it and to have access to other employment opportunities.”

UN Women’s decision and recommendation not to “conflate sex work, sexual exploitation and trafficking” sounds outrageous if not ludicrous to people like Gupta, who work in the squalid brothel quarters of Mumbai, Delhi, Kolkata and other cities, to which young girls from around South Asia are lured by traffickers — or sold by poor families — into a life of miserable bondage, with no chance to make choices. In her speech on International Women’s Day on March 8, Gupta said the youngest girl trafficked into bonded labor she has met was just 7 years old.

“The pimps would hand over these little girls to the brothel keepers . . . and these girls were locked up for the next five years,” she said. “Raped repeatedly by eight or ten customers every night.” By their 20s, Gupta said, their youth is gone and bodies are broken, and they are “thrown out on the sidewalk to die a very difficult death because they were no longer commercially viable.”

In January 2014, 61 South Asian victims and survivors of prostitution as well as women’s groups representing communities marginalized by caste, class and ethnicity and antitrafficking organizations helping girls and women “trapped in bonded labour and other forms of servitude” wrote to Mlambo-Ngcuka to protest the new UN Women policy of avoiding the word prostitution.

“We do not want to be called ‘sex workers’ but prostituted women and children, as we can never accept our exploitation as ‘work,’ ” the letter signers wrote. “We think that the attempts in UN documents to call us ‘sex workers’ legitimizes violence against women, especially women of discriminated caste, poor men and women and women and men from minority groups, who are the majority of the prostituted.”

They are still awaiting an answer from UN Women, Gupta said.

Censoring comment about violence against girls and women is not new in the Commission on the Status of Women or in the UN more broadly. Nafis Sadik, the outspoken executive director of the United Nations Population Fund, or UNFPA, from 1987 to 2000, said in an interview in 2013 that there had been numerous attempts to silence her, often from pressure by governments.

Sadik was told at a session of the commission several years ago, for example, not to relate a story from Zimbabwe to illustrate the hazards women face when trying to use contraception. “This man’s wife wasn’t getting pregnant, and apparently he discovered that she was taking pills,” she said. “And he killed her because she made him look embarrassed [in front of other men]. Furthermore, that defense was being accepted in the court: that you can’t humiliate the husband.”

Groups working with victims of sexual slavery in developing countries often see a widening gap between Western women — particularly “academic feminists,” in Gupta’s view — and the women working to help the most exploited girls at street level in some of the world’s most dangerous slums, where pimps and brothel owners may be not only slave masters but also killers. Gupta had a knife held to her neck on one occasion when she was filming her award-winning documentary. Women rushed to surround her, separating her from her would-be attacker, and saved her life.

The women working with victims and survivors of sex trafficking and bonded prostitution who signed the letter to UN Women fear that campaigns in richer nations, almost all of them in North America and northern Europe, will lead to more moves to decriminalize pimps and brothel keepers — making not only sex workers but all aspects of the sex industry legal.

This is not the only issue that has opened fissures between the richer, progressive nations or societies where women construct views of social change based on their own advanced social and legal environment or well-intentioned views of developing nations’ cultures. They do not always reflect what most poor women — the majority of women in the world — who lack power over their lives really need and want.

Twenty years ago, many Western feminists and officials in countries of the global North dealing with international aid programs criticized campaigners against female genital mutilation or child marriage in developing nations, excusing these harmful practices as “part of their culture.” There are still affluent women who have enjoyed the liberating benefits of contraception for decades who argue against promoting family planning in the developing world, believing that women want to have as many children as possible — sons in particular — because their social status or the family’s economy may depend on fertility.

Global Connection Television - The only talk show of its kind in the world Such condescending Western attitudes began to change, sometimes dramatically, after the transformative International Conference on Population and Development in Cairo in 1994 and the Fourth World Conference on Women in Beijing in 1995, an event that Gupta says has inspired her work ever since. Women in distant lands are now being heard and taking the lead on issues close to home.

Gupta and her like-minded colleagues who signed the letter to UN Women were asking to be part of the discussion on prostitution — in a global context.

[gameofdrarry]

Wizards Hearts Recs: Angst

Wizards Hearts was a four-month-long Drarry reading fest. Players were given a playing deck of 52 tropes, and were asked to find 52 different fics to read and comment on to fill their decks. To prevent the same few fics from being read, fics were restricted to only being used for the game three times before being considered ineligible for further points. The tropes and submissions list can be found here.

Check out the masterlist of fics for this trope below the cut!

📜 remember me by hupsoonheng Rated:  Teen and Up Words:  31082 Tags: Amnesia, Temporary Amnesia, Obliviation, Established Relationship, Established Draco Malfoy/Harry Potter, Legilimency, Age Regression/De-Aging, Angst, Depression, Suicidal Thoughts, Enemies to Friends to Lovers, Reformed Draco Malfoy, POV Draco Malfoy, Good Draco Malfoy, Gardens & Gardening, Angst with a Happy Ending, Happy Ending, POV Harry Potter Summary:  On a chilly day in October, Draco kisses Harry goodbye before he goes on yet another dangerous, undercover mission with the Aurors. And then Harry doesn't come back. Only Draco believes that Harry isn't dead, and pours himself into finding his husband despite his friends' pleas to move on and grieve properly. What he finds at the end of that work, though, is not at all what he wanted. ❤️ Read on AO3

📜 you've got the antidote for me by Kandakicksass Rated:  Mature Words:  20730 Tags: Alternate Universe - Soulmates, Soul Bond, Red String of Fate, Heavy Angst, Terminal Illnesses, Major Illness, Angst with a Happy Ending Summary:  When Harry Potter unintentionally severs their soulbond before it can fully form, Draco Malfoy resigns himself to a slow death and decides not to burden Harry with a soulmate he's made it very clear he doesn't want. He's never been selfless before, but for Harry, he can try. ❤️ Read on AO3

📜 Every Breath You Take by hephaestiions Rated:  Mature Words:  19252 Tags: Major Character Death, Death (Harry Potter), Suicide, Child Death, Miscommunication, Angst, Angst and Tragedy Summary:  It starts and ends with Death. Scorpius was just caught in between. Like always. ❤️ Read on AO3

📜 Between Myth and Man by slytherco Rated:  Explicit Words:  16242 Tags: Veritaserum, Truth Serum, Mundane, London, Falling In Love, Lies, Angst, Angst with a Happy Ending, This whole story is just Draco angsting really, Sexual Content, keeping secrets, Smoking, Bad Weather, References to Drugs, Making Out, One (1) Scared Little Sparrow, And also lots of texting Summary:  Draco, lost and a little broken, navigates post-war reality convinced that people like him should not be allowed to make their own choices. To solve the problem of his self-sabotaging tendencies, he starts taking a few drops of Veritaserum every morning. A story about the complexity of choices, repressed desires that come to the surface when we least expect them, and the utter hopelessness of truths built on a foundation of lies. ❤️ Read on AO3

📜 Three Boxes and a Scrapbook by dracogotgame Rated:  Mature Words:  30493 Tags: mention of divorce, flangst, Bill is a bro Summary:  One year after being accidentally bonded to each other, Harry and Draco are free to move on with their lives. But perhaps, what they needed was here all along. ❤️ Read on AO3

📜 Intertwined by bluefay Rated:  Explicit Words:  25086 Tags: Memory Loss, Memory Alteration, Accidental Bonding, Magic Gone Wrong, Post-Battle of Hogwarts, Number Twelve Grimmauld Place, Malfoy Manor, Self-Harm, Dark Mark (Harry Potter), Serious Injuries, But they're not very graphic so don't fret!, Self-Hatred, Angst, Enemies to Lovers, Established Relationship, Sort Of, Anal Sex, Anal Fingering, Blow Jobs, Hate Sex, Childhood Trauma ,Flashbacks, St Mungo's Hospital, Sharing a Bed, Angst with a Happy Ending, First Time, H/D Hurt!Fest 2020 Summary:  On May 3rd, 1998, Draco Malfoy wakes up with no memory of Voldemort, the war, or Harry Potter, his supposed boyfriend. ❤️ Read on AO3

📜 I Am Not Who I Became by mab_di Rated:  Explicit Words:  93189 Tags: H/D Fan Fair 2019, Secondary Theme: Travel Fair, Secondary Theme: Book Fair, Commercial Fisherman Draco Malfoy, Failed Writer Harry Potter, Depressed Harry Potter, Magically Powerful Harry Potter, Muscular Draco Malfoy, Recluse Harry Potter, Angst, Smut, Drama & Romance, Hurt/Comfort, Harry Potter Epilogue What Epilogue | EWE, Post-Second War with Voldemort, Wandless Magic, Boats and Ships, Finland (Country), Fishing, Redemption, School Reunion, Minor Draco Malfoy/Original Male Character(s), Anal Sex, Rough Sex, Sex Magic, Suicidal Thoughts, Near Death Experiences, Magical Theory, POV Alternating Summary:  Draco left England after the trials and has travelled the world meeting wizards and Muggles from different cultures and with vastly different relationships to magic, each other, and the natural world. Now he's a fisherman in Finland on commercial vessels. Harry has been struggling since the war and has become a recluse while trying to write his autobiography. An invitation to the Hogwarts class of 1998's 15th reunion isn't welcomed by either of them, but neither could predict how the night, and their reunion, will upend their lives. ❤️ Read on AO3

📜 When I Put My Eyes On You by Zzzara Rated:  Explicit Words:  31160 Tags: Blindness, Blind Character, Blind Harry Potter, Disability, Physical Disability, Disabled Character, Slow Burn, Falling In Love, Love, Idiots in Love, Love Confessions, Dorks in Love, Friendship/Love, Not Actually Unrequited Love, Requited Unrequited Love, Hogwarts, Hogwarts Eighth Year, Amortentia, Potions, Emotional Hurt/Comfort, Emotional Hurt, Emotions, Emotional, Emotional Roller Coaster, Pining, Pining Harry Potter, Friendship, Friends to Lovers, Developing Friendships, Romantic Friendship, Best Friends, Draco Malfoy & Harry Potter Friendship, POV Harry Potter, Patronus, Spells & Enchantments, Angst, Angst and Hurt/Comfort, Angst and Feels, Angst and Romance, Jealousy, Jealous Harry Potter, Male Friendship, Male-Female Friendship, Spin the Bottle, Halloween, Party, Party Games, Mistletoe, Kissing, Surprise Kissing, Boys Kissing, Rough Kissing, Drunken Kissing, Gentle Kissing, Boys In Love, Drinking, Drunken Shenanigans, Drunkenness, First Time, Explicit Sexual Content, Sex, Gay Sex, Hand Jobs, Emotional Sex, Awkward First Times, Sleeping Together, Literal Sleeping Together, Dancing, Showers, Masturbation in Shower, Sexual Fantasy, Sexual Tension, Unresolved Sexual Tension, Resolved Sexual Tension, Dreams, Fantasizing, Desire, Self-Esteem Issues, Substance Abuse, Angst with a Happy Ending, Happy Ending, Lights Camera Drarry 2020, Lights Camera Drarry, LCDrarry, LCD - Freeform, The Way he looks, film inspired, Self-Prompt, Healing Summary:  When a hero defeats a villain, there's supposed to be a happily-ever-after... but when did anything ever happen to Harry Potter the way it was supposed to? Having sacrificed himself to the greater good, Harry is left alone in the darkness, blindly groping for the shreds of the life he knew. When the enemies meet, how is the story supposed to go, once they learn there's more to it than the eye can see? A story of pain, hope and things we discover, once we stop looking for them with our eyes. ❤️ Read on AO3

