#this was long but i had a lot to say lol

[cy-cyborg]

Toph Beifong doesn’t hold up as disability representation - Disability in the Media

[ID: A screenshot of Toph, a twelve-year-old girl with black hair in a loose, green and tan short-sleeve shirt and shorts, cheering in an arena. Next to text written in a rough, blocky font: "Disability in Media - Toph Beifong Doesn't hold up as disability representation" /End ID]

Avatar the Last Airbender is one of my all-time favourite TV-shows, and Toph is still easily one of my favourite members of Team Avatar. I was a few years younger than Toph when the show first started airing, and being a disabled kid who was into martial arts, constantly being dismissed by my able-bodied opponents and teachers, meant that I connected very strongly with her right from the get-go.

But upon my last couple of rewatches of the series, I began to come to the realisation that my opinions on Toph as a shining example of good disability representation were... well, pretty heavily influenced by my nostalgia for the show and that many aspects of Toph's character just don't hold up today. Which, honestly is fair, the show is nearly 19 years old (if it were a person in my country, it would be old enough to drink) and I think it's pretty ridiculous to expect every part of every character from an 19 year old show to age well. So today I wanted to talk about the things I think Avatar the original Last Airbender did right with Toph, where I think they missed the mark, and what changes I think would need to be made to Toph to make her work for a modern audience.

So let's start with why I think Toph doesn't really hold up as "good disability representation" today, and the elements of her character that just haven't aged as well.

For me, one of the biggest issues I noticed upon rewatching the show, is how often we are told (often by Toph herself) that she is blind, but how infrequently we are actually shown it's impact on her life beyond her bending or outside of jokey contexts. Outside of her bending, we only ever see her blindness impacting her ability to do things like read or write, otherwise, she functionally has full vision -so far as the audience is informed - with the only exceptions being when she's in the air or water (e.g. on Appa or in the submarines) or in loose soil (e.g. the desert). Having places and circumstances where she doesn't have access to her power that allows her to "see" was a step in the right direction, but I do think it would have been better if her seismic sense wasn't quite as accurate, even in the most ideal of circumstances.

But why? Well, I think Suki explains it really well, long before Toph is even introduced. when Sokka says "I should have seen you as a warrior instead of a girl" Suki stops him and says "I am a warrior, but I'm also a girl". Being a warrior and a woman are both important parts of Suki's character, and only recognising her as one or the other means ignoring a big part of who she is, and the same is true for Toph. Being blind is a big part of toph's character that has informed a lot of her life, but so is being a warrior and bending master. Many people see Toph as a warrior or fighter, but ignore her disability, but both are important. She's disabled, and a warrior, and those things don't cancel each other out, the same way being a warrior doesn't diminish Suki's status as a woman.

When the show was still airing though (and even still today) it was very common to see non-disabled fans of the show exclaiming that they honestly forget that Toph is even blind sometimes, with many people going so far as to say that she's not even disabled (and that this was a good thing). While I do think some of that comes from the fact they weren't used to seeing a disabled character as both disabled and an active participant in these kinds of stories, I do think this mostly happened because of the show's lack of, well, showing the impact of her blindness on her daily life and allowing her earthbending and seismic sense to erase the effects of her disability to some extent. It's much harder to forget a character is blind when it impacts their daily life in ways that are shown to the audience. This doesn't have to be in big, showy ways mind you, showing things subtly but consistently works way better than one "very special episode" type setup.

In the show as it is though, the seismic sense functionally gives Toph a perfect image of her surroundings until it's just not available anymore for *plot reasons*.

[ID: A black and white shot of Toph and how she sees the oponent she's fighting, with shockwaves radiating from him towards her to indicate how she's interpreting the scene. Her foe has jumped into the air and now has his hand dug into the ground of an arena, about to launch rocks towards her. /End ID]

In many ways, her picture of the world is better and clearer than what the non-disabled characters can see, leading to this feeling of her disability being erased. It may have been better though if the seismic sense could give her a general idea of big things in her immediate vicinity but she still missed the finer details, functioning at least a little bit more like a tactile/earthy-vibration version of the limited sight some legally-blind people have in real life. Things like a person's position, movement and overall pose would still be "visible" to her in a general sense, as well as big things in the environment (including things underground, since there are a few plot-points that require that), but smaller things like details about objects and creatures, people's facial expressions or what they're doing with parts of their body that have no direct contact with the ground (like their hands) is less clear. On top of this, she may struggle to detect smaller, lighter objects or creatures that realistically wouldn't cause much of a vibration at all. creatures as small and as light as Momo and Hawky for example might be detectable, but "fuzzy" to her, and anything smaller might make enough of a vibration to tell her it's there when it moves, but not enough for her to be able to tell what specifically it is without some other cue (such as sound). There are a few moments in the show that seem to imply this is what they were initially going for, but it's not really consistent, and is directly contradicted in her debut episode, "the blind bandit" when she explains that she can even "see" something as small as the ants off in the distance.

[ID: A shot of Aang, a twelve-year-old bald boy with an arrow tattoo on his head, dressed in a yellow and orange outfit, standing with Toph at night. In the foreground is an anthill will a trail of ants, which Aang is looking for. /End ID]

With an adjustment like what I'm suggesting though, she still serves her narrative purpose of teaching Aang the importance of being able to wait and listen - possibly even more so, as her needing to wait and collect more information in order to get a clearer image before striking, would back-up what Bumi tells Aang that he needs in an earth bending master. It would also still help to illustrate the connectedness of the world, a theme Toph continues to embody heavily in The Legend of Korra, while still showing the ways her disability impacts her more frequently.

When I talked about the "super-crip" trope a while back, I mentioned that one way to avoid the more harmful elements of the trope (where the character's disability is erased by their powers) is to use the ability in question more like a mobility or disability aid than a straight-up cure. The power should help them, but shouldn't make their disability redundant. People are creative and we would find ways to use a superpower or magic to help with our disabilities if it were available in real life, but what's the point of including a disabled character if you're just going to functionally erase their disability? For a character like Toph, I think this is the kind of approach that should be taken with her. Her seismic sense still helps her, but it's not a perfect replacement. (Ironically, I did use Toph as a "good" example of that trope, but I do think after this last rewatch, for the reasons I'm discussing here, I might have to backtrack that a bit).

I considered giving an alternative approach here, to keep the sensitivity of toph's seismic sense as it is in the show as is, but giving it draw-backs such as making her susceptible to sensory overload similar to what autistic people experience. However, while replacing one disability with another can work for some characters and stories, I don't think it's the best adjustment to make for Toph or any blind character, largely thanks to this also being a trope. The "blind (or d/Deaf) person who's other senses become super-human to make up for it" trope is very common in fantasy, sci-fi as well as older martial arts films, and while I'm not really the best person to cover it, I do know that members of both the blind and deaf communities have expressed a lot of frustration with it. Toph already falls into this trope quite a bit, and any suggestions I could make would have just dialled that element up to 11, and fixing one problem with another is never a good idea.

Another thing that actually did bug me for a while, even before my most recent rewatch of the show, is how Toph is treated on the rare occasions she does point out something won't working for her. There are a number of times where Toph advocates for herself and points out that something The Gaang is doing isn't accessible to her or sets a boundary to do with her disability, and she's either left behind, her concerns are brushed off or she's ignored entirely. The three most noticeable examples of this are in the Episodes "The Ember Island Players," "The Library," and Toph and Katara's segment of "Tales of Ba Sing Se."

In the Ember Island Players, Toph complains that the seats they have for the play are too high up and too far away, and she's unable to "see" what's happening on stage. Her friends don't really take any notice of her though except for Katara who tells her not to worry, "I'll tell your feet what's happening."

[ID: A shot of Katara, a fourteen-year-old girl with long brown hair and blue eyes, sitting with Toph, who is sitting with her arms crossed, annoying in a theatre seat. Both Toph and Katara are wearing red and gold, fire-themed outfits. Katara is looking at something off-screen. /End ID]

My problem here is that this particular kind of situation is something that is familiar to a lot of disabled people. Even the least independent disabled people I know get annoyed when their access needs or requests for accommodations, even among friends, are ignored and their pushback is brushed off with "don't worry, I'll just help you!" It's one of the first things that many disabled people tell non-disabled folks wishing to be better allies to us: you offering help instead of actually accommodating us isn't a good thing. We don't want to rely on others if we can avoid it, because honestly, non-disabled people often aren't very good at actually helping or in this case, relaying information to us without training and more often than not, it just results in us being left out. I find it very hard to believe a character as independent as Toph would accept that without any protest, especially considering that is pretty much exactly what ends up happening (even if the show didn't really acknowledge it). Katara never actually conveys anything about the play to Toph, except when she's attempting to throw Toph's words back in her face when she asks for clarification about the actor playing her - which ends up backfiring on her.