📜 You open always (petal by petal) by birdsofshore Rated:  Explicit Words:  65214 Tags: Post War, Rent Boy!Draco, Down-And-Out!Draco, Grimmauld Place, House magic, Portraits, First Times, Antagonism, Hurt/Comfort, Coming Out, Pining, Angst, UST, Kissing, Frotting, Blow Jobs, Rimming, Intergluteal Sex, Anal Sex, Homophobic Slurs And Attitudes, Internalised Homophobia, Derogatory Attitudes To Sex Workers, Some Mentions Of Sadistic Violence, Brief Thoughts Of Sexual Activity With A Sleeping Partner, Rough Sex, Brief Mention Of Harry With A Woman (Past Relationship), Mentions Of Dubious Consent In Connection With Sex Work, Community: hd_erised, Inexperienced Harry, Top Harry Potter, House Elves, Masturbation Summary:  Harry’s not the kind of person who pays for sex. He really isn’t. Until he is. ❤️ Read on AO3

📜 Solder by Oakstone730 Rated:  Explicit Words:  34547 Tags: potion/alcohol addiction, Recovery, Nipple Play, Rimming, Dirty Talk, Angst, PiningUST, Reconciliation, LoveForgiveness, Cursebreaker!Draco, Artist!Harry Summary:  Seven years ago, Harry disappeared out of Draco and Scorpius's life without a trace after Harry's addictions destroyed his and Draco's marriage. Now, Harry’s back, and Draco wants to believe he’s changed. But Harry isn’t the only one haunted by the past. ❤️ Read on AO3

📜 Three Months, Eleven Days and Nine Hours by sassy_cissa Rated:  Teen and Up Words:  sassy_cissa Tags: H/D Food Fair 2018, Angst, Romance, Paroled Draco Malfoy, Rebuilding Hogwarts, Draco Malfoy/, Harry Potter Friendship, Down and Out Draco Malfoy, Food Forager Draco Malfoy, Soup Kitchens, Happy Ending, Post-Hogwarts, Harry Potter Epilogue What Epilogue | EWE, Hungry Draco Malfoy Summary:  Broke and living in a one room hovel in Knockturn Alley, Draco hunts in rubbish bins for food. Nothing could be more humiliating, right? Unless you're Draco Malfoy... ❤️ Read on AO3

Texting You by ununquadius Rated:  Teen and Up Words:  6005 Tags: Major Character Death, text fic, draco is dead, Grief/Mourning, Hurt/Comfort, or maybe hurt/no comfort, Everyday Life, Pets, Asexual Harry Potter, Indian Harry Potter, one penis drawing, H/D Hurt!Fest 2020, Unhealthy Coping Mechanisms, Loneliness, Drinking, Terminal Illnesses, blink and you missed them suicidal thoughts Summary:  After Draco's death, Harry can't let go so he keeps texting their private chat, updating him on his life and rambling about everything and anything until it almost feels like there's a possibility that, one day, a reply will come. Read on AO3

📜 Wake Up In The Night by p1013 Rated:  Explicit Words:  10483 Tags: Angst with a Happy Ending, Unhealthy Coping Mechanisms, Unhealthy Relationships, Explicit Sexual Content, Face-Fucking, Public Sex, Blow Jobs, Versatile Draco Malfoy, Versatile Harry Potter, Anal Sex, Rimming, Anal Fingering, Dirty Talk, Facials, 69 (Sex Position), Coming Untouched, Love Confessions, Curses, Harry Potter Epilogue What Epilogue | EWE, Drinking, Additional Warnings In Author's Note, POV Draco Malfoy, Voyeurism, H/D Hurt!Fest 2020, Emotional Manipulation Summary:  In the days after the War ended, there were a great many things that were changed or changing, a great many things that somehow slipped beneath the notice of Ministry officials and healers from St. Mungo's and Aurors that were tasked with capturing fleeing Death Eaters. It was, after all, the end of the War, and much like war itself, the clean up was heartbreaking. Lives had been lost. The world as they knew it had been changed irrevocably. In the grand scheme of things, there were more important things to worry about than Draco Malfoy's sudden, inexplicable inability to feel love. ❤️ Read on AO3

📜 Coated in Rust and Blood by crazyparakiss Rated:  Mature Words:  2429 Tags: Mpreg, Ambiguous/Open Ending, Post-Traumatic Stress Disorder - PTSD, Therapy, Break Up, Post-Break Up, Angst, Violent Sex, Self-Hatred, Grief/Mourning, H/D Hurt!Fest 2020 Summary:  No one escapes the nightmares. That’s what his headshrinker tells Harry every time he tries to unpack the baggage he was handed from infancy. ❤️ Read on AO3

📜 Here Without You by  gracerene Rated:  Explicit Words:  26869 Tags: Post-Hogwarts, War, Canon-Typical Violence, Ambiguous/Open Ending, Character Death, Minor Hermione Granger/Ron Weasley, Background Het, Non-Linear Narrative, Flashbacks, Epistolary, Love Letters, Dirty Letters, An Ode to Draco's Bum, Bottom Draco Malfoy, Top Harry Potter, Implied Switching, Auror Harry Potter, Healer Draco Malfoy, Explosions, Harry Potter & Parvati Patil Friendship, Loneliness, Denial, Harry Potter Epilogue What Epilogue | EWE, H/D Hurt!Fest 2020 Summary:  It's been seven years since the end of the Second Wizarding War with Voldemort, and a new Dark Lady has taken over in nearby Ireland. Harry feels compelled to volunteer to fight on the front lines, but war is never safe, and Harry has a lot—including his blissfully happy relationship with Draco—to lose. ❤️ Read on AO3

📜 Orion in the Sky by space_wingding Rated:  Explicit Words:  30709 Tags: Bookshop Owner Draco Malfoy, Coffee, Village life, Slow Burn, Pining, Denial, Frottage, Hand Jobs, Blow Jobs, Jigsaw Puzzles, Falling In Love, Getting Together, Post-Hogwarts, Harry Potter Epilogue What Epilogue | EWE, POV Draco Malfoy, POV Harry Potter, Fatal Curse, Serious Injuries, Suicidal Thoughts, Hospitalization, Death, Character Death, Unhappy Ending, St Mungo's Hospital, Grief, mentions of anal sex, Chronic or Terminal Illness, H/D Hurt!Fest 2020 Summary:  Draco Malfoy owns a bookshop in the Lake District. He’s also cursed. Enter: Harry Potter. ❤️ Read on AO3

📜 Forgot to remember you by Andithiel Rated:  Mature Words:  1753 Tags: Harry Potter Epilogue What Epilogue | EWE, Auror Partners, Magical Accidents, Memory Loss, Partial Memory Loss, Getting Together, DreamsPining, Light Angst, Angst with a Happy Ending, Drarropoly 2.0 - A Drarry Game/Fest, Rated M for language, There's not any real stuff going on Summary:  Harry was hit with a spell that made him forget the week before he was hurt. Most of his memories have come back, but he has a niggling suspicion that he did something wrong. Why else would his Auror partner (and the object of his desires) go from friendly to hostile? ❤️ Read on AO3

📜 On the Last Day by trishjames Rated:  Explicit Words:  53481 Tags: Mystery, Angst, Hurt/Comfort, Grief/Mourning, Unreliable Narrator, Drama, Dramatic Irony, Flashbacks, Non-Linear Flashbacks, Memory Loss, Horror Elements, Suicidal Ideation, Depression, Occlumency (Harry Potter), Occlumency as a Coping Mechanism, Panic Attacks, Discussion and Depiction of Mini Seizures, mention of overdoses, Revenge, Repression, Science, Neurology & Neuroscience, Neurological damage, Medicine, Potions, Original Characters - Freeform, Slow Burn, Enemies to Lovers, Somewhat Bond!Fic, Strong Friendships, Strong Women, Maternal love, Department of Mysteries, Unspeakables (Harry Potter), The Love Chamber, The Death Chamber, Death Potion, Amortentia, The Veil, Near Death Experiences, Souls, Major character death - Freeform, Death, forced drugging, Mind Control (Imperio), Murder, Vomit, Medical Procedures, Consent, Amoral Behaviour, Unethical Behaviour, Dead Dove: Do Not Eat, Possession, Ghost Sex, True Love Conquers All, ghost!harry, Magically Powerful Harry Potter, Auror Harry Potter, Unspeakable/Scientist Hermione Granger, Unspeakable/Scientist Draco Malfoy, H/D Hurt!Fest 2020, Psst...angst with a happy ending.. Summary:  Draco is still mourning the recent loss of his mother when the Wizarding World is struck with the tragic news of Harry Potter’s untimely death. It’s just his luck that Potter not only comes back as a ghost, but seems intent on haunting Draco as he’s the only one that can see him. It’s a race against time to retrace the last few days of Potter’s life in order to find his body before he’s lost to the living or spiritual realm forever. On their journey, they’ll uncover secrets, betrayals, and a horrific truth that will disrupt both the living and the dead. ❤️ Read on AO3

📜 Poland | A Faint Glow of Hope by EvAEleanor Rated:  Mature Words:  6123 Tags: Harry Potter Epilogue What Epilogue | EWE, Summer Solstice, Solstice, Curses, Unspeakable Draco Malfoy, Auror Harry Potter, Auror Ron Weasley, Healer Hermione Granger, Herbology Professor Neville Longbottom, Angst, Flowers, Slavic mythology, Mythical Beings & Creatures, Mentions of Myth & Folklore, Mythology References. Folklore, poland - Freeform, POV Draco Malfoy, Headmistress Minerva McGonagall, Community: Seven Shades of Drarry Summary:  On Draco’s 25th birthday, somebody attempts to curse him, but Harry Potter jumps between them and is hit instead, with unexpected consequences. Potter is running out of time, and they both embark on a race against time to find the only cure that could save Harry. Little do they know they will need to face a myriad of magical creatures and their own feelings on the way. ❤️ Read on AO3

📜 Grounds for Divorce by Tepre Rated:  Explicit Words:  122217 Tags: Slow Burn, Pining, UST, Anal Sex, brief but all the same enthusiastic rimming, One (1) lemon tree, Accidental Bonding, And I mean like U! S! T!, Jealousy, Deals with Trauma, They both top at some point, ron is a good friend, Draco is a Good Cook, Dubious Consent due to the Accidental Bonding, The actual SLOWEST burn, Hurt/Comfort, Have I mentioned UST? Cannot overstate this it's like A LOT, First there's frottage, And then there's more sex, Anal Fingering, Blow Jobs, Hand Jobs, and just a lot of sex, sex on a bed, sex in the shower, sex on the floor, Sex on a settee, In other news they go to Egypt, Teddy is a Small Bean, There is one (1) cat, and one (1) happy ending Summary:  Malfoy finds a coin. Harry finds a letter. A story about histories, a story about families. A story about a lemon tree somewhere in Upper Egypt. ❤️ Read on AO3

📜 At Evening's End by manixzen Rated:  Explicit Words:  31055 Tags: Pre-Relationship, Angst, Azkaban, Hurt/Comfort, Harry Potter Epilogue What Epilogue | EWE, Slow Burn, Post-Hogwarts, Friendship, Past Child Abuse, Enemies to Friends, Auror Harry Potter, Inmate Draco Malfoy, Prison, Auror Ron Weasley Summary:  When the dementors are removed from Azkaban, a compromise has to be made for the prison to remain secure and wizard-kind to feel safe. Harry and Ron find themselves assigned to a rotation as guards during their first year as Junior Aurors as a part of the new system. Harry finds his values challenged in the harsh environment, but an unexpected friendship may carry him through this difficult year. ❤️ Read on AO3

📜 all you ever did was wreck me by SailorChibi Rated:  Mature Words:  10807 Tags: Post-Hogwarts, Not Epilogue Compliant, Post-Traumatic Stress Disorder - PTSD, draco has PTSD, Harry has PTSDN, ightmares, Animagus, Harry is an animagus, prison break - Freeform, Touch-Starved, affection starved, Fear of Death, fear of touch, touch repulsed, Trauma, Aftermath of Torture, harry doesn't want anyone else to die, harry is very angry at the world, Protective Harry, harry had to grow up too soon, Possessive Harry, harry wants to protect draco, house arrest, Ministry of Magic, ministry of magic has gone power hungry, Fear of Magic, draco is scared of magic, it's been used for too much evil, Draco Malfoy Feels, Sad Draco Malfoy, Protective Draco Malfoy, Sharing a Bed, platonically sharing a bed, First Kiss, Hugging, Cuddling, Platonic Cuddling, Harry Potter is a Good Friend, death is scary, Happy Ending, Angst with a Happy Endingh, appyish ending, might be a little bittersweet, but it will be ok I swear Summary:  After the war, the Ministry decides to make a clean go of it and sentences all Death Eaters to death. After a year spent imprisoned beneath the Ministry, with his mother safely in France, his father dead and only the Aurors who hate him for "company", Draco is waiting for his time to die. Harry gets to him first. ❤️ Read on AO3

[elkian]

I was gonna do a “missing the point”-style meme but I’m honestly not sure that would even work tho so:

Harry Potter and My Hero Academia/Boku no Hero Academia have similar issues with introducing and then immediately ignoring ENORMOUS issues re: ableism.