[ID: A shot from the same location as before, this time Toph has a huge smile on her face and is leaning on the balcony excitedly while Katara is leaning towards her, annoyed by her reaction. /End ID]

While it would have been better if Toph was actually listened to, it would have been…fine? if a justification was given for why they had to sit there (e.g. to avoid being recognised), if Katara had actually described the play for her. This wouldn't have been ideal, but it would have been better at least. In real life, many movies, TV shows (including this show's sequel series, The Legend of Korra) and other forms of visual media have an Audio Description track that does exactly that. If they weren't going to move for Toph to be able to see better, having Katara describe the play could have introduced kids to the fact this is an option. but instead it's brushed off, and I'll admit, it left a bit of a bad taste in my mouth, even back in 2006.

The Library is a bit more forgivable in my opinion, since Toph is still new to the group, but in this episode, she states that she doesn't want to go inside the spirit library because she isn't able to read and therefor there wouldn't be anything for her to do. However, it still would have been nice to see her friends consider this at all before they actually arrived. They could have (and should have) still gone, but some acknowledgement that they at least thought about the inclusion of their disabled friend would have been nice.

[ID: A shot of Aang, Katara, Sokka and another man are talking while looking down at a map on the table. Meanwhile, Toph is sitting on the other side of the table, completely disinterested as she sips from a large ice cup with her feet up on another chair. /End ID]

Alternatively, I do feel like Wan Shi Tong, a self-proclaimed all-knowing-spirit or his assistants would have been able to point her in the direction of something to interest her, since he does imply books aren't the only form of knowledge he collects.

The reason I mention this though is two-fold. In real life, disabled people are very often left out of "fun" group activities, whether that be in formal settings or in casual ones, like hanging out with friends. If the episode had been framed as "the Gaang learns about the library and decides to track it down," I might have been less critical, but it's specifically framed as something that at least starts out as a kind of break for the team where they all take turns picking out fun things to do so they can rest, and Toph's access needs not being considered at all until they're already there hits a bit close to home, especially since they just end up leaving her outside. Secondly, there's also a stereotype that disabled people (and especially blind people) don't belong in academia and places of learning, such as in this case, libraries. This stereotype is about as old as the concept of organised institutions of learning, and definitely isn't unique to AtLA, but the assumption is often that disabled people wouldn't be interested in more formal methods of learning, so it's not worth accommodating us. With blind people in particular, when I've seen this in media, the premise is often "well I can't read anyway so why bother?" which Toph definitely falls into here with no push-back against the trope.

[ID: A close up of Toph and the rest of the group, Katara, Sokka and Aang standing in a desert. Toph shrugs, looking bored, while the others looks confused and surprised with the exception of Katara, who looks mildly annoyed, standing with her hands on her hips. /End ID]

It does make sense that she would have been resistant to going in, and I'm not saying this episode should have turned Toph into a bookwork akin to Wings of Fire's Starflight (another blind character) or anything. But there was a chance in this episode to push back against some of these assumptions, and I think it's a shame they missed it. How cool would it have been if Toph had mentioned not feeling welcomed in more formal learning spaces because of her disability, which was just reinforced by the way her old earthbending instructor and her parents treated her. She decides to go inside the library anyway as "backup" in case something goes wrong, grumbling about it the whole way down. Wan She Tong starts his introduction mostly the same way, saying humans aren't welcome and Toph makes a snarky comment about it. Wan She Tong, equally offended that this human thinks he, the all-knowing-spirit, wouldn't have considered something, shoots back with an annoyed comment about humans being so self-centred. He explains that spirits come in all shapes and sizes, and not all of them have eyes, but they can still access his library. She's not the first sightless being in his study, and he-who-knows-ten-thousand-things knows this too. Once everyone is permitted entry, one of the knowledge seekers shows her to a series of slates about a lost earthbending form that she can actually read (or at least, "see" the pictures on) because it's carved. Or instead of a slate, it's a series of statues outlining the form, similar to what Aang and Zuko find in the episode "The Firebending Masters". Perhaps this form is something that helps her develop metal bending later on, and lays the groundwork for Toph becoming interested in teaching in the comics.

And finally, Toph and Katara's segment of Tales of Ba Sing Se. Katara convinces Toph to go get a makeover with her as part of a girl's day. Overall, this segment of the episode is pretty nice, and I liked that they showed that a person's gender expression (in this case, being a tom-boy) doesn't mean they can't like things outside of what we usually associate with that. Tom-boys can like girly things on occasion, and vice-versa, and I think this is an example of an episode that would seem a bit ham-fisted today, but honestly, was needed in 2006. However, there's a throw away joke where Toph says "as long as they don't touch my feet," and it immediately cuts to show spa workers filing down the calluses on her feet in a way so painful several staff are required to hold her down.

[ID: An image of Toph in a bath robe being held down in a chair by two spa workers while a third scrubs at her feet so hard that she is sweating. Meanwhile Toph is fighting against the two holding her down and has a facial expression like she is in a great deal of pain. /End ID]

this might be a minor thing in the grand scheme of the show, but it's still another example of Toph's boundaries about her disability and her access needs being disrespected by her friends, which the show just doesn't acknowledge it at all. People ignoring Toph's wishes about a part of her body she depends on in a much more direct way that others do is played off like a joke in a montage of otherwise enjoyable and goofy activities and this is a very, very common experience in disability circles.

There are a number of other, much more minor issues that show up with Toph as well, such as the fact she's the only one of the main cast who never has an on-screen (or on-page) relationship. not in the original show, not in any of the comics and not in The Legend of Korra. Again, it's not a big issue on it's own, especially because in AtLA, she's young enough where it's possible that she was just not interested yet, and she does have kids in The Legend of Korra where she mentions a relationship with a man named Kanto (Lin's father). So it is implied she does have some form of relationship eventually, but the issue is that it's never shown on screen or on the page. This feeds into a wider pattern in media of disabled characters being the only ones in their respective cast not given on-screen romantic relationships in stories, and so I still think it's worth pointing out, especially since the creators have had a lot of opportunities to correct that by now.

Toph is also portrayed, pretty much undeniably, as the best earthbener in a way that, at times, comes across almost like the creators felt like they need to compensate for her being on the team "despite" her being blind. This trope is one that I think Toph, at least partially, helped to popularise with the current generation of story tellers: The Disabled Savant. In this trope, disabled characters aren't really given the same room for growth as other characters; they aren't permitted to be average or still learning, they start good and get better. If they do progress, they often become the best, which is the case for Toph. To be fair, everyone in the The Gaang is the best at their respective skill by the end of the first series, which is why I say this is a minor point. She dose, however, have the least amount of on-screen growth in skill out of the whole team. Katara starts out barely able to lift any water at all, let alone actually bend it. Sokka is skilled with weapons from the start but does get his butt handed to him a number of times by others with more experience than him whom he learns from throughout his story arc. Zuko spends most of the early-to-middle of the show having things "blow up in his face" (to use his own words) and being belittled by his family of prodigies. While Aang is an airbending and, to a lesser extent, waterbending prodigy, he fails at pretty much everything else for a while before he starts to find his confidence - especially earth and firebending, not to mention the entire situation with locking himself out of the Avatar state. Toph is the only one who doesn't seem to fail or struggle all that much from a combat perspective. She does grow and improve in her bending (she invents metal bending after all) but she never has any moments where she really messes up or even struggles in combat all that much compared to the others.

All of these points and criticisms I've mentioned are not necessarily big in and of themselves, but when looked at together, they build up to create some issues with how Toph is depicted and how the people around her treat her disability

So that's it then? Toph is bad disability rep and Avatar should be "cancelled"?

God no. Like I said at the start, I still adore Toph and Avatar as a whole, but the show is a year away from being two decades old, it's bound to have some elements that don't hold up and I think it's worthwhile discussing them, specifically because I love the show and it's characters. Despite all the negativity I've brought up, I do think there are a lot of things AtLA did well with Toph too.