I think these two series in specific come to mind bc it’s ableism within a specific empowered community, and in both cases the series are pretty well-known and the community (Wix/Heroes) are immediately identifiable to many audiences.

[WARNING: Discussions of ableism, child harm, and abuse on multiple levels.]

What’s the problem?

SQUIBS.

[This post got stupid huge SO here is a tl,dr for all you lovely people who understandably have no time for this.

TL, DR: Both Harry Potter and Boku No Hero have a bad tendency to implement or imply a level of disability regarding unempowered people in empowered societies. They then continue on to completely disregard important conclusions to these implications, such as how heavily it is implied that these unempowered people (Squibs) are so ‘worthless’ to those societies that their very deaths are merely a byline rather than an actual tragedy.

This is especially troubling in MHA/BNHA when so many other political and worldbuilding considerations HAVE been planned out, and seems to be less-discussed in the fandom as a whole, so that’s a much larger chunk of this post.]

That’s your tl, dr!

Here’s the Harry Potter angle:

HP has a bit that I’ve seen people discussing already: Neville’s magic was discovered when his uncle dropped a literal child a potenial lethal distance. 

Neville activating his power and surviving is celebrated, and then JKR immediately glosses over the glaring issue this has introduced: the heavy implication that a Squib dying from this incident would have not have been mourned or even really commented on.

The few adult Squibs (and isn’t that a whole new slice of wonderful /j) are generally disliked and ridiculed for some reason or other. Now, while obviously there are plenty of places where the Venn diagram of “disabled” and “asshole” intersect irl, when your ONLY presentation of a disabled character or group is, every time, an asshole or a fool or both, boy! That’s bad!

Neville (who is generally presented as magically, physically, and mentally weak and often treated as comic relief) is a bit better via the POV Character constantly having positive interactions with him, but this is still a mess. Yes, Neville canonically is not a Squib, but it’s not subtle that he’s on the cusp OF being a Squib, and that is a key element of ridiculing him in many situations (also the whole trauma thing multiple times, like if I really get into it I could do a whole double-size post of how Neville was done dirty or nearly dirty by JK all the time but this isn’t that post).

This isn’t even the point of this post. Let’s move to MHA/BNHA

Hero Academia has differing but honestly even worse issues. And I’m aware that different countries handle ableism and accessibility in different ways, but if you think too hard about it this is an absolute clusterfuck.

What is the problem now?

Squibs! Or rather, the main character of the series, Midoriya Izuku.

Deku (a nickname meaning “useless”! Imparted after his disability is recognized! hilarity!!) is also born without powers. Even worse in some ways, he is born without powers in a world where the overwhelming majority of the global population has some kind of empowerment. I can’t recall if it’s outright stated or only implied that someone with a functionally useless (and hoo boy, usefullness to society is its own post nope not today i do not have that much energy) Quirk is still more of a person than a Quirkless human.

That sink in? Okay, let’s move on.

In a narratively not-uncommon turn of events, Deku gains power. This is partially a product of, and directly tied to, his own work and determination, as well as his willingness to help even when physically outmatched.

To an American audience (NOT the intended audience though I wouldn’t doubt it if Horikoshi meant to have international appeal more or less from the start), this is a deeply satisfying narrative. Who doesn’t love an underdog story? And we even learn that the strongest hero of all time (til this point, anyways) was ALSO born Quirkless!

However, from here, things take a nosedive.

The key problem is a combination of story progression and overall thought put into worldbuilding. Horikoshi’s efforts may not be the MOST thorough, but he has put a great deal of work and thought into his creation (he at least understands the concept of implications and sometimes plans accordingly, looking at you JKR). However, that tied with story progression and personal repercussions actually works to the detriment of the matter.

Especially given recent turns of events.

 [BIG MEGA SPOILERS FOR FAIRLY RECENT PLOT

 STOP HERE IF YOU’RE NOT CAUGHT UP

 SERIOUSLY]

 What I mean by this is the current state of events re: two particular recent/recent-ish plot arcs.

First, Quirk Removal, and second, Endeavor’s comeuppance.

Quirk Removal/Loss was the start of my realization to what the narrative was doing regarding Izuku’s Quirklessness and the state of being overall.

This arc was a perfect time to bring up Midoriya’s past! A lot of Western works certainly would have done so! And yes, it may be bordering on done-to-death, but many elements of Hero Academia put new twists on common themes and cliches; it wasn’t unreasonable to hope that he might do it again.

Instead, little to NOTHING is discussed during this time! In fact, iirc I’d go so far as to say Midoriya straight-up never considers his past at any point during this arc!? If I’m wrong then it obviously made little impact.

NOW, not every disabled character needs to incorporate their disability and/or skills gleaned from living with it in every narrative. In fact, it would get tedious and questionable if they did (note: this does NOT mean ignoring/forgetting the character is even disabled when convenient. Like, I’d like to think that’s the obvious point of this post but... *gestures at tumblr*). 

But the complete lack of it here feels really weird. Like, almost hollow. I think Midoriya makes some kind of suggestion to Mirio of his former Quirklessness at the end of the arc, but nothing that made any kind of impact.

Let’s move on.

Endeavor.

Now, the problem with Endeavor’s arc is not the arc itself. Or, rather, it’s the fact that Endeavor’s Comeuppance is pretty good.

This is a problem because someone else should be getting this exact same arc, yet the issue is never even RECOGNIZED, let alone addressed.

Endeavor’s abuse of his wife and children, all in the name of creating a Heroic legacy, is publicized and tanks his popularity. The general public is now aware of what he’s done to the people closest to him, which aside from giving him a more correct reputation, means they can’t trust him to protect them if they can’t trust him to protect his own family.

This isn’t the goal of this post and I’m no expert regardless, but up to this point (around chapter 290) this was handled in an interesting way. Endeavor is humanized and often shown interacting with people in a way that, while often domineering, isn’t always aggressive or abusive. He runs a Hero Agency for crying out loud! But abuse in the real world often isn’t constant, nor happening to everyone in contact with the abuser. So this is a surprisingly good lead up to the reveal, where you can understand how most people never realized this was an issue.

But here’s my main point. Let’s examine some traits and actions that come up:

physically abusive to a child (often dangerously so) to the point of permanent trauma and severe scarring in some cases

target of abuse was weaker (physically and/or regarding Quirk power)

often abused victim emotionally/psychologically, bringing this weakness up again and again

own immense power led to rising in the world of Heroics

comrades, fellow Heroes, UA teachers etc. not aware of prior abuse issues

Who does this sound like?

Endeavor, who has a whole fucking arc dedicated to this reveal and repercussions?

Or Bakugou?

Reminder: This isn’t a hate post. This isn’t a character post, or even an abuse post. This is about ableism.

Bakugou exhibits many, many traits and actions that Endeavor was literally just punished for. So why does the treatment of these characters in-universe differ so drastically?

Two primary reasons I can think of, which feed into each other:

1) Bakugou was a child (still technically is a minor, remember! Still a first-year high schooler!) when this started. This doesn’t mean he’s strictly innocent, but it’s an important point, because it leads us to

2) Bakugou Katsuki’s abuse of Midoriya Izuku is socially accepted.

Reminder of the audience’s first encounter with Katsuki. The very first page with him is him and his grade-school posse picking on a kid that Izuku is trying to protect. His posse is showing off their Quirk powers and mocking Izuku’s lack thereof.

Then we flash forward to late-middle school versions of the kids. Bakugou, in front of a fucking teacher and entire class, is verbally, physically, etc. abusive to Izuku. He trashes his stuff, threatens him, tells him to kill himself (which, as Izuku notes later, is a fucking felony in Japan too).

No one stops him.

No one criticizes him.

We don’t even get a shot of like, some more ‘regular’ students being like “man Bakugou’s kinda fucked up but we’re too scared to do anything about it” NO. NO. Everyone more or less either backs Katsuki up or straight up doesn’t care.

Remember that this started when Katsuki and Izuku were four. Remember that Katsuki’s power is absurdly dangerous, ie. LITERAL. GODDAMN. EXPLOSIONS.

Izuku has scars. He probably has hearing loss! He may have gotten at least one concussion which can cause serious neurological issues and open him up to further risk!

He could have died.

And?

NO ONE. DOES. ANYTHING.

THIS is the point of the post. THIS is the value placed on Quirkless people in this society.

And yet. Despite Endeavor’s comeuppance. Despite All Might and Izuku’s blatant ‘value’ to society through Heroics. Despite so many other political implications and quandaries address in the Hero Academia series.

Nothing. Nothing. Nothing about this is addressed. The nearly-lethal ableism towards Quirkless people in this society is never ONCE brought up properly once Izuku receives One For All.

There is so much potential here! There is so much worth talking about! And yet we’ve moved into what feels very much like the Final Battle without it being addessed, despite numerous, numerous opportunities for a meaningful conversation about it along the way.

Mirio losing his power! Hell, Mirio’s powers’ drawbacks (and pretty much every Quirk’s drawback! if acknowledged properly!) border on a disability-analogue, and even more when Yuga’s laser comes up, and yet again and again we fail to truly engage with the matter in a meaningful way.

At this point, even if it comes up in the finale, I’m going to be disappointed in this particular aspect of the series due to the complete and total shut-down it’s been given so far.

What the FUCK, Horikoshi?

[belonglab]

Gaslighting: A Tool of Oppression and Exclusion

by Alisha Patel, Communications & Research Fellow at GenLead|BelongLab

February 2, 2021

“I don’t see color.” This is one of the most common phrases people will use to defend themselves against accusations of racism. It isn’t the best, but at least it’s not explicitly racist, right? In a culture where calling out institutional and systemic racism feels like an ongoing battle that’s fought tiny steps at a time, that phrase feels like an adequate place to start. However, this phrase is actually a form of racial gaslighting, and its acceptance only perpetuates stereotypes and the racism we are trying to fight.

Gaslighting in general is a form of manipulation and psychological abuse where the perpetrator convinces the victim that they are imagining or overreacting to abuse. Over time, this can solidify the perpetrator’s position of power over the victim, turning it into an ongoing cycle of abuse. The effects of gaslighting are extensive-- the victim will start to second guess themselves and their judgments. While this form of manipulation is often talked about with regard to personal relationships, it can additionally be used to to cloak bigotry like racism.

Racial Gaslighting

Racial gaslighting often is used to excuse microaggressions in all forms. It can invalidate someone’s experience of perceived racism by subtly denying their feelings and emotions, excusing implicit comments meant to demean or discredit them, or even excusing explicit attacks on them. Its effects are grave; it subtly reinforces and sustains racial and social hierarchies that inevitably hurt minority groups. Not only does racial gaslighting allow stereotypes to continue, but it also degrades the victim’s sense of self and teaches them to invalidate their own instincts and judgments.

For example, imagine if someone had experienced racism in the workplace and attempted to tell a fellow coworker about the incident; instead of empathizing, the coworker reassured the victim “it couldn’t possibly be racism,” “it is all in your head,” or “you’re too sensitive.” Statements like this place the perpetrator in a position of power and control under the guise of morality, while undermining the victim’s experience as lesser-than. In turn, the victim can develop feelings of anxiety and depression as they start believing they cannot trust themselves and cannot express their emotions outwardly. According to clinical psychologist Dr. Roberta Babb, racial gaslighting also, “overtly and covertly erodes a person’s sense of self, self-worth, agency and confidence.” Thus, racial gaslighting feeds internalized oppression and Imposter Syndrome.

Racial gaslighting is so common that it is sometimes difficult to tell when it is happening, and it can even be unconscious or unintentional. Normalized phrases like “I don’t see color” seem to mean well at first glance, but in actuality serve to invalidate the struggles of a minority group while erasing the group’s lived history. It tells the listener, quite unequivocally, “I am not racist. What you are perceiving as racism on my part cannot possibly be racism.” Phrases like these are un-nuanced and oversimplified takes that may have been accepted in the past, but as we learn more about deep and entrenched racism, we see they are outdated, insensitive, and quite frankly, racist.

This type of manipulation often is used by mainstream media and people in power, ingraining its use in our culture and further highlighting the power dynamics underpinning racial gaslighting. Think of Donald Trump and his response to protest movements through the past year: On one hand, he refused to condemn Neo-Nazi protestors, saying there were “fine people on both sides.” But he mischaracterized Black Lives Matter protests calling for an end to police brutality as thugs and threatened them with the National Guard, warning “when the looting starts, the shooting starts.” He then mischaracterized the white supremacist, violent insurrection he incited on January 6th as a march, declaring his love for the insurrectionists. According to Trump, white supremacists are allowed the benefit of the doubt and could possibly be good people at heart. Yet, those in support of black lives are automatically dangerous and should be perceived as a threat. With these statements, Donald Trump at once validates the platform of white supremacists while invalidating black lives in the United States and negating the idea that racism is a problem; he normalizes the presence of white supremacy while revealing the inability of the country to acknowledge its inherent racism and bigotry. Anyone witnessing photos and images of how the BLM protesters were treated versus how the white supremacist insurrectionists were treated at our Capitol can see that racial gaslighting has deeply permeated our country systemically and is a problem that outlives the Trump presidency.

Gender Gaslighting

Also problematic is gender gaslighting, where a woman may not feel comfortable voicing concerns about sexism because her concerns are automatically dismissed. Consider a woman -- let’s call her Jana -- who has been working for a company for many years and is very qualified for a promotion. Yet every time Jana expects to be promoted, a man is given the promotion instead, even though he has had less time at the company and is not as qualified. Jana may attempt to discuss this with her boss, but he insists it has nothing to do with her gender; he tells her she is overanalyzing the situation and being over-sensitive. While it is possible that Jana’s boss could be telling the truth, it is more likely that her gender is in fact playing a role in not receiving a promotion, as this pattern has repeated multiple times. However, Jana has learned that she does not have a space to speak up about this sexism, will likely be negatively judged for speaking up and thus have an even harder time getting that promotion, and therefore most likely will not attempt to speak up again. This is the same situation that is seen with racial gaslighting-- the cycle will continue for Jana, and her emotions may inevitably turn inwards, convincing her that she is not qualified for any promotion and deserves to be limited to her current level.

COVID-19 Gaslighting

We even see gaslighting around COVID-19. As a college student at a very urban university, the pandemic has shaken up every single aspect of college life. Though my school has adjusted as best as possible (we are tested twice a week and receive our results within 24 hours; most classes are online and if they aren’t, there are usually less than five people in-person, all socially-distanced; so on and so forth), interacting with other students and people my age really reveals the mindset around the pandemic.

As the pandemic has raged on, it feels as though people have accepted its presence, or stopped caring altogether. It’s a stark difference from the first lockdown in March, where it felt (at least for the most part) that everyone was on the same page. But now, instead of staying inside and mitigating the impacts of the pandemic, it feels as though it’s now a matter of working around the pandemic to do things we used to do. Those who are still staying inside have become more of the minority than the majority, and are sometimes gaslighted to feel overly paranoid for continuing to take the pandemic seriously. This gaslighting is clearly very harmful to society as a whole, as it simultaneously perpetuates coronavirus while undermining common sense and the empathy to care about the collective nation.

COVID gaslighting can exist on a small interpersonal level. Consider a situation where two friends want to get together, but one is insisting on following social distancing regulations while the other is suggesting to abandon them altogether. The one wanting to abandon social distancing may claim that they have both been isolating themselves since the beginning of the pandemic, and it is unlikely that they could infect each other. They may go on to call their friend overly paranoid of the virus and accuse them of not wanting to get together. Though this is not actually the case, the friend who was attempting to follow COVID regulations is made to be the villain, which is a common gaslighting mechanism.

Even worse, COVID gaslighting has been perpetuated by some people in power, who can afford to preach a careless and selfish mentality around COVID-19 because, even when they contract the virus, they have the money, power, and resources to combat it. Meanwhile, they continue to manipulate the American public into believing that COVID is not something to be taken seriously.Their followers adopt the same invincible mindset, but it is clear that they -- and most other average Americans -- are not in the same situation and do not have the same money and resources to combat COVID if needed. The situation is even worse for identity groups that have been historically oppressed.

Many Black and brown communities are disproportionately affected by COVID-19: African-Americans deaths are two times higher than would be expected for their population, and it is the same for Hispanics and Latinos. On the other hand, white deaths from COVID are “lower than their share of the population in 37 states.” These disparities result from institutionalized and systemic racism (fed by racial gaslighting) that has been snowballing since our country’s inception.

Combatting Racism by Contending with Gaslighting

It is in no way, shape, or form the victim’s responsibility to attempt to change their gaslighter’s behavior. Instead, it is important for us to create safe spaces for these victims to be heard and validated. Thus, putting a stop to gaslighting begins by looking inwardly at our own behavior and preconceived biases; particularly, if you find yourself recognizing some of the behaviors symptomatic of gaslighting, it may be wise to engage in self-introspection and attempt to accept some responsibility. Though some gaslighting may be done unintentionally or what you believed to be well-meaning, it clearly is still harmful and must be mitigated. To confront the biases that may underlie your possible gaslighting of others, you can also take this online test that examines and assesses internal biases that you may not have even noticed (it takes about 10-15 minutes). Attempt to challenge these internal biases, and pay attention to how they affect your interactions with others.

Additionally, be prepared and open to truly listen to and learn from other people and their experiences, and focus on increasing your awareness of others’ circumstances. These steps can begin the process of acknowledging gaslighter responsibility. By first starting on a personal scale, we can expand this introspection to a larger scale and begin holding the racist systems in our country accountable.

If you find yourself a victim of gaslighting, it is important to safeguard your mental health. This can be done by taking a step back from the situation and removing yourself from the environment to consider the hurtful behavior and resulting emotions. You can write down your thoughts to affirm your judgement as valid and for reference if necessary. It also can be helpful to talk with other members of your identity group and share experiences like this. Affirmation from others with similar circumstances can validate your experience of harmful gaslighting and remind you that you are not alone. This can help you to trust yourself more as well as recognize the gaslighting as it is happening.

In the moment gaslighting is occurring, it is important to call out the behavior publicly (when possible and safe to do so), showing the perpetrator and others in proximity that the behavior is inappropriate and will not be tolerated. Further (again, to the extent safe and not harmful), you can talk one-on-one with the perpetrator to discuss the behavior, making sure to describe the behavior and why it is harmful. Setting boundaries (e.g., taking a step back, removing yourself from the situation, as described above) will help to loosen any grip the negative environment or perpetrator may have on you.

As an ally, it is important to help support victims of racial gaslighting by helping to call out the unacceptable behavior, as well as creating a safe space for victims to express themselves and be heard and respected. Make sure that what you are doing is not self-indulgent or performative, but rather is truly helpful to the victim and in their self interest.

Combatting racism in a present day context is not an easy task -- it is extremely complicated and has far-reaching and entrenched roots in the United States. That said, the task should begin with dismantling the practices that perpetuate racism on interpersonal and societal scales. By recognizing racial gaslighting, it is possible to disrupt stereotypes and racial hierarchies, while also offering the historically oppressed, excluded, and marginalized a safe space to speak and be heard, which uncloaks hard truths from underneath imposed false narratives. Those who insist they don’t see color are not seeing people of color and their lived experiences.

Without seeing the hard truths, we are unable to address them.

[videogamesincolor]

Detroit: Become Human (2018) -Exploitative Sci-Fi for Gamers

The Following article contains major spoilers for Detroit: Become Human

Folk can’t quite believe DBH’s player base loves Markus by an 80% plus margin. It’s like Grey’s Anatomy doesn’t exist or something.

On some level, Quantic Dream’s video games following Beyond: Two Souls are going to be a mechanical refinement of their gameplay, and not much else. If the Ellen Page driven game demonstrated anything, it was that the studio’s creative head has an innate inability to learn from his mistakes and he’s got a fetish for particular narrative cues, and all of them revolve around violence, racism and shock value.

Detroit: Become Human shares a lot in common with Max Landis and David Ayer’s 2017 direct-to-Netflix film Bright. Both are allegorical tales that utilize the iconism, present and historical, of the Black community and their key movements as a backdrop for the oppressed fantasy caricatures of their tale. With Bright, Orcs were the Allegorical Black community of the here and now. 

With Become Human, Androids are representative of the Black community at various points in our people’s history. All of it is supported by the locale of Detroit, Michigan, a state with connections to the Underground Railroad (the game hits you with this trivia bit right off), Martin Luther King Jr., and anti-black violence that embroiled much of the United States when my parents were children.

Bright attempted (and failed) to re imagine some weird not-so-post-racial world where Tolkien-inspired aesthetics and archetypes were our history and influenced our present, with little changed about our factual history. Mankind is united in mutual hate of Orcs, and the motto “Black Lives Matter” continues to be a punchline to those unaffected by police brutality in a world where fairies are the equivalent of pests.

Become Human is yet another in the long line of over bright and sterile science fiction games that want to be Blade Runner, but doesn’t have the wherewithal to pull it off. And this is mostly because it’s too busy trying to shout “message!” For lack of a better word, Become Human gags itself with its own allusions despite some particularly interesting mechanics and sequences that exist within the ham-fisted racism narrative.

What is Become Human about?

The primary narrative of Detroit: Become Human is driven by the story of “Markus” (Jesse Williams), a specialized android, that, like most, runs the risk of triggering a dormant "virus” that simulates sentience in androids. He was gifted to old artist by the android creator (a man named Kamski). The beginning of his narrative sees him care for Carl (Lance Hendrickson), the old man in question. 

He gets kicked around by anti-robot protesters, and has to ride the back of the bus with other androids. After telegraphed prompts that tell you his mistreatment at the hands of Carl’s son, Leo, is not far, the virus triggers itself, Markus begins to act of his own accord. The end result, where he may or may or not kill Leo, or simply gets blamed for the death of Carl when he dies of a heart attack, leads to his being shot by the police.

After he’s practically destroyed, he reactivates and he pulls himself out of the mud Shawshank Redemption-style and finds an abandoned ship full of busted androids that were looking for a leader. Markus, not interested in hiding the shadows, more or less appoints himself in that position because he’s the only one with some kind of proactive goal: To end enslavement of androids everywhere.