I've mentioned a few times that we rarely see how Toph's blindness impacts her life outside of her bending and combat abilities, and there's a reason I made that specification. Unsurprisingly, if you know much about the show's development, the ways in which Toph’s blindness and seismic sense impacts her bending and fighting style is one area where the show really does shine, and I still think that is worth a mention. The various types of bending are based on different styles of martial arts, specifically, different types of Kung Fu. Most earthbending in the show takes heavy inspiration specifically from Hung Ga, but Toph is different. Her bending heavily references Southern Praying Mantis Kung Fu, something unique to her within this world.

The reason for this (outside of simply wanting her to be visually distinct) was because the show’s creators made sure to consider what limitations Toph might have and what parts of the more common earthbending styles wouldn't work for her. Since her connection to the earth was critical in order for her seismic sense to work, they decided on a style that would keep her feet on the ground more, prioritised strong stances with minimal jumping and put more focus on attacking with her upper body. While not an intentional choice, the style they went with for Toph, according to the show's head martial arts consultant, Sifu Kisu, was supposedly developed by a blind woman in real life, at least according to legend. The creators also made further adjustments to the style with the help of martial arts consultants and just watching Toph fight is evident that a lot of love and care was put into the decisions made on that front.

I also appreciate that Toph's disability wasn't off-limits to joke about.

[ID: A picture of Toph waving her hand in front of her face with an exaggerated smile to remind the others she's blind. /End ID]

As I already mentioned, they didn't land 100% of the time, but lot of shows are afraid to use disability as a source of jokes, which would have felt weird and out of place in a show like Avatar. I see this hesitance in real-life too; people get extremely uncomfortable when I joke about my own disabilities and I've heard several people and even disabled comedians talk about the same observation. My last video on Tik Tok that got outside my usual audience was a joke about my prosthetic leg, and every single stictch and duet I received was people saying some variation of "I'm such a bad person for laughing!" "I'm going to hell!" or just straight up asking if they're aloud to laugh. If I didn't want you to laugh, I wouldn't have posted the joke! But joking about disability does make it more approachable. Despite how often Toph and the others made blind jokes though, outside of the one instance I mentioned earlier, they never felt mean-spirited or like they were punching down. Even when a very sleep-deprived Katara was intentionally trying to be.

I think it's also worth keeping in mind the context of the media landscape when Avatar The Last Airbender was airing. Today, characters like Toph are very common, so much so there's a whole trope about them (super-crips) but at the time, having a character with a major disability be a main character in an action-orientated kids show like Avatar was really rare. She wasn't the first of course, but a lot of the time, if they were included, they were almost certainly sad and depressed, wishing for a cure or they were designated to the roles of "Guy in the chair" (which is a character, usually a tech person, who helps from the background), inspiration, scary villain fake-out (or other variations of "creepy" character) or the actual villain. Having a character that was not only comfortable in her skin as a disabled person, who didn't want or need to be "fixed" or "cured" to be directly involved in the story, and who's main obstacle (at least in season 2) were how the people around her treated her, was pretty ground-breaking at the time (pun not intended) and went against the most prevalent stereotypes of it's day.

And I really want to emphasise that. For many Millennials and older Gen Zers, myself included, Toph was the first character that didn't tell us we were broken and needed to be fixed in order to be part of the group (even if they slipped up with that messaging occasionally). Prior to seeing Avatar, I honestly thought there was something deeply wrong with me for being happy with my life (a reminder, I was 10 years old when this show first started airing), because every other disabled person in the media only ever talked about how much worse their life was because of their disability, how much they hated it and how much they hated themselves. Many outright said that they wished they had died rather than become like me. Toph wasn't the first to go against those tropes, but she was the first example of a disabled character who wasn't like that many people my age saw. Did she do it perfectly? Hell no, but personally, back then, I was happy to have a character who maybe over-corrected and took things a bit too far than another sad character talking about how lives like mine weren't worth living.

I also deeply appreciated that Toph did struggle with her independence, at least initially, and where to draw the line with accepting help. Because of how much she'd been coddled and overprotected as a little kid, she saw any attempt at people being helpful and working as a team as them trying to baby her. It was very on the nose, but I liked that the show gave her an episode just dedicated to realising that it's ok to accept help. Again, this is a bit of a story telling trope today, but having the disabled character realise that it's ok to accept help, and to do it without talking down to them or saying that them wanting independence was bad, was a refreshing change compared to what was around at the time.

[ID: a zoomed out image of Toph, standing before her parents with Aang, Katara and Sokka standing behind her. /End ID]

While I think the show's creators could have benefited from consulting with disabled people and specifically blind people the same way they brought in consultants for the martial arts featured in the show, it's very clear to me that the intention behind Toph's character was good, and that actual effort was put in to make sure they depicted her well, even if some of it was a bit misplaced. It's also worth noting that the groundwork for a lot of my suggestions is already in place, they just didn't follow it all the way through. Overall, I'd say Toph was good for her time, and she's what was needed in the 2000's, even if she doesn't hold up as well today. I also think it speaks to how far we've come in terms of disability representation. When I first started engaging with the online fandom directly, almost no one, even other disabled people, argued that Toph wasn't good representation, because honestly, the bar was on the floor and we were just happy to have something different. But now there are options, and the standards are higher, and that's so, so good. It means that people, even in the media, are starting to listen and be more thoughtful about their depictions of disability than we were in 2006.

And finally, I want to really quickly mention The Netflix adaptation of Avatar. A few people have asked me now what I think they should do with Toph when they get to her, and what my predictions about the show are. I'm not going to talk about my predictions here, because this post is already way too long and that's not what this is about, but I don't think the suggestions I made today would necessarily work in this particular remake, primarily because of the tonal differences. Some adjustments definitely could, such the other characters doing a better job at listening to Toph when she points out inaccessibility and them actually considering her in the first place, but others might be harder to balance. The original show could get quite dark and serious at times, but it was primarily a light-hearted adventure story for kids. From what I've seen of the live action remake though, they're more heavily leaning into those serious elements - for better or for worse, and as such, trying to tone Toph down in the specific ways I mentioned might not balance out as well as it would in the original show. At the very least, the specifics would need to be different. To be honest, I'm not entirely sure what approach they should take, that's not really the point of this post, but I did want to quickly address it to avoid confusion. My suggestions today were specifically on how to approach the cartoon version of Toph for a modern audience, and were not meant to be read as suggestions on how her live-action counterpart should be depicted.

[syn0vial]

my gun-loving, car guy, "i'm the straightest man i know" brother who just finished baldur's gate 3 talking about astarion:

[abigail]

⊹ ࣪ ☆˙⋆.˚

[anewp0tat0]

Black Butler Amino, Black Arts Magazine - Holiday Party

it doesn't quite look like a holiday party from here, but what I imagined as a humble little piece is~~ Ciel and Lizzy sneak away from the big bustling midford Christmas party and raid the kitchen desserts, like they did when they were kids(it was Lizzy's idea, Ciel clearly hasn't been himself since he returned, and she wanted to bring him back).

[volcanocraft]

Your Gem as an unlabelled bi/gay non-op transman who uses she/her has overridden my previous headcanons and rewired my brain. Quite possibly the most correct take I've ever seen.

I really appreciate you saying this :’) she is so dear to me. I love your turiagirl headcanons as I think gem would definitely be mspec and I haven’t heard of the label before… it’s always fun finding out the new ways people are able to label complex gender attraction!

I’ve been thinking about bi gay gem for the past couple of days too. I just think she is able to represent a facet of masculinity I can relate to heavily because of her unconventional expression of her gender. Unlabelled because she doesn’t think too hard about it but able to identify herself in the flux that is masc while also using conventionally fem constructs because she just likes them … AOUHH thank you for making my day 💖

[curseofdelos]

I finished re-reading TLH recently, and I want to talk about the common fan interpretation of Piper as a pick me girl for a sec (let me preface this whole post by clarifying that while this is ultimately a defense of Piper as a character, it is also a critique of how Rick wrote her, Drew, and the rest of cabin 10)

The way cabin 10 is written in the books has never been great. Very early on in TLT, Rick makes a point to establish that Aphrodite had both sons and daughters:

Take note of how Rick explicitly genders Aphrodite kids in this paragraph, but uses the gender neutral "kids" to refer to the children of every other god. This is a very deliberate writing choice, and I can't think of any reason why he would have done this other than to (initially anyway) avoid associating womanhood with vanity/interest in personal appearances.

...And then in every book after this, cabin 10 heavily skews female, and traditional femininity becomes the butt of almost every joke about them.