The secondary narrative focuses on a service android named “Kara” (Valorie Curry), who was busted up by her owner - a man named Todd Williams (IIRC) - during an abusive fit against his daughter, Alice. After she’s repaired, Kara returns to his home and resumes caring for him and Alice and accidentally discovers that Alice is not a human child, but an android (apparently Todd’s wife left him for an accountant and took her daughter with her). She ignores it, and, under duress, gains sentence when she believes Todd is going to kill Alice while high on Red Ice (a hyped up version of Crack).

She runs away with Alice in the hopes of reaching the Underground Android Railroad to escape to Canada where there are no robot laws, and encounters a fairly large (Black) Android named Luther, who decides he’ll do anything to protect them from harm.

The third narrative is that of “Connor” (Bryan Dechart), an android type, designed specifically for police investigations. Connor is sent to work with a grouchy old detective named Hank Anderson (Clancy Brown), who hates androids (because reasons) and doesn’t want to be bothered Connor’s overly stiff behavior and awkward attempts to get to know him. 

Connor and Hank effectively run behind the likes of Markus and Kara, their narratives intersecting every now and again (until the end of the game), trying to figure out why Androids keep going homicidal and killing human beings.

While Markus’ plot drives the surface narrative, not unlike Bioshock Infinite, behind the scenes, the plot of Become Human involves a faceless corporation named CyberLife. From how I understood it, CyberLife, with the sole living monopoly on android creation, is looking to create an artificial conflict between humans and androids by using a virus that simulates sentience in machines that causes them to rebel against their owners.

When enough chaos is created, CyberLife would keep up the facade of an issue and supplant their man-made rebellion against humans using android (Connor) with no real “free will” of its own. It’s about as sci-fi as you can get and probably should’ve been the focus of the narrative from the jump.

Characters in Become Human;

I can’t wait to see white-face Android cosplay at this year’s conventions :D

Out the three playable characters that the player can control, the androids Kara and Connor have narratives that are focused more on the “personal” than the Frankenstein politics of the game that Markus represents. Performance wise, of the three characters, Valorie Curry and Jesse Williams give an ideal “robotic” performance that feels natural to their characters respective roles. 

Of the characters within Markus’ narrative, Josh and Simon are probably easiest to become endeared to. They have opposing opinions on how to handle their rebellion, but they’re not rivals. They have the strongest rapport with Markus, but the game barely gives either any screentime so they’re effectively minor characters that get wasted for some arbitrary “Josh and Simon will remember that” nonsense.

She’s like that guy from Two Souls who wouldn’t take “no” for an answer

Carl is an obnoxious “nice old man” type that’s supposed to represent the best of humanity, but given the context of the world, he’s willfully ignorant to the climate that game itself ignores, and his interactions with Markus are uncomfortable to watch. The narrative pushes the android North (Minka Kelly) at the forefront of the Markus’ narrative (at the expense of his relationships with Josh and Simon), and she is the least interesting character out of the bunch that gets face time with Markus. She simply exists to say “Hey, Markus, choose violence” and instantly be promoted to lover. Simon and Joshua are right there, my mans.

Markus himself is a frustrating character for me, because (aside from my scruples with his actor) he is so representative of a white writer’s ideal Black character. It’s hard to even root for the character beyond the general principal. His arc stokes a kind of anger in me like nothing else. And the other part of me simply cannot wrap her head around Jesse Williams (a former public school teacher, with more than a little knowledge on racism) just signing off on this nonsense that effectively makes the character what he is. But, this wouldn’t be the first time a Black actor made questionable career choices.

With Kara, what keeps her narrative engaging are her interactions with Luther, Alice, and her denial that Alice isn’t a machine, but a human girl. But, Kara’s disadvantage is that she is a female character created by David Cage, so he spells out to the audience what he thinks she is: A motherbot to a childbot, that’s her entire role.

Why can’t we be friends?

Her desire, her want to save Alice from Todd isn’t Kara being concerned about someone who’d be under her care, someone who has to rely on her for help given her age. Instead it’s treated like the path to motherhood as opposed to a friendship. It’s like watching a version of Ripley and Newt’s relationship in Aliens where the reason for Ripley and Newt eventually regarding themselves as mother and daughter (their shared loss) doesn’t exist. Even the guy who assaults Kara and (potentially) wipes her memory assigns motherhood to her concern for Alice and it’s like, “well, that’s a bit fucking presumptuous of you, mate”.It’s really gross.

And in that sense, Alice isn’t a character; she’s a narrative tool to further exemplify Cage’s odd fixation this particular aspect of femininity. The performance of the actors sells the relationship quite well, about as well as Ellen Page sells the suicidal agony of her character Jodie Holmes in Two Souls, but the sudden promotion to “mother and child” is unearned and artificial.

The attention to detail that goes into Connor’s narrative, the choice of whether or not the player will allow the virus to trigger sentience, or go full on Robocop and fulfill the desire of CyberLife to the letter, is not the kind of detail you see in Kara and Markus’ tale. His narrative is primarily driven by the pseudo-paternal relationship he ends up forming with Clancy Brown’s Hank Anderson, who mourns the death of his son (insert “Jason!” joke here), but for reasons completely unrelated to his hatred of androids (he admits that much in the climax). 

Every time the game puts Hank in danger, you’re given the choice of perusing the mission or risking a 40-80% chance of survival doesn’t mean the game will fuck you over and kill the Kurgan. I’m gonna assume everyone dove over their coffee tables to save Mr. Krabs and hung the mission.

Clancy has really round eyes, and I’m just noticing that for the 1st time

The he arc is as engaging as it is because of Clancy Brown’s performance. Dechart tries, he’s got a great rapport with Brown (unquestionably), but his limits are obvious. He often sounds like he’s putting on an act, something you shouldn’t be thinking of during an actor’s performance, and that can be distracting (I’m sure the direction doesn’t help either). I wouldn’t be surprised if that some point Quantic Dream was debating over whether or not this would be a game focused solely on Kara or Connor. Markus feels like something that was jammed into the game at the last minute to satisfy Cage’s celebrity itch and ideas of being progressive. That’s something I’ve always thought since they debuted the character back in E3 2017 (IIRC).

Out of all the human characters in the game, Clancy Brown’s Hank Anderson is the only one that feels like a person and not a plot device. Sure, he’s wrapped in all the trappings of a generic loner cop who hates partners (insert Buddy Cop Reference Here), but Clancy Brown manages to make an otherwise dull character work. On the flip-side, the generic asshole cop is such a walking stereotype there’s nothing genuine about his interactions with anyone.

He’s just there to reinforce the fantasy prejudices of the game and harp on and on about “them robots are gonna take our jobs”. Like, he didn’t need to exist because he does not contribute to the plot. The all too comical way he says “Fuck” (like he’s sneezing or some shit) – in a poor attempt to emulate the frustrations we often see in procedural dramas or action films when a standoff occurs – only further highlights how much of a caricature he is. This nigga can’t “bad cop” to save his life.

There aren’t a lot of characters to write home about in Become Human, or if there is I keep forgetting all about them and I can’t be arsed to recall them. Most of them are inconsequential and disappear after a single level appearance. If I’m being honest, I don’t hate the characters in Become Human (not most of them), so much as I loathe what some represent.

The Mechanics of Become Human;

Next Level Detective Vision(TM)

Become Human’s strength lies in being what I think is a fairly solid attempt at broadening the multiple choice system Adventure Games are otherwise derided for by individuals with a limited idea on what constitutes as a video game. It’s clear that Quantic Dream has taken cues from the likes of Dontnod Entertainment and Supermassive Games’ Life Is Strange and Until Dawn. Both are studios (with writers) managed to create a pair of fairly compelling adventure games, with wildly different takes on the multiple-choice system that’ll probably be remembered better in the positive than most, Quantic Dream included.

There are a number of outcomes that can happen within the game, depending on your actions. Some things change completely, other times it feels like a lot of its surface detail meant to wow you the first time. There’s usually only one conclusion to a level. For instance, even if Connor investigates the ruined house that Alice and Kara are hiding in, the end state is always going to be Kara and Alice escaping, no question about it. Markus always ends up getting shot and torn apart. Whether or not you decide to attack Leo doesn’t change his end state.

From my understanding there are multiple endings a player can get based on what the game decides are “morally wrong” decisions. Connor killing Androids for example, may always lead him down to a path of deactivation if you choose to fulfill your mission to the letter. Some, if not most of the central player characters and their cast can die. Hell, Markus can apparently just peace out of being the leader of the farcical android rebellion and North will take over in his place (that cracks me up). And one the more extreme options is to nuke Detroit to run the humans out of town. Whether or not it’ll make sense is another matter entirely.

Depending on the length of the levels, there are a number of things you can investigate and locate with the help of detective vision. Most of it really doesn’t inform the world in any meaningful way, a lot of it is collectibles for the sake of collectibles that never carry any consequence into the game (and the one item that does, is hidden and used as a moralizing plot twist that reeks of Cage brownnosing). The rest actually effects what you can say to characters.

The more details you find and learn about, the longer your multiple choice dialog lists becomes for certain characters. The problem, like with most multiple choice prompts, is that single words defining the response often lead to “oh, wait, shit, I didn’t mean that!” Because Cage clearly had different ideas about what “determined” and “uncertain” meant.

Jesse Williams??? In my junkyard???

If you’ve played a Quantic Dream game, then you know the deal mechanically. Motion Controls and Quick Time Events that more or less act like a fast forward button on a cinematic. Things you’d otherwise be able to do with basic button inputs, or a push of the analog stick, without any sort’ve guide, are rigged to Quick Time Events and motion controls. Want Marcus to stand up? Well you gotta wiggle that control and press and hold down numerous buttons before the cinematic decides to allow him to stand up. 

It’s basically Telltale mechanics, which isn’t bad per say, but I like being able to stand up without playing Twister. The most freedom you get as a player is being allowed to walk around – to some degree – at your leisure (unless you’re being time attacked) and just take in the environment and click on stuff. In some instances, if you take too long, the game jumps to the next cinematic and that’s that.

Respectively, Connor and Markus are the only two out of the three androids that can create or recreate scenarios of through the study of their environment or certain objects. Markus can deduce whether or not he can make certain jumps or defenses against attacks. Connor can more or less do the same, but his mechanic is structured around picking up objects in crime scene and recreating a simulation of how events may have happened. 

Kara lets her Otaku flag fly

Compare all of that to Kara, who can just change the color of her hair from blonde, black, brown and white. Her whole character seems built around her pixie hair cut and to that degree, the banality of her attractiveness (and remembering the creepy as fuck tech demo this game spawned from reinforces that). Yet, Connor and Markus can be both “attractive” and “functional”.

Philip Sheppard, Nima Fakhrara, and John Paesano compose what I think might be the best score from a Quantic Dream game I’ve heard after Beyond: Two Souls (which had Lorne Balfe and Hans Zimmer as its composers). It clearly apes the Vangelis aesthetic in a lot of places (namely Connor’s segments), but each character has a unique theme that either gets integrated into myriad of moods the music can adopt, or plays straight in a lot of sequences. It works pretty well as background noise, separate from the game.

All this scene needed was a saxophone

Another strong element in Become Human, outside of its narrative tree design, is the game’s environmental design. Become Human takes what are apparent cues from Dontnod Entertainment’s Remember Me, which imagined a futuristic Neo-Paris with a far more grounded approach than something like the direct-to-Netflix film Mute or even Blade Runner 2049, which is all lights, holograms, smog, and high-rise buildings. Become Human is chuck-full of nighttime shots, and rainy environments. There are still remnants of the old Detroit, but its slowly being dominated by the future that shouldn’t be able to sustain itself with a 40% unemployment rate, but go off Quantic Dream.