Cabin 10 doesn't get any real focus until TLH with the introduction of Piper, Drew, and the rest of Cabin 10, in which Rick spends a lot of time establishing how different Piper is from the rest of her cabin because she rejects traditional femininity. Piper cuts her own hair, she doesn't wear makeup or care about fashion, she hates dresses etc. This is in direct contrast with Drew who's often described as wearing heavy makeup, having perfectly done hair, manicured nails etc.

Note that Piper's description of Drew's appearance is fairly neutral. Her problem with Drew is not in how she chooses to dress, but in her behaviour.

This would be fine if it weren't for the fact that every time Drew's appearance is described, it is directly preceded and/or followed by her doing something heinous. She insults and degrades Piper's appearance within seconds of meeting her, and we see this again in the Cabin 10 scene where she bullies and manipulates their siblings - kicking them out of the bathroom mid-shower, dumping a bin filled with used tampons on the floor and making them clean it up, etc.

Piper and Drew are in direct competition throughout the entirety of TLH. Piper strongly disapproves of the way Drew runs the cabin, they have differing opinions on Silena Beauregard (despite the fact Piper doesn't actually know her but I digress), and they're both interested in pursuing Jason romantically - Piper out of genuine attraction, and Drew out of the desire to break his heart for the Aphrodite Rite of Passage.

The narrative at every turn pits them against each other. Piper's intentions are always painted as pure and kindhearted while Drew is consistently characterised as a stereotypical mean girl who hurts others simply because she can. Drew is never given any motivation for acting the way she does, and her sole role in the story is to act as an obstacle for Piper to overcome so she could become counsellor (which is kind of pointless considering Piper never interacts with her cabin again after this). She's flat and two-dimensional, and never gets any real character development. Her sole personality trait is mean.

The result of all of this is that traditional femininity gets associated with shitty behaviour, while the rejection of traditional femininity gets associated with kindness and generosity. It should be stressed that Piper herself doesn't actually think that she's better than Drew because she doesn't wear makeup etc; Piper's issues entirely lie with Drew's behaviour. The worst Piper ever says is calling all of cabin 10 "shallow" which is no different to how the other characters talk about them (which is still a problem to be clear; it's just not a problem with Piper specifically, but how the narrative characterises cabin 10 as a whole). It's the narrative that paints femininity as lesser because of the way it positions tomboy Piper (the protagonist) as a better person than highly feminine Drew (the antagonist).

In fact, the most explicitly we ever see the book paint Piper's appearance as preferable to Drew's is in Jason's POV - not Piper's. After Piper gets claimed and Aphrodite changes her appearance, Jason spends several chapters going on and on about how much more beautiful and desirable Piper is when she's not dressed up or wearing makeup.

Because of all of this, it's not difficult to see why so many people in this fandom have interpreted Piper as a pick me 'not like other girls' type girl. The narrative constantly presents her as a better person than the more feminine Drew, and Jason (the boy they're competing over) chooses her at least partly because of how naturally beautiful she is without trying.

However, even though I do understand where this interpretation of her character came from, I do want to push back on it for a number of reasons.

Firstly, it is explicitly stated several times in TLH that the reasons Piper doesn't wear makeup and cuts her own hair is because (1) she doesn't like being the centre of attention (see the first screenshot of this post), and (2) she's rebelling against her father.

Piper's entire character arc in TLH centres around her initially being insecure at the start of the book to becoming more confident over the course of their quest. It is stated on several occasions early on that Piper doesn't like being the centre of attention, but by the end, she feels more comfortable in her own skin. She goes from being embarrassed/hurt by Drew's comments about her to laughing them off and standing up to her by the end.

The term "pick me girl" refers to girls who do things for external, mostly male validation. This is the exact opposite of why Piper doesn't wear makeup or conform to traditional femininity. She does this precisely because she does NOT want to draw attention to herself. The only male who's attention she is trying to get is her father's, and she's doing this by acting out in ways he doesn't approve of. Piper does want validation from her father, but she's not cutting her own hair to get his validation; she's so starved for affection that she wants any attention from him, even if that attention is negative.

Similarly, a major point of conflict for Piper is whether or not Jason is attracted to her, but she is not rejecting feminine things because she wants to impress him Jason does find those qualities in her attractive, but Piper held these opinions long before they even met. It was Jason/the narrative that paints those qualities in Piper attractive, not Piper herself. (Side note: there's a lot more to be said about how their relationship was written in TLH, but that isn't relevant to get into that here.)

The other reason why I want to push back on the interpretation of Piper as a pick me girl is that she's a queer woman. In a straight patriarchal society, women (women of colour especially) are often expected and pressured to perform gender in particular ways - wearing makeup, dressing femininely, being attracted to boys and exclusively boys. In much the same way that Piper's coming out now makes it possible to read her relationship with Jason as compulsory heterosexuality, it's also possible to read her discomfort with traditional femininity as discomfort with being a straight girl. It's possible to retroactively read Piper's dislike for feminine things as her feeling uncomfortable with heterosexuality but is too closeted at this point to realise it. She does, after all, cut her hair very short at the end of TBM while she is the process of exploring her sexuality.

(To be clear: I'm not arguing that this is what Rick had always intended for her - I assume he expected Jason/Piper would be endgame at the time he was writing TLH - but I do think there's a 'death of the author' interpretation available here that her hatred of dresses etc is an early sign of her being a closeted queer woman who is beginning to explore her gender presentation and sexuality.)

I feel that sometimes, in their efforts to (rightly) criticise the way femininity gets treated in this series, some people act as if makeup is in intrinsic part of womanhood and that Piper is a misogynist for not wanting to wear it. This is not true. It is not inherently misogynistic for a woman to dislike it - especially when that woman is queer, and especially in today's society where many women are pressured into wearing makeup to be taken seriously. Piper disliking makeup is not the problem.

The problem with Piper's story in TLH is that the narrative consistently presents her as a better person than the more feminine Drew, and a more desirable option for Jason because of how beautiful she is without trying really hard like Drew and the other Aphrodite girls do. Because every highly feminine character is either a villain (Drew) or a joke (Valentina in TOA), the result of Piper and Drew's rivalry is that femininity gets demonised by the narrative. Again, it's not that Piper herself thinks she's better than Drew for hating fashion; it's the way the story puts these characters in opposition to each other that results in femininity being framed as lesser.

I think a writer with a better grasp of women's issues (and queer women's issues especially) could have written a great story here on gender as a performance, and an exploration on conforming (Drew) VS rebelling (Piper) against gender norms! How there really is no winning and women get harassed for being too feminine AND for not being feminine enough (See: the jokes about Clarisse in PJO not being a girl/being manly because she's violent and rough around the edges)! What we got instead was a story that carries the deeply unfortunate implication that girls who don't care about their appearance are kinder and more desirable than girls who do.

It's not Piper that's the problem; it's the narrative. I think a lot of people have been conflating the two, and have been unfairly pinning the blame onto Piper's characterisation when the fault lies with the plot, and with Drew's characterisation as a flat two-dimensional mean girl stereotype. I think if Drew had been given a redemption arc like Clarisse, or some amount of depth that explains why she hates Silena and acts the way she does, or even if she and Piper had learned to respect each other despite their differences, then we would be having a very different conversation.

[valewritessss]

This fandom is so nit-picky that I’ve seen more criticism on every little thing about wottg (a book that came out 2 days ago) than people saying things they liked about it

Edit: someone has already gotten mad so I repeat this is a joke and not that deep❤️

[tangents-within-tangents]

Thinking about the song "Ship in Port" by Radical Face and clones

Thinking about the line "Farewell to the chains we were born into" and what that can mean for the clones

Thinking about how "But I have always stayed in place/Under that old illusion that it's safe" could equally describe Hunter, Echo, and (s1+2) Crosshair's complete opposite approaches to the Empire and post-war life.