If you’re the type who’s easily wooed by high definition graphics (which isn’t something to write home about anymore. It’s done capped itself), especially with all the hub-bub going around about 4K RESOLUTION AND 4K SCREENS, then Become Human won’t have to do much to impress, just hit you with a lens flare.

With regard to cinematography and choreography, when Become Human is good, it’s good. Two of the strongest sequences in the game are the dead end story thread where Connor and Hank go checking into a bird infested apartment occupied by a runaway android, and the entire attack on the Jericho. Connor’s pursuit sequence is, for the most part, is pretty well directed, and it’s what I look forward play in a game like this. But, its also where the QTEs hindrance comes into play far more often. It’s not the kind of scene that needed anything except the prompts telling which way was safer and which way was quicker.

The Jericho siege is a fast paced implementation of the character perspective switch (that began slowly in earlier parts of the level) that works to keep varying levels of stress pressed upon the player. You’re encouraged to hide as Kara (she ain’t shit in a fight) and the game tries its damnedest to kill Luther (<_<), Markus has to save everyone he can (top priorities: Josh and Simon) and suddenly gains the ability to Keanu Reeves just about everyone in his path; Connor, from I can recollect, is more background support for Markus and gets shot if you try to save North (<_<). It’s cinematic when it counts and interactive where it matters.

Those are the two stand out sequences. The rest of the action in the game is more reflective of the awkward “which Connor is the real Connor?” fight scene which is just clumsily shot and broken to hell with QTEs (to say nothing of how botched the “tell me something only the REAL Connor would know” scene was).

Questionable Worldbuilding

Kamski, David Cage’s self insert.

There’s a certain level of suspension of disbelief required when it comes to science fiction. Unless you’re an author like Michael Crichton (who lived and died by the amount of [academic] research he put into his stories, or borrowed from his own experiences) science fiction – moreso than fantasy –, especially dystopic science fiction, is always gonna be amalgamation of fact and some nonsense an author threw at the wall.

But the mark of a good writer is usually the one who has you thinking about the ideas presented in the narrative, not what you as an audience member would’ve done to fix the narrative’s persisting problems. In this case, Michael Crichton is the former. David Cage is the latter.

The world in Become Human doesn’t feel lived in. There’s no real explanation as to how the world in the game got to where it is, and its obsession with “World War 3″ is a lazy dab into politics. There are places and circumstances that fit each situation in the narrative, but on a whole, it doesn’t feel like a place that could actually exist like Middle Earth, or even the Earth of Harry Potter, which blends the “wizarding world” and the “muggle world” together quite well without creating a grievous dissonance in the narrative. It’s a collection of sets characters are strolling through.

Cage lifts strife and topical issues from the past and present to build his world, but utterly fails to understand the context and environmental circumstances that informs what are issues steeped in anti-blackness and white supremacy. He’s not unlike Zack Snyder, who is so preoccupied with how “cool” a scene in his movie looks, there’s never anything of substance in the final product. The depth of his understanding of racism, mass deportation, and antisemitism is that it’s “bad” and not much else.

For instance, there’s little explanation as to why Canada has no Robot Laws (not one I found), or why ‘sentient’ Androids would even assume why they’d be safe there and not sent right back to the United States. Another head scratcher is a law only recently required androids wear signifies that they were machines, when uncanny valley still seems to be a hugely noticeable problem (at least when the plot requires it).

There’s the usual Cage mumbo-jumbo of a messiah figure come to rescue his characters from strife (RA-9, the androids call ‘em), but given that the game constantly implies that “Deviancy” was not a widespread or common thing until recently, the attempt at creating a “folk hero” character for the Androids make little sense given the story fails to properly set up its protagonists conflict. Its ever only brought up in a explanation manner and dropped shortly thereafter. it’s untrimmed fat for the investigative bits of Connor’s gameplay passed off in a move to make the world seem more lived in than it is.

You can’t afford a job, you can definitely afford to oppress a android

The big talking point that many believe punches holes in the narrative is how the implementation of Androids have impacted humans socially and financially. Become Human presents itself as a pseudo-futuristic world (set in Detroit, Michigan) of 2038 (twenty years from now) where Androids cost the equivalent of what some folk I know think an Apple or Google Android cellphone might twenty years from now (it’s like $8k or something?). Even if you’re hard up for cash or living hand-to-mouth with a drug habit, you can afford an android somehow.

Androids are allowed to participate in sports despite the general danger to human life that poses, but no one really comments on that (you only know about it because of a collectible) in the game. Not a single person of color took issue with the fact that a rich white man created androids that looked like people in their community, and effectively built them for nothing except labor, sex bot fun times, and absolute servitude.

Androids have also become so prevalent as the labor or work force, that 40% or more of the American population (I guess??? It’s unclear) is out of work. And In which case, old man Carl, sitting financially secure up in his mansion with an android, is the personification of a rich man out of touch, but having the gall to look down on the protesting poor (which is not how the narrative frames in the least).

Reasonably, this should mean the economy is in a bad way on some level. Yet, the states is somehow stable enough to maintain pristine streets, glossy stores and a thriving economy, despite most people being too broke, poor, or out of work to actually support it.

Capitalism has gouged a hole so badly into United States, it shouldn’t be able support itself the way the game presents, and this is based on just how utterly messed up the general landscape of unemployment in the Great Depression was at a mere 25% (15 million unemployed) as most people keep bringing up. And that was following a market crash that’s often used as barometer against the 2008 market crash. Our current unemployment rate is apparently  3.8% and the US has more problems than it can manage.

You’d think the world would actually look like something out of Days of Future Past or Judge Dredd, or maybe even mimic what was documented during the actual Depression (a little less extreme than the above). But, no, not really. Folk aren’t rioting in the streets, being suppressed by the police, aren’t demanding something be done a corporation that put them in a bind, or trying to overthrow the government for fucking them over the financial hole with machines. (Or at the very least leading the rich to the guillotines.)

No, most (even people who aren’t financially well off) still live relatively comfortable lives, maybe a few of them are homeless because of the android situation, but for the most part nothing seems to have really changed. And thinking about that just rather leads you down a rabbit hole of, “okay, well, how different is the economy from our reality that this can happen and the world is functioning as it were the 21st Century present?”

The future ain’t no promised land...

The game also wants to make a big to do about there being a white female president (more brownnosing from Cage), but the most you ever learn about this character is in a collectible and she simply exists to appear at the end of the game’s “good” or “bad” endings then disappears. And for the most part, considering he’s not exactly preoccupied with how politics plays into capitalism, what is so progressive about a white female president who isn’t all that bothered by the fact androids have put most of the people who probably voted for her out of work, and doesn’t lift a finger until androids start going homicidal? She not getting reelected.

The “humans are racist against androids” spiel falls further apart you realize that Cage wants to draw a parallel to a couple people with signs and the homeless, to the literal white supremacists of [middle] America that voted Donald Trump into office on the promise that he would deport and exile immigrants that “took American jobs” from the hard working racists of the United States. He wants people to believe that, when he’s created a circumstance where people would be rightfully pissed that they’ve been replaced by machines (who aren’t immigrants, let alone prisoners in Nazi Germany) and have no financial means. But, emotions, y’all, machines are people too.

Mankind in Become Human is united by their mutual racism against robots. So much so, that the habit of referring to machines with gendered pronouns or pet names is a thing of the past. Male or female coded androids are just “it”, not “they”, “she” or “he”. Racism is apparently a thing of the past. Sure, Rose (Harriet Tubman reborn) makes a reference to historical racism, and Markus bleats, “human have been killing each other over skin color and god for eons” (as though this is supposed to distance the android narrative from the allegory Cage wrapped his game around), but for all intents and purposes, you never see this this exemplified in the game that isn’t an [un]conscious display of Cage’s racism.

Like most allegorical worlds, Cage’s world is so preoccupied with creating this victim paradigm with robots, that it appears post racial to the point where the only problem that exists is basically “goddamn, I really hate those robots taking our jobs”.

For Tracy, Blue Hair Tracy is the Warmest Android

Hell, Homophobia’s not even a problem, because two female robots with the same face can basically declare their love and the only thing unusual about it is “Robots in love? I can’t comprehend that!” So, the one thing that needs to be Kumbya’ed into the past is anti-android sentiment and thanks to the multiple choice system in the game, you can either eradicate android resistance, or create a world they might sorta kinda be free (or at least the lead characters can).

For all the bluster about humans not seeing robots as individuals, they protest against and treat the androids like they’re individuals, as opposed to protesting against them as symptom created by a company that exacerbates their problem.

Appropriating Specific Pains For Entertainment

A Black Cop faces Androids mimicking Hands up, Don’t Shoot

The internet was a big part of why so many Black voices have been heard in the wake of what has always been a commonplace thing – the violent and needless deaths of people within the Black community, man, woman, child and infant. The period between reports on the exoneration of the police officer who murdered six year old Aiyana Stanley-Jones in 2010, and the murder of Trayvon Martin in 2012 seems long enough that, if you simply weren’t paying attention, you’d never consider it an epidemic like we do now.

But the deaths of Michael Brown, Eric Garner, Tamir Rice in 2014 and Sandra Bland and Freddie Gray in 2015 all seemed to bring an end to that. The less than graceful handling of the issues by the white media made it impossible to ignore how the damaging effects of the frequency of Black death were, created Post Traumatic Stress in the Black Community.

David Cage, in perhaps one the more naked displays of ignorance, decides it’s a good idea to use the imagery of the Black Power fist to represent oppressed machines wearing human faces. He decides the plight of the androids, who protest in the same fashion Black Americans did in Ferguson, Missouri, New York City, and Baltimore City, their hands up and marching through the streets, is a comparable to demanding the end of state sanctioned police brutality. He decides, the comparison of machines who suddenly gain sentience for little to no reason other than their creators manufacturing a fake rebellion for shits and giggles, to Black lives demanding that people stop killing them, are comparable situations.

She can’t quite believe the tagline she comes with

Throwing them in the back of the bus, slapping them with iconism that draws allusion to the Jewish Holocaust (which gets worse with a bad ending and references of Androids herded into camps for destruction), parking them in place like bikes, and putting them on display in stores (like slaves being auctioned off) is sensationalism mean to pull at the heartstrings – and it’ll definitely get you feeling some kind of way, that’s for sure.

I think the one thing that truly made me ill was reading subtitled off-screen dialog near the end of the game say, “Androids were being hanged all along Woodward Avenue.” It repeated in my head like an ugly mantra and I kept having to pause so as not to throw fit. The levels of irresponsibility that you have to cradle yourself in to think it’s remotely okay to invoke mass lynching imagery...

Dehumanization of enslaved Africans, whom white people regard as sub-human is not remotely comparable to androids meant to stage a manufactured rebellion by a faceless corporation headed by a deviant Black woman playing Hal-9000.

It’s a bad look and doubly insulting to just co-op the history of the Underground Railroad, which is another anvil on the audience’s head just in case the last couple weren’t quite enough for you to get the message.

And the way Markus and eventually every robot “frees” itself from “slavery” merely makes them look robots under the control of a hive-mind. They fall in line without question. They’re not acting as individuals, who’d have wildly different reactions and desires to any given situation. They literally act like the robots in I, Robot under the control of overlord A.I. that decided humans couldn’t be trusted not to kill themselves.

Anti-Blackness, Sexism, and David Cage

Yeah, I got nothing...

David Cage and his long romantic affair with anti-Blackness and sexism is one that is otherwise well documented, but largely ignored by the gaming community who still think addressing racism perpetuates racism and saying “SJW” indentures them with any remote credibility. To say nothing of the white liberals who’ve showered the game with praise because they’re convinced this is a profound take on the oppression narrative..

It’s unquestionable that David Cage is fixated on inserting violence done marginalized groups in his stories. He is incapable of handling the issue with maturity. And the news that his company reflects those same toxic ideas has spread long and loud enough that trying to pretend either is not a problem in this day and age in the name of “not ruining fandom’s fun” is stiflingly ignorant.