The way Crosshair clings to his identity as a soldier of the Empire

And Echo as a soldier of the Republic

But Hunter puts his identity as a soldier behind him

Crosshair fights for the Empire to gain purpose

Echo fights against the Empire to save his brothers

And Hunter decides the Empire is too strong to even try to oppose

"A ship in port is a safer one"

"but it's not the reason it was made"

"So forgive me if I wander off"

"And forgive me more if I just stay"

Thinking about what The Bad Batch could have been if it had more fully explored the differences between those ideologies

(Thinking about what The Bad Batch could have been if it had dedicated more screen time to the 'reg' clones within the Empire and the underground network's fight to free them , instead of just sidelining Echo and Rex for a hypothetical clone rebellion show we might never get)

[toxintouch]

Yooooooo, you write fan fictions, don't you? Halloween is, like, right over there *points*. would you be willing to do one of mhin taking sparrow ghost hunting? and maybe even having a "guest appearance" of a certain shadow manipulator?

if this has already been done, could you point me in the right direction?

thank you~

I've never seen a fic like that but omg. This is such a brilliant idea, I love how all the pieces come together so perfectly–Vere being said to be responsible for his fair share of local ghost stories, mentions of Mhin and haunted houses in the Uquiz results… Premium thoughts.  I had a lot of fun writing this, ty for giving me the prompt!! :>

It took a couple of extra days but it's also longer (~2900 words) so hopefully that makes up for it.  p.s sorry if u meant it to be more gen bc I wrote romantic pining lol Volume Warning! Ambiance (~BEAUTIFUL FOX NOISES) for y'all /j

Cold Spots

You pull your cloak tighter around yourself, sheltering your remaining body heat from the howling wind.  

You ignore the shiver that creeps down your spine.

You’ve been warned that the night is chilly in Eridia at this time of year, but you haven’t quite scraped together enough coin to afford more layers.  So you huddle closer to the swaying lamplight of the Wet Wick, attempting to leech warmth from the cheery (if occasionally overwhelming) atmosphere of the bar.  You’re on edge, wary about straying too far from the Wick’s affable open doors and the balmy light spilling out of them.

You crane your neck to peer as far as you can around the corner without moving, eyeing the myriad of nearby alleyways, all full to the brim with shadows, searching for a familiar splash of moonlight and blue sweeping through the night.

 That’s when you feel eyes on your back.

You freeze, all of your senses on high alert.

“You’re where I asked you to be.”  Mhin says in lieu of a greeting.  You startle, reeling around to face them.  Even when you're expecting them, they have the uncanny ability of sneaking up on you.

“You say that like you’re surprised.”  You chide, in mock affront.  “You’ll notice that I’m also on time.”  Your giddiness shows on your face, a smile tugging at your lips.

“Don’t act so pleased with yourself,” they snipe while rolling their eyes, “for anyone else, that’s the bare minimum.”  They frown, looking you up and down with their arms tightly crossed. “...Is that what you’re wearing?”

Any further quips you have for them die in your mouth, drowned out by nervous chuckling.  You realize they must be asking (in their own way) if you’re not going to get too cold.  You know you could just ask Leander or Kuras for some seasonally appropriate attire but you’d rather not rely on further charity if you can’t help it.  Hence: “I’m, um, warm blooded?”  You mean to inject an appropriate amount of bravado into your voice, but it comes out as more of a question.

Mhin sighs, long eyelashes brushing their cheeks as they close their eyes for one long moment.   “Sometimes I wonder…  Fine.  Let’s just get going.”

The floorboards shriek beneath your feet as you step across the threshold.  The entire shack seems to groan and sway, protesting audibly against the wind.  You stick close to Mhin’s back as they hold their gas lamp up, casting an eerie glow about the interior of the abandoned building.  Their keen eyes do a quick sweep before they nod decisively and usher you inside with a single precise motion.

The bellow of the wind sounds almost like a scream as the door shuts behind you.

“So, what are we looking for, exactly?”  Your voice comes out hushed, the haunting atmosphere insisting that you behave accordingly.

“Likely nothing.”  Mhin responds.  “Actual ghost sightings are very rare.  And of those, few recorded instances come from trustworthy sources.  People in Eridia can be quite superstitious.  Count on rats or other pests.  It’s more plausible that this is a mere infestation rather than–”

The roof above your heads gives a long, low creeaaaak.

You both pause for a beat, listening to silence.

“How would we know if it's a real ghost?”  You ask, more out of curiosity than anything.  You’re not about to waste the opportunity, if Mhin is willing to keep talking.

“Depends on the type of ghost.”  Another protest from the floorboards as Mhin wanders further into the dark.  Since you don’t have a lantern of your own, you have no choice but to follow close behind.  Unless you want to stumble around with nothing but the shatters of dusty moonlight cast through the cracked windows to guide your way.

Mhin and you make a quick round of the small building, finding it mostly empty, only a few pieces of broken furniture left behind.  You draw closer to the back wall, carefully avoiding moth-eaten curtains, heeding Mhin’s warning about a small step.  Based on the layout, you think this place might have been a bar or entertainment hall of some sort.  You imagine it had a nice, cozy parlor at one time, though now it’s fallen into squalor.  As Mhin examines the walls for signs of pests and other clues, you examine the graffiti strewn across them: crude jokes and lewd drawings, mostly.  Some scattered names, belonging to people and gangs you’ve never heard of before.  

Framed in the center, though, there's a huge riot of colorful paint.  An abstract painting with no proper canvas.  It's beautiful, somehow, though hauntingly morose.  The artist has contained their work in a neat square, not a single streak of color escaping the precisely imposed prison.  You’re not sure what the intent of the artist was choosing somewhere like this to display it…  

“Is there a type of ghost that makes artwork?”  You wonder aloud.  You almost wish that Mhin would hand you the lantern so you can get a better look.

Mhin clicks their tongue, sparing barely a glance toward the makeshift painting.  “I wouldn't define that as art.”  Mhin follows the line of the wall to the corner, their lantern held up to the wall.  “That’s just…paint.  If you’re looking for ghosts, try looking for scratch marks.  Those are a possible indicator, though not always a reliable one.  A sudden feeling of hot, or cold–any otherwise unexplainable temperature change.  A strange odor…”

You give the air a sniff.  “...I don’t smell anything.  Do you?”

“Dust.  Rotting wood.  And you’ve stopped using Leander’s bath soaps, which I’ll commend you for.  Why anybody would want to smell that strongly of–”  Mhin stops and gives a short whiff, their mouth slightly parted.  Their brows furrow. “It is unusual…I don't see or smell any signs of rats or roaches.  No vultures either…”

“Maybe something else scared them away?”  You posit.  You shuffle closer to Mhin, not liking the way the shadows around you seem to flow and ebb the longer you look at them, your mind making up shapes.  There’s a silly part of you that wants to feel Mhin’s cloak between your bandaged fingers as reassurance that they’ll stay close.  They’d probably hate to know that you see them as something to cling to–a source of comfort, safety.

You try to take another step closer to further dampen your trepidation, but instead you trip over– something–and stumble directly into Mhin.  They catch you on impulse, strong and quick enough to steady you with one arm while holding the lantern with the other.  You breathe an apology, your lips bumping against their chin as they help you get your feet back under you.  

You both search the ground to determine what knocked you off your balance.

It's a dirty old rug, rucked up at one edge.  

A long line of what appears to be claw marks lies half uncovered below it.  Mhin kneels beside the marks, studying them intently, carefully moving the rug to reveal yet more splintered wood.  “I’m not sure what could have done this,” they admit.  “The marks are fresh, but none of the dust was disrupted…”

The floorboards groan another protest, though it bounds off the walls in strange ways, making it difficult to pinpoint exactly where the sound originated.

“Aural contortions.”  Mhin announces.  “And a feeling that you’re being watched.  Reflective surfaces will behave oddly as well.  Hold this.”  Mhin hands you the lantern (more: shoves it into your grasp, really) reaching into their satchel.  Their nimble hands pull out a handful of alchemical concoctions, one which shines like the inside of a seashell, a tiny silver locket, which they flick open to reveal a small mirror.  There’s symbols etched into it, so old and worn away you can’t make them out.

You draw the lantern closer at their behest, illuminating a small smile spread across their face.

Is Mhin …Having fun?

“Is there anything I can do to help?”  You ask, hoping they don’t notice the warmth in your voice. Getting scolded would kind of ruin the mood.

Mhin glances up, blinking at you like they almost forgot you were there.  Their tongue peeks out, wetting their lips as they consider.  “Yes,” they finally agree, “would you–”

The lamplight is smothered by an unknown force.

The cracked streams of light from the window are gone, leaving you in darkness.

Mhin swears, their voice distorting as if they are suddenly very far away.  A moment ago they were crouched beside you, but the shadows surrounding you are so inky you can’t make out their silhouette at all.  Instinctively, you reach your hands out in front of you before freezing and reluctantly forcing them back down.  If both you and Mhin end up stumbling around with hands outstretched, there’s a possibility that they might accidentally grasp onto you and disrupt your bandages.  (You wish you had given into your desire to hold onto them earlier.)  

You whisper their name, frantic, hoping they can hear you.

“I’m here,” Mhin assures you, their voice pitched low and cautious.  You feel the gentle press of a foot against yours, a light tap of reassurance against the side of your sole.  “Stay close.”  There’s a brush of fingertips against your back.  “If the entity is particularly powerful, it will be able to move objects,” Mhin cautions, “but a ghost should never be capable of causing harm to humans directly.  And there’s not much in here that it could throw.  Just stay calm.  If you don’t keep your emotions in check, it will only be more incensed.”

Light flashes through the room again in a spotlight, guiding your gaze to a particular area of the building.

The abstract mural is defaced, dripping black liquid splattered boldly across the wall like arterial spray.  You retreat a step, feeling something wet beneath your feet.  There’s a sharp, astringent tang in the air.  Musty and earthy-floral.  Old velvet and leather, parchment and fresh paint.

You realize, with a sinking feeling of cold terror, that the black ichor on the wall spells your name.

    Eyes on you.  

Touch like a gossamer spider web.  Brushing against the nape of your neck.

“Mhin,” you whisper urgently.  “Something just–”  

The cold hits you then.  Bone deep and all consuming.  Judging by the way Mhin swears, they must feel it too.  Whatever this unknown entity is, it’s close.  And it wants…

Shadow flickers, fingers reaching for you, claws grasping, white glint of teeth.

Mhin sneers audibly, reaching for you and reeling you in by your cloak just before the figure can snatch you up.  Their arm wraps around you, guiding you with them as they recede.  They sweep their stiletto in a wide arc and you hear the clang of metal on metal, though you have no idea what it was that Mhin hit.  Their night vision must be immaculate–you can hardly see more than the fresh glint of their stiletto blade.

“Turns out it is a vermin infestation.”

A bark of laughter.  

Very familiar laughter.

The door starts to rattle on its hinges, moving to the rhythm of Vere's glee.  Mhin walks over to it, dragging your shaking body with them.  With a definitive kick from Mhin and a final cackle from Vere, the door bursts open.

Mhin tugs you out into the open air and slams it behind them.

“Awful fur-bag.”  Mhin spits the words out like the mere thought of Vere leaves a bad taste in their mouth.

You’re far enough away that the black paint clinging to both of your shoes is no longer leaving footprints, but you can’t say the same about the bone deep cold.

You’re shivering so hard your teeth start to chatter, adrenaline magnifying the chill in your bones.  How did Vere even do that?  You rub your arms and nearly stumble into Mhin in the process.  Their features twist into a half-formed scowl, eyes sweeping you before softening into something more delicate.

You find yourself staring into eyes that seem to catch the moonlight, words caught in your throat.

“You’re freezing.” Mhin murmurs, resting a hand against the curve of your cheek, testing your temperature.

You’re surprised at the contact.  Mhin is always so careful about touching you–it’s something you appreciate, usually, this unspoken agreement between the two of you; Mhin doesn’t ask intrusive questions, just makes silent hypotheses and treats your personal space with care.  You appreciate it–usually–but sometimes, (constantly), you wish…

Mhin’s thumb pets against your jaw.  They glace away from you as they do, unable to hold your gaze, but they don’t remove their hand, even as the moment hangs heavy in the air.  Their hand is soft, you think, fingertips like silk, though you can feel the thick calluses built up at the meat of their palm.  Likely hard won and harder lost, trophies from their time as a freelancer and whatever secret misfortune befell them what led them to Eridia.  Unthinking, you nuzzle into their touch, luxuriating in the coveted feeling of skin on skin.  You have half a mind to turn your head, press your lips against their calluses, kiss them like you’re drawing poison from a wound.

Mhin catches your chin between their thumb and pointer finger.  Their grip is assertive, certain.  You’d worry that you’ve angered them somehow, but the intensity of their gaze, the subtle tilt of their head, the flush of their cheeks, the featherlight caress of their breath on your lips…

–You think they might–

They back away abruptly in one smooth stride.  Their hands work quickly at the intricate clasp on their cloak.  Oh, now they’re really looking away.

“Wear this while we head back.  You didn’t come to this city to die of cold.”

They look at their bracers pointedly as you hesitate, as if itching to adjust them.  You slowly reach out and put the garment on.

The trek back to the Wick is uneventful.  The occasional star glances out from the pall of clouds constantly lingering in the Eridian sky.  You look for the waning moon, finding its reticent light and following it home.  You return Mhin’s cloak at the door, careful to hold it in a way that allows them to take it without having to touch you – touch your bandages.  

Mhin looks, oddly, a little reluctant to see it returned.  You’re not sure how else you can possibly read their body language.  Their hunched shoulders, the downturn of their mouth, their uncharacteristic lingering.  Holding the cloak in their hands like they can’t quite decide what to think of it.

They let out a sharp breath.

Mhin levels you with a pointed glare as they settle their mantle across their shoulders, affixing the clasp without need to look down.  “Buy some warmer clothes.” they order, “Tell Leander that the contract is complete and the buyer’s ‘ghost problem’ is solved.  The building should be fine for renovations, just tell them to start their renewal project on a day when the Senobium is actually holding Vere’s leash.”

  “You’ll come back for your cut tomorrow…?”  Confusion rolls off your lips.

“No.”  Mhin crosses their arms again.  “I just told you to buy some warmer clothes, didn’t I?  Consider it hazard pay.”  Again, that disgusted tone Mhin reserves for Vere.  “Even with that taken into consideration, you’ll still owe me, though.  Don’t forget.  I’ll collect some day; everyone does in this city.”

You’re not sure what to say.  Mhin is insisting that this is just a loan, and you believe that wholeheartedly.  But that doesn’t mean it isn’t charity.  Mhin’s also offering you transparency–an open disclosure of the deal you’re agreeing to.  You take their cut, buy what you need, and resolve to pay it back when you can.  And if Mhin needs something similar in the future, you’ll return them in kind.  

You think you stumble over your words a little, but you agree to their offer.

“I’ll be back to collect another contract.  Hopefully something that’s not a waste of my time.”

And a promise to come back is a promise to see you again, isn’t it?  To include you in their life?  Is that what you’re supposed to take from this?  That Mhin cares for you, even if they won’t–

  Or is it your foolish heart, showing you a path that isn’t really there?  

“Goodnight, Mhin.”  You say the words, but their back is already turned, steps already taken.

   ✦ EXTENDED ENDING...? ✦

You putter around in your room at the Wet Wick as you go about your nightly routine. The occasional cheer or thud from below only accentuates your nervous energy, punctuating your reluctance to settle down and get into bed. You smooth the covers with your bandaged hands and fluff the pillow before extinguishing the lamplight. You tug the bedding up above your shoulders, fighting to get comfortable. As your eyelids finally start to droop, the flicker of a shadow catches your attention.   It dances and sways and bends and grows until suddenly it is right in front of you.  On top of you. Silken, blood red drips down onto your face, a knife gleam smile too close for comfort.  You breathe in a gasp, wondering if you should scream. “Vere, what–” “Shhh,” he coos, pressing a finger lightly to your lips.  His breath is hot against your skin. “I only came to keep you warm, pet.”

✦Heat Signature (Vere Continuation) ->

[ivanttakethis]

top 5 worst ivan mischaracterizations ( aka could you list five worst traits people give him that are just totally wrong) i love to hear people complain but if you don't want to you can ignore this ask have a good day

Anon I am SO glad that you asked!

Ivan is my favorite character in Alien Stage because he’s really complex.

I could talk about him and his characterization/mischaracterization all day and still have more to say after that. Now you’ve given me the perfect opportunity to write a bunch of my thoughts down.

These complaints are in no particular order and are ultimately subjective.

Also, I’m not a Patreon supporter, so I can’t comment on anything that might’ve been confirmed or debunked over there.

Top 5 Worst Ivan Mischaracterizations:

Ivan is an unfeeling and emotionless person

Ivan was trying to kill himself and Till during Round 6

Ivan hates Mizi

Ivan is arrogant

Ivan is violent

This is going to be a long one, so I’m putting everything under the cut. Let’s begin!

1. Ivan is an unfeeling and emotionless person.

I find this mischaracterization to be one of the most frustrating because there is so much evidence to the contrary.

As a child, Ivan is described as someone who struggles to express his emotions and connect with others (imo he’s neurodivergent-coded, but that’s a whole other discussion). But notably we’re not told that he doesn’t experience emotions.

This official art kills me every time I see it because it shows that Ivan knows he’s different from the other children and that it probably makes him stick out and he wants to fit in somehow so he tries to practice/fake it so maybe he won’t be so alone (the imitating behavior is also coded imo).