Sex workers/sex bots (all androids now) are brutally murdered and raped for not much else beyond the furthered narrative of characters like Markus and Connor. North only admits to being sexually assaulted so Cage can set up her as a lover for Markus, regardless of the player’s potential disinterest in romancing or interacting with the character. North doesn’t exist for much else besides being a prop for Markus and Cage exemplifying M/F relationships are compulsory in his universe.

Lesbians are used merely as a barometer for Connor’s morality, and are so ham-fistedly stuffed into the game (with awkward zoom-ins on their clasped hands, not once, but twice), that you can hear Cage patting himself on the back for even daring to think about two women in love on such a shallow level. They have no character or personality beyond that.

Child abuse and the abuse featured in the game feels jammed into a narrative that also wants you to sympathize with Alice’s father (Todd) because he immediately apologizes for being shitty. It’s also another excuse for David Cage to write a male character calling a female character a “bitch”, which is a reoccurring theme in all his games. Kara is constantly threatened harm by men and put situations where she barely escapes danger (or doesn’t) in ways that Markus and Connor aren’t. This is all meant to endear the audience to her relationship with Alice and her tenacity.

Kara and Alice ain’t even safe from the noble hobo androids

If you decide to go toe-to-toe with Todd to save Alice as Kara, Kara doesn’t get to throw Todd through a wall or even get the better of him with super android strength. She gets strangled, punched, and tossed about as though she weren’t an android but a normal human being. It’s like realizing that Jodie Holmes (Beyond Two Souls) isn’t Carrie, but is completely dependent on a ghost to protect her from sexual assault or danger in general. It’s the anti-thesis of the scene in Ex Machina where Ava (an android with a lightweight frame design) gets the advantage over Nathan. Kara and Alice barely escape with their lives.

It just comes off like cheap exploitation for the sake of making your female character suffer and it’s such a cartoon-ish portrayal of assault and child abuse. The scene wherein Kara is tied up and potentially stripped of her memory is mirrors the scene wherein the reporter in Heavy Rain is tied up and attacked by a serial killer who wants who to saw her in half and assault her.

Things get progressively worse when you start to consider how Black characters outside of Jesse Williams are utilized. The majority of Black characters represented in the game are supporting or minor characters. They run the gambit of David Cage’s greatest hits: “Scary Black Man”, the “Black Gentle Giant”, and the “Black Sidekick” who aids and furthers the narrative of his white or acceptably Black friends. Become Human also expands to respectability politics, colorism, and violence taken to new heights.

Stop_racism.png? I don’t think that’s in my programming, Carl...

Like I mentioned before, Jesse William’s Markus drives the entire narrative of Become Human. Outside of the inciting incident (the rogue android threatening to kill the child that looks a lot like Alice), nothing officially progresses until Markus becomes sentient. He is the hero of the story. As the only android taking proactive steps to rebel against the farcical android racism and slavery, the narrative dictates which decisions Markus makes are inherently “positive” and “negative”. It’s within Markus’ narrative that David Cage demonstrates that he’s just like every other white person when they observe Black communities dealing with police brutality and dehumanization.

While Become Human uses Minka Kelly’s North to badger Markus to rebel against humans with violence, even when you reject her ideas, the narrative doesn’t approach her point of view with anything other condemnation. Retaliation is never treated like it’s just as valid as pacifism (to say nothing of how they actually portray that retaliation as just mindless violence, which misunderstands the context how a city ends up catching fire).

If you agree with her and decide to avenge fallen androids, and protect the ones that are alive from immediate danger using retaliation tactics (or violence), the narrative condemns you for doing so. Markus’ punishment for not “turning the cheek” is typically death at the hands of Connor, a white character whose narrative seems to have more end-state possibilities than probably even Kara. Become Human prioritizes “peaceful protests”, but in a manner that feels lined with disingenuous intent. Quite literally not acting against your aggressors in any way is the right (and only) way to do things.

We’ve reached maximum levels of representation in media, fam

To compound the utter rot of the allegory, Jesse Williams’ Markus removes his skin (in his words “one planet, two races” lmao) and regardless of the tone you choose (”peaceful” or “determined” for example), the player is prompted with a number dialog options that include “end slavery”, “equal rights”, and a whole bunch of other things are an explicit tie in to Black History. And, unfortunately for Markus, these kinds of prompts, which includes protesting Androids singing to win the favor of humanity, continue to pop up in his dialog tree like pesky blackheads.

The constant reminders that “violence is not the answer” invokes non-Black voices saying “if you weren’t violent, you wouldn’t have been attacked by the police”. The narrative’s attitude is verbatim the kind of inanity I see posited online by spectators with no grasp on situations where Black Americans experienced violence. It even comes up in discussions about Black rebellions during the enslavement era. That’s Become Human’s narrative in a nutshell.

Jesse Williams’ position as the figurehead character in the narrative juxtaposed darker skinned characters, which all play support roles, is a continuation of the media’s reinforcement of the kind of Black character or person that is acceptable for mainstream media. He’s Black enough that he can represent Cage’s borked narrative, but “ambiguously brown” enough that he won’t raise heckles.

Weird how this game don’t let you romance folk you WANT to be around...

Most of the Black characters in the game are androids, most of them have dark skin, and most them amount to background dressing. They’re about on the same level as Kadeem Hardison’s character in Beyond: Two Souls. They act and sound like everyday people, but they’re still representatives of Cage’s awful narrative. For instance, there’s a linebacker of a Black android named Luther and he is the embodiment of the kind of Black man David Cage is clearly terrified of.

Originally, he was an introduction to Cage’s game during E3 2016-2017 even as some Negro spiritual singer. In the game, he’s nothing much other than a supporting character in Kara’s narrative that can die or be blocked from the continuation of the narrative pretty easily (unlike Hank, who is rather glued to your behind up until a certain point).

Instead of being some cartoonish violent thug (see: Heavy Rain), his whole directive in the narrative is to protect Kara and Alice, and not much else. He has no arc of his own and is practically itching to die for them. Characters shrink away from him in fear whenever they see him because of his size, and the entire level wherein Alice and Kara are threatened by the mad creator, uses Luther like a sentinel with the intent to harm the white characters.

Cage’s visual use of the “[Gentle] Black Giant” as a means of highlighting Kara and Alice’s literal white fragility is as bad embodies literally everything I hate about how white people regard and treat Black masculinity in their media.

I appreciate these character models. Rescue them from Cage’s asset files

There are three Black women in the game with speaking lines. Two androids, one human woman. All of them are helpers for white characters or Markus, regardless of their moral alignment. The overarching villain of the game is unquestionably is Black android named Amanda (at least I think she’s an android). She’s a facsimile of the teacher who taught Kamski, creator of the androids, what he knows. She more or less plays the “guide” to Connor (in the sense that her advice is identified in the wrong) and pretends that she wants to see an end to the rebelling androids before CyberLife loses any more credibility with the public (who are scratching their heads over machines declaring “I am alive”).

The human is a Harriet Tubman analog (Rose), who embodies the downtrodden Black mother raising the difficult Black son (Adam) whose father is absent (he died). Adam doesn’t want any part of saving androids, Rose seems to think she’s beholden to help them. From a visual stand point, Rose is probably the best looking fat character model I’ve ever seen in a game. Within the narrative, she exists for little else than to fortify the “Android Slavery = Black American Enslavement” allegory hill that Cage wants to die on. She tries to help Kara, Alice, and Luther to get across the border to Canada not once, but twice.

The last is a damaged android named Lucy. She exists solely so she can tell Markus “your choices have consequences” in a scene makes her look physic when she holds his hand. It was just like the ostentatious declaration from the menu-screen girl (Chloe), “Remember, this isn’t just a story. This is our future”.  And even you know androids share information through physical contact, it’s clear that Cage modeled her as the wise mystical Black woman because reasons. And the role repeats itself when she confronts Connor about being “lost” and then dies in Markus arms saying “save our people Markus”.

This scene was hard to watch, honestly...

Whenever Cage wants to demonstrate the “inhumane treatment” of androids, by in large Black androids are the biggest examples. Luther has his memory wiped by the mad creator who Frankenstiens androids together and is effectively a mindless slave until he sees Alice. One android (pictured above) is tortured (cigarette burns put out on his arm and the like) to the point of a going rogue and ends up murdering his owner. 

To add insult to injury, the player (as Connor) is given no choice but to increase the Black android’s stress level to get him to confess (like how policemen pressure Black prisoners into acting against their self-preservation). This later drives the android to shoot himself (and maybe Connor if you tell him to stop trying to commit suicide) in the head. When Connor attempts to grill three identical Black androids for information about Markus’ whereabouts, he goes full cop on them and tortures them. He ends up getting his guts ripped out immediately afterward (but if you succeed in fixing him, he gets to shoot the android dead with extreme prejudice.)

Lucy, the android that helps Markus, was tortured and disfigured: Her head torn open, wires hanging out, and false skin unstable. Markus himself is actively punished by the narrative for being anything other than “peaceful” and “non-violent”, to say nothing of the physical violence that’s visited upon him from the jump (being kicked around and being shot, then torn apart).

David Cage’s exhibitionism with his Black characters works well enough that it gets a rise out of you, but it’s the same old exploitation of Black pain for entertainment purposes. It more or less demonstrates why white authors writing allegorical tales of fantasic racism, usually end up perpetuating it. Markus is David Cage’s cipher for tackling a story about racism, acting out racism, all without actually dealing with racism in a legitimate manner. (I’m of the opinion that, if you’re white, you don’t have the ability to anyway.)

I can’t imagine what this game would’ve been like without the mess, lmao

Markus bears the burden of pretty much everything that’s wrong with this damn game with regard to how it uses allegory to build its fantasy oppression. As the catalyst, he’s not only the respectable Black character (fair-skinned, “non-violent”, “well spoken”), he’s also represents the whole of the slavery allegory through his relationship with Carl. Carl’s character so obviously represents “the good slave master” (masquerading as the “father figure”) that not only educates Markus on self-realization, but demonstrates to Markus that “not all humans” (read: white people) “are bad”.

I’d argue that if you exercised the racism allegory and Markus from the game, you might actually have, not a good game, but a game about two white androids on two ends of Cage’s undercooked attempt to wax poetic about sentient robots. But, the other Black characters like Luther, Josh, and Lucy exist, and also shoulder the burden of the writer’s ignorance, so there would be no point.

Bad Allegory is Bad Allegory;

It’s a pretty looking game, with some nice moments. Not much else...

Anti-Black racism is not something (most) non-Black audiences can reasonably identify as negative for the community it happens to. When it occurs, spectators view it through the media as something that was brought on by the victim – and otherwise rightfully earned. Speaking of your experiences with anti-Blackness makes them feel doubly comfortable to say “well, I’ve never seen that happen” and insinuate that you’re lying about your traumas or microaggressions experienced.

Through the lens of speculative fiction (chiefly science fiction), the utilization of anti-Blackness as a foundation for any imaginary oppression conjured by the author, once completely removed from the Black experience, becomes a digestible and even sympathetic narrative. A commodification if you will.

There’s no talk of “both sides are wrong” and “well, they brought it on themselves”. Fictionalized marginalization often creates a white creator’s ideal victim, one their hearts can bleed for and live vicariously through, because the victims aren’t just Black, they’re also white.

Allegorical racism often ends up creating equations that consciously or unconsciously say that Black people are violent or dangerous in some way, and the fear of Black people is justified. It perpetuates the myth of the Black superhuman. The biggest example of this? Stan Lee and Jack Kirby’s X-Men unthinkingly equates discrimination of superhumans with incredibly deadly powers to the discrimination of Black people. That narrative allows a certain justification to hating mutants because some have abilities that can outright kill people who enter their breathing space, something Black folks, who are discriminated against without quarter or reason, can’t do.