Beyond all of that, we see plenty of times throughout the series that he feels things, rather intensely even. He’s wistful about the stars and meteor showers and the thought of freedom. He has a curious nature, observing others, wanting to learn more about how they work; how he can emulate them.

And then there’s all of the feelings that well up when it comes to Till. The most obvious is that Ivan loves Till, in his own fucked up way. But there’s more to it.

He wanted attention from Till (maybe the first time he’s ever wanted something in that way). He did everything he could just to get Till to even so much as glance in his direction. All of the fighting, and the bickering, and the instigating was because Ivan craved reciprocation. He grew obsessed.

When Ivan managed to free both himself and Till, he was thrilled!

And when Till let go of Ivan’s hand to return for Mizi, he was very clearly heartbroken.

Ivan felt jealous of Mizi and Sua’s relationship, knowing that he would never have that chance with Till.

Ivan felt lonely because he thought Sua was just like him, only to realize that wasn’t true (because Mizi loved Sua back) and he had no one to relate to.

Also, the entirety of Black Sorrow?? Hello??? He was yearning for more than what he could get. He was resigned to his minuscule place in Till’s life. The song is full of mourning and sadness and grief.

In Round 6, I believe Ivan knew what he was going to do.

He was desperate for anything he could get from Till in his final moments. I think that’s part of why he kissed Till. If his only goal was to deliberately lose, why not skip the kissing and go straight to choking?

Ivan was a dying man overwhelmed with emotion and he desperately wanted Till to look at him, see him, make him feel content for the first (and last) time in his life.

Even if some of these emotions are not necessarily healthy, it shows that Ivan was capable of feeling something.

So… yeah. That’s why I really dislike the emotionless characterization of Ivan. There’s so much depth to his emotions and character, but some people just skim the surface and reduce him down to nothing more than a cold and stoic person.

2. Ivan was trying to kill himself and Till during Round 6.

This one is probably more often a misunderstanding than a mischaracterization of Ivan. I think some people may have seen IvanTill referred to as “toxic” or “obsessive” love when it came to how Ivan felt and behaved around Till and thought Ivan was on some “if I can’t have you, no one can” shit, but that completely ignores the wider context of his character. Ivan was devoted to Till to a fault.

To Ivan, Till was his reason for being. Till was his universe. His god. Till was something to be revered, protected, and worshipped. Ivan couldn’t live without Till. That’s why he sacrificed himself, so he wouldn’t have to continue on in a world without him in it. But he also wanted to protect Till, no matter the cost.

Pretty much everything Ivan did was to protect or care for Till: trying to escape Anakt Garden with him, watching over him after Till was attacked by the aliens in the club, freeing him from his collar over and over and over again, every chance Ivan got.

Nothing about Ivan’s feelings or behaviors toward Till suggests that he would ever harm him, let alone kill him. There’s a reason why when Ivan was “choking” Till it didn’t look like he applied any pressure, there was no struggle for air on Till’s end (even if he had mentally given up, physically there will be some sort of reaction to having your airway compressed), and we don’t see any marks on Till’s neck afterwards.

It didn’t matter what happened to Ivan as a result. Till was the only person who mattered to him.

He would do anything for him. He would quite literally rather die than have anything happen to his god.

Ivan only ever knew how to give all of himself to Till, giving up his life was inevitable.

3. Ivan hates Mizi

I’ve seen this one more so in fan fiction, usually for angsty circumstances, but this just completely sidesteps their canon relationship, which is positive and, dare I say, friendly.

He gave her piggyback rides when they were kids! In the lead up to Alien Stage, we see them chatting and Ivan being pleasant towards her in a sort of “big brother” type way without hiding some sort of darker emotion behind it.

Now, is Ivan envious of the relationship Mizi has with Sua? Yes. Does he hate that he’ll never get to have the connect they have with Till? Yes. But Ivan hasn’t given any indication that he hates Mizi herself. And I think that’s an important element of his characterization.

Yes, he has negative feelings surrounding Mizi, but he never takes them out on her or lets himself feel negative towards her as a person.

Edit: I started writing this section BEFORE we got the official art of Ivan hanging out with Mizi, but holy fuck am I glad I took so long to finish this because now it’s canon that Ivan got along well with Mizi and they were even close as kids despite the fact that Ivan loved Till and Till loved Mizi.

In conclusion, Ivan and Mizi were reasonably close and (imo) would’ve been besties in slightly different circumstances. Ivan is NOT a Mizi hater!!

4. Ivan is arrogant

Yes and no. On the surface, Ivan comes across as mature, confident, and in some cases arrogant, but as we see more from his perspective it quickly becomes clear that the arrogance is just a mask he wears for others.

Deep down, Ivan is very insecure and his self-esteem is almost nonexistent. He views himself as insignificant, twisted, unworthy. He vilifies everything that he feels and does. (“Thank you for being a victim of my shallow emotions” anyone?) Ivan fully convinced himself that Till wouldn’t give a shit about him if he died to keep him alive. That’s not the behavior of an arrogant person. Far from it.

His arrogant mask acts as a shield to keep others from seeing the monster he thinks he is. He’s even kept parts of himself out.

I think that’s also where his tendency to be an asshole comes from. Keeping people away, not wanting or knowing how to drop the arrogant mask, internalizing everything, projecting onto others (like that whole talk with Sua about self sacrifice).

So basically:

Characterizing Ivan as an insecure person who hides behind false confidence/arrogance to keep people from seeing the real (and somewhat fucked up) him? Great. Fantastic. Love to see it.

Characterizing Ivan as an arrogant asshole “just because”? Terrible. Hate it. You burned my crops and killed my cow.

5. Ivan is violent

I don’t know how this one came about, but it rubs me the wrong way so I’ll touch on it here.

We know Ivan instigated physical fights with Till when they were kids because that was the only way to consistently get Till’s attention (not saying I condone that btw). But outside of that, I don’t think Ivan has been violent with anyone else? And would he even be violent with Till like, recently?? I would say no.

Now I do think Ivan would resort to violence to protect Till, but nothing beyond that. I don’t don’t even think he would use violence to protect himself.

He’d probably just revert back to being a “perfect” obedient pet to avoid or diffuse confrontation. That’s what he did as a child; while Till fought back every chance he got. Till’s fighting spirit is probably one of the things Ivan loved about him. Maybe in part because he couldn’t find it in himself.

————————————————————

Anyways, those are my Top 5 worst Ivan mischaracterizations! Thank you for coming to my TEDTalk 🖤💙

[fisheito]

theyre touching tails and looking at ducks together now. tomorrow they'll braid each other's hair and decorate it with kelp ribbons

[cy-cyborg]

Disability Tropes: The Miracle Cure

The miracle cure is a trope with a pretty negative reputation in disability circles, especially online. It describes a scenario in which, a disabled character, through either magic, advanced technology, divine intervention or some combination of the three, has their disability cured throughout the course of the story. Sometimes this is literally, as in the disability is completely and entirely cured with no strings attached. Other times, it looks like giving an amputee character a prosthetic so advanced that it's basically the same as "the real thing" and that they never take off or have any issue with, or giving the character with a spinal injury an implant that bypasses the physical spine's break, or connects to an exoskeleton that allows them to walk again. Sometimes, it can even look like giving a character some kind of magic item or power that negates the effects of the disability, like what I talked about in my post about "the super-crip" trope. Either way though, the effect is the same: The disability is functionally cured and is no longer an "issue" the author or character has to worry about.

But why would this be a bad thing? In a world with magic or super-advanced tech, if you can cure a character's disability, why wouldn't you?

[ID: a screenshot of Roy mustang from Full metal alchemist Brotherhood, a white man with short black hair in a hospital gown. In the corner of the screen is the hand of another person holding a small red gemstone. /End ID]

Well there's a few reasons. First, lets talk about the purely writing related ones. If you've been around the writing or even media critique communities for a bit, you've likely heard people voicing their frustrations with tropes like "The fake-out death" where a character is either implied to have died, but comes back later, or is explicitly shown to be dead and then resurrected. Often when this happens in media, it leaves the audience feeling cheated and like a character's actions and choices don't really matter if even the worst mistakes and consequences can be undone. In the case of the latter situation, where they die and are brought back, it can make the stakes of the whole story feel a lot lower, since even something like death is shown to be reversible, so the audience doesn't really have to worry about anything bad happening to their favourite character, and once you've used this trope one time, people will constantly wonder why you wouldn't use it every time it comes up.