Quantic Dream’s Detroit: Become Human shares all the same problems of every other speculative fiction narrative that uses allegorical racism as a backdrop. While something like Netflix‘s Bright lambasted by common sense, the gaming landscape has yet to develop strong enough set of tools that prevents games like this and Bioshock Infinite from being hailed as “daring masterpieces” for failing to properly handle the subject of race-by-another-name.

To further illustrate the brokenness of his tone deaf narrative, David Cage wants to be able to say “his game isn’t about racism” (or sexism) at the same time he admits to saying the current racial tensions in America definitely influenced him during the development of Become Human. You can’t have it both ways, nigga, pick a lane.

Detroit: Become Human is the neighbor of Bioshock Infinite. But where the latter is naked about its prejudices, Become Human takes the Crash approach (and we know how most people reacted to Crash before the honeymoon period ended). Racism is rarely handled in video games. So, the bar is so low, that merely daring to use the imagery of violence toward Black bodies, but not in any way that doesn’t make a caricature of the history, stirs something in the unaffected. I expect, like Infinite, half of a decade will need to pass before the feedback-loop from dualshock ends and think critical essays start popping up (I won’t hold my breath tho). There are people calling a duck a duck, but they’re largely ignored.

I could literally recommend anything else that handles the issue of sentient machines better than Become Human without the hamfisted racism allegory. The Terminator 2, Ghost in the Shell, The Big O, Outlaw Star, Alex Garland’s Ex-Machina, or even Alex Proyas’ loose adaptation of Isaac Asimov’s I, Robot.

If you wanted to see how androids and the advancement of technology play into the role of capitalism damaging the quality of life, Dontnod Entertainment’s Remember Me handles the subject better than Quantic Dream does by miles. Frictional Game’s survival-horror game Soma deals with the cloning of a human mind and how that mind handles being “just a copy” inserted into a machine or a machine like body.

Jesse Williams living the dream as Markus Luther King Android Jr.

Become Human’s story of “oppressed androids” doesn’t work from the offset. There’s little demonstration of androids demanding their freedom and equal rights up until Markus decides, “um, yeah, we should do that, guys” and androids go homicidal on their owners around the same  time. Everything is second hand accounts. There are no human antagonists that inform this fantasy racism that aren’t the equivalent of cartoonish high school bullies shoving people in lockers, or just poor representation of the counterargument from the get go. Android rebellion is practically framed like everyday appliances on the glitch to the disbelief of their owners, who end up traumatized or murdered.

Cage compounds that issue even further by writing that a virus (stemming from a copy error) gives them sentience, but that simply makes them look like machines that are malfunctioning because they need a better anti-virus program. I keep seeing people use this comparison, but an android passing on a virus that “wakes” them up, is not remotely comparable to a Black mind being stuck in the Sunken Place until someone (or they) pulls them out as depicted in Jordan Peele’s Get Out.

When talking to actual people, it’s obvious that they don't like being discriminated against. That’s not remotely the same case with Androids infected with a dormant malicious error and deciding they’re not free. It implies the enslaved were fine with slavery until they just wake up one day thought otherwise.

Also, you don’t get to frame your characters as victims when they’re literally spouting rhetoric like, “Androids are superior to humans in every way, yet we’re slaves?”

I wanted to like Detroit: Become Human like I wanted to like Beyond: Two Souls. There’s a lot to like about the concept (minus the allegory) that the game is built on, if not purely for how the primary cast interacts with their own group (sometimes).

But, for lack of a better word, the game is insensitive with its comfortable comparison of non-human characters to people of color (chiefly Black people) and marginalized identities, who still suffer from everything the game fails to tackle respectfully. Half of science fiction is built on the bones of wrong-headed allegory and misrepresentation of social issues, so its celebration isn’t surprising, just frustrating.

Detroit: Become Human is a constant reminder that David Cage thrives off the pain of the marginalized and can’t be arsed to do any introspection about that. It feels like I just got thrust back into 2013 all over again.

Allegorical racism needs to die.

[tjilderda]

*Counterpublics and Oscillation*

In this essay, I will examine the following question: How does the following artifact exemplify an overall productive or unproductive way to talk across (counter)publics in terms of rhetoric, timing, and circumstance? 

To examine this question, the story of a man known as Daryl Davis was examined; specifically, a TEDx talk that was given in November of 2017. The narrative Mr. Davis provides is one of the most extreme productivity in examining oscillation between Counterpublics of the African American community and the KKK. Through his actions and rhetoric, he helped influence the likes of over 200 KKK members to hang up their robes. Through his story, Daryl Davis tells a story that shows the power of oscillation to help provide a constructive and powerful message of understanding others to help differing opinions come together.

Mr. Davis’s story begins at a young age, when he encountered racism for the first time. After being explained the concept, Davis could not understand why it would be possible for someone to hate him simply for the color of his skin. After experiencing more racism as his life progressed, he eventually made it a small goal in life to try and figure out why in the world someone would judge him before even meeting him based on simply his skin tone. After a happenstance meeting with a KKK member that praised his talent at a performance at the Silver Dollar. This encounter would eventually lead Davis to have an interview with an Imperial Wizard of the KKK, Roger Kelly. Though their encounter originally shaky with Kelly often distant their friendship eventually grew. Even after years of growth and Kelly’s eventual saying he respected Davis, he always claimed his views on the KKK didn’t change. This changed however, as one day Kelly would hang up his robes and give them to Davis out of respect. This story is similar to many others, as he has grown a collection of other Klan member’s robes that he helped leave the group. 

To examine an artifact it’s important to understand the ideas of Publics, Counterpublics, and oscillation. Squires describes these ideas in summary by saying, “publics formed by marginalized people take on particular genres of discourse and action depending on culture, relations with the dominant public and the state, and socioeconomic forces: enclaved, oscillating, Counterpublics, and parallel” (112). In this, they describe publics as the main social force, Counterpublics as often times a marginalized people taking a stand and getting a voice, and those that are oscillating are people that move between Publics, Counterpublics, and the State. These are all important factors when examining the productivity and circumstances that surround the artifact of Daryl Davis because his story is one of placing himself in great danger to perform oscillation between the most unlikely of Counterpublics. 

The evidence that Davis presents in his talk is one of that shows the most incredible restraint and upholds a type of invitational rhetoric that is incredibly rare to achieve, especially in circumstances where your life is on the line when oscillating to a group such as the KKK. Davis’s rhetoric here is something quite unique in the situation he finds himself, as he is using it to examine a part of life that could greatly have caused him harm or even death if done wrong. Through his story and eventual meeting with Kelly, he makes sure to not give any mention to the fact he’s black in their first meeting. After shocking Kelly with his introduction, Kelly still agreed to sit down and do the interview that Davis had requested. Davis says that when meeting Kelly, he reached out his hand to greet him and said “Hi, Mr. Kelly, I’m Daryl Davis. Come on in, have seat, have a seat.” In this situation, he had absolutely no power over Kelly beyond the fact he was listening to the man that made it very clear that he was above Davis. In this however, and throughout his entire story, Davis makes one thing abundantly clear. He doesn’t want to argue, or discuss; he simply wants to understand. This understanding is the key that made Davis’s rhetoric work. Rhetoric, truly excellent rhetoric, is all about listening to those around you and being able to mold your responses accordingly. In this, Davis has centered his entire goal around the slow understanding and influencing those from the KKK by situating himself as someone who was a friend. He was not someone to fear, he was not someone to hate; Davis was simply a man who wanted to understand and help those realize their anger was at something as arbitrary as skin color. In doing so, Davis makes excellent use of invitational rhetoric by simply opening himself up to those that normally wouldn’t listen to him by oscillating between the Counterpublics of the African American community and the KKK.

The circumstances around Davis’s oscillation is the most remarkable part of his story, as he is entering into a Counterpublic that is possibly the most dangerous environment for him to try and enter into. Such a story is an inspiring thing to hear because it’s one that crosses so many different barriers. Davis, after becoming unlikely friends with Kelly, started being invited to KKK rallies at Kelly’s request. He obliged, realizing that this was a prime opportunity to delve deeper into understanding the group that so despised him. This oscillation between groups only got stronger and stronger as time went on. Kelly remained adamant in his position over the course of many years, however with a foot in the door to the KKK, Davis came to talk to many Klan members. As such, he started becoming friends with more and more people that, if given other circumstances, would hate him based on simply his skin tone. These rare circumstances helped Davis perform an oscillation between groups that for most would be impossible in his situation. And yet, it worked, given the number of Klan members he convinced into leaving the group by simply inviting them to new perspectives and listening by being respectful, as Kelly put it. Given his record, this shows the power of crossing between Counterpublics and engaging in an invitational way.

Overall, I believe that Davis’s narrative is one that is largely positive in the showing of how talking and crossing Counterpublics can be an absolutely beneficial thing for everyone involved. As said above, his ability to help remove nearly 200 active members out of the Klan is an astonishing display of how rhetoric can change people. Yet, there is some criticism at play here regarding just how much effort is necessary for this to happen and the danger involved. Davis went into a dangerous situation not knowing if he would even survive, and lucky for him his gamble played off. But this is a very lofty goal to ask of many people in Counterpublics that are then going into spheres that actively despise, or would kill, because of their beliefs. Can such a price really be payed? In truth, this is an answer that one must decide for themselves; through it all though, Davis proves that such oscillation is possible however. That speaks volumes that far outweighs the negative in many tamer situations. Not every oscillation performed between Counterpublics is something that risks life and death, but Davis proves that even in the most dangerous of situations and groups it’s possible.

8 Outside Source

In their work discussing further the ideas of Publics and Counterpublics, Kaiser and Rauchfleisch examine how extremists and hate groups can take hold into areas of larger Publics and take over it. In doing so, they examined how the power of Counterpublics can manage to, at the very least, shape and influence the Publics. In this, there is one specific line that has large implications towards Davis’s actions, “A too strong developed collective identity, which leads to an intense intergroup bias, prevents agenda-setting since the majority is not ready to respect or even accept the minority express opinion, which, in turn, may lead to further radicalization” (Kaiser & Rauchfleisch, 246). While made in the context of Publics vs Counterpublics, a case could be made when examining the unusual stance that a group like the KKK exists in. They are not the Public, but they don’t fully fit in the normal parameters of Counterpublics, and as such, could possibly fit into this definition. The KKK surely has a strong collective identity to form a Public, buy they aren’t the majority; thus, their biases help keep themselves contained and self-sufficient. Through Davis’s oscillation into their Counterpublic, he took direct actions to circumvent their actions and get at their ideology to help them realize the pain in their ways.

In summary, Davis’s narrative and story is a positive example of how oscillating between Counterpublics can be beneficial for everyone involved. His use of invitational rhetoric and capitalizing on a rare circumstance opened doors to allow him to understand a group that would normally hate a man like him simply based on preconceived notions. In doing so, he provides an excellent example of what it means to perform oscillation and the power that Counterpublics can influence on one another through the simple actions of one man by showing respectful rhetoric and listening skills.

Works Cited

Asen and Daniel Brouwer. Counterpublics and the State. Albany, NY, State University of New York Press, 2001.

Davis, Davis. “Why I, as a black man, attend KKK rallies.” TED, uploaded by TEDxNaperville, November 2017, https://www.ted.com/talks/daryl_davis_why_i_as_a_black_man_attend_kkk_rallies.

Kaiser, Jonas, and Adrian Rauchfleisch. “Integrating Concepts of Counterpublics into Generalised Public Sphere Frameworks: Contemporary Transformations in Radical Forms.” Javnost-The Public, vol. 26, no. 3, Oct. 2019, pp. 241–257. EBSCOhost, doi:10.1080/13183222.2018.1558676.