The same is true for "fixing" a character's disability. It sets a precedent that even things as big and life-changing as disability aren't permanent in this setting. We don't have to worry about anything major happening to the characters, there's no risks associated with their actions if it can all be undone, and it will lower the stakes of the story for your audience. Personally, I also feel like it's often used as a cop-out. Like writers wanted to include a major injury the leads to something big like disability for shock value, but weren't sure how to actually deal with it afterwards, so they just made it go away. Even in cases where the character start the story with a disability and are cured, this can still cause issues with your story's stakes, because again, once we've seen you do it once, we know its possible, so we won't feel the need to worry about anything being permanent.

Ok, so that's the purely writing related reasons, but what if that situation doesn't apply to the story you're writing? What if they're "fixed" right at the end, or the way they're cured is really rare, so it can't be used multiple times?

I'm glad you asked, because no, this is far from the only reason to avoid the trope! In my opinion, the more important reason to avoid it is because of how the a lot of the disabled community feels about the miracle cure trope, and the ideas about disability it can perpetuate if you're not very, very careful.

You might have noticed that throughout this post, I've put words like "cured" and "fixed" in quotes, and that's because not every disabled person wants a cure or feels like their ideal to strive for is able-bodied and neurotypical. For many of us, we have come to see our disabilities as part of us, as part of our identities and our sense of self, the same way I, as a queer person might see my queerness as a part of my identity. This is an especially common view among people who were born with their disability or who had them from a young age, since this is all they've ever really known, or who's disability impacts the way they think, perceive and process the world around them, how they communicate with people or in communities who have a long history of forced conformity and erasure such as the autism and deaf communities. Many disabilities have such massive impacts on our lives that we literally wouldn't be who we are today if they were taken away. So often though, when non-disabled people write disabled characters, they assume we'd all take a "cure" in a heart-beat. They assumed we all desire to be just like them again, and this simply isn't the case. Some people absolutely would, and there's nothing wrong with that, but it's not as universal as media representation makes it out to be.

Another reason it's so heavily disliked is because this trope is often used in conjunction with other ableist and harmful tropes or it's used in ways that perpetuate misinformation about living with a disability and it can have ableist implications, even if that's not what the author necessarily intended.

If the miracle cure is used right at the end of the story for example, as a way to give characters a happy ending it can imply that the only way for a disabled character to be happy in the long run, is for them to be "fixed", especially if they were miserable all the way up until that point. If it's used earlier in the story as a way to get said character back into the action, it can also be read as the author thinking that disabled people can't be of use to the plot, and so the only way to keep them around is to "fix" them.

Of course, there's also the fact that some authors and writers will also play up how bad being disabled is in order to show why a cure is justified, playing into the "sad disabled person" trope in the process, which is pretty much what it says on the tin. Don't get me wrong, this isn't to say that being disabled is all easy-breezy, there are never any hard days and you should never show your character struggling, not at all, the "sad disabled person" trope has it's place (even if I personally am not a fan on it), but when both the "sad disabled person" trope and the miracle cure trope are used together, it's not a great look.

This is especially bad when the very thing that cures the disability, or perhaps the quest the heroes need to go on to get it, is shown to be harmful to others or the disabled person themselves. Portraying living with a disability as something so bad that it justifies hurting others, putting others at risk, loosing yourself or killing yourself in order to achieve this cure perpetuates the already harmful idea that disability is a fate worse than death, and anything is justified to avoid it.

I've also noticed the reasons the authors and writers give for wanting to cure their characters are very frequently based on stereotypes, a lack of research in to the actual limits of a person's disability and a lack of understanding. One story I recall reading years ago made sure to tell you how miserable it's main character, a former cyclist, was because he'd been in a car accident where he'd lost his arm, and now couldn't ride bikes anymore, seemingly unaware of the fact arm amputees can, in fact, ride bikes. There are several whole sports centred around it, and even entire companies dedicated to making prosthetic hands specifically for riding bikes. but no, the only way for this to resolve and for him to be happy was to give him his arm back as a magical Christmas miracle! It would be one thing if the story had acknowledged that he'd tried cycling again but just had difficulties with it, or something was stopping him from being able to do it like not being able to wear the required prosthetic or something, but it really did seem as though the author was entirely unaware it was even possible, which is an issue when it's the whole point of your story existing. This happens a lot more often than you'd think, and it's very clear when an author hasn't even bothered to google search if their character would be able to do something before deciding the only solution is to take the disability away.

There's also the frustration that comes from being part of an underrepresented minority, finally seeing a character like you on screen or in a book, only for that representation to be taken away. Disabled people make up roughly 16% of the population (though many estimate these numbers are actually much higher), but only about 2.8% of American TV shows and 4.1% of Australian TV shows feature explicitly disabled characters. In 2019, around 2.3% of films featured disabled characters in a speaking roll, and while it's slowly getting better as time goes on, progress on that front is very slow, which is why its so frustrating when we do see characters like ourselves and so much of their stories focus on wishing to be, trying to become or actually being "cured".

An finally, there's the fact this is just a really common trope. Even if we ignore the issues it can cause with your story's tone and stakes, the harm it can do to the community when not handled with care, the negative perceptions it can perpetuate and everything else. It's just a plain-old overdone trope. It shows up so often that I, and a lot of disabled people, are just getting tired of seeing it. Despite everything I've said, there are valid reasons for people to not want to be disabled, and just like how I made sure to emphasise that not everyone wants a cure, it's important to recognise that not everyone would refuse it either. So long as it's not done in a way that implies it's universal, in theory, depicting someone who would want and accept a cure is totally fine. The issue is though that this trope is so common and so overdone that it's starting to feel like it's all we ever see, especially in genres like sci-fi and fantasy (and also Christmas movies for some reason).

[ID: A Gif of a white man in a top hat nodding his head with the caption "Merry Christmas" down the bottom. /end ID]

Personally, because it's so common, I find even the few examples of the trope used well frustrating, and I honestly feel that it's at the point where it should be avoided entirely where possible.

Ok but Cy, you mentioned there are ways to use this trope well, what are they?

So, like I said, I'm of the opinion that this trope is better off not being in your work at all, but if, for whatever reason, you can't avoid it, or it's use is really that important to the story you want to tell, there are less harmful ways to implement it.

Don't have your only disabled character take the cure

If you really must cure your disabled character's disability, don't make them the only disabled person in the story. Show us another character who, when offered the same cure, chooses not to take it. This at least helps push back a little against the assumption of "of course everyone would want this" that these kinds of stories often imply and doesn't contribute (as much) to disability erasure in the media.

Don't make it a total cure

In real life, there are cures for some disabilities, but they rarely leave no trace. For example, an amputee's limb can sometimes be reattached if it was severed and they received medical treatment fast enough, but it usually results in at least a little nerve damage and difficulties with muscle strength, blood flow or co-ordination in that limb. Often times, these "cures" will fix one issue, but create another. You might not be an amputee anymore, but you're still disabled, just in a different way. You can reflect this in your fictional cures to avoid it feeling like you just wanted to avoid doing the work to write good disabled representation.

Do something interesting with it

I got a comment on my old tumblr or possibly Tik Tok account ages ago talking about their planned use for the miracle cure trope, where their character accepts the cure at the cost of the things that made her life enjoyable post-disability. Prior to accepting the cure, she had found other ways to be independent to some extent and her community and friends helped her bridge the gaps, but they were all taken from her when she was "cured" forcing her into isolation. Kind of like a "be careful what you wish for" sort of thing. The story was meant to be a critique on how society ignores alternative ways of getting the same result and how conforming to other people's ideas of "normal" isn't always what you need to bring you happiness. This was a genuinely interesting way to use the trope I think, and it's a perfect example of taking this trope and twisting it to make an interesting point. If you must use a trope like this, at least use it to say something other than "disability makes me sad so I don't want to think about it too much". Alternatively, on a less serious note, I'm also not entirely opposed to the miracle cure being used for comedy if it fits the tone. The Orville has some issues with it's use of the Miracle Cure trope, but I'd be lying if I said Isaac amputating Gordan's leg as a prank, knowing it could be reversed in a few hours did get a chuckle out of me.

If your villain's motivation is finding a cure for themselves, don't use it as justification for hurting people

Disabled villains need a post all their own honestly, but when a villain's motivation for doing all the terrible things they do is so they don't have to be disabled anymore, it's especially frustrating. Doubly so if the writer's are implying that they're justified in their actions, or at least that their actions are understandable because "who would want to live like that?" Honestly, as a general rule of thumb, avoid making your villains disabled if you aren't disabled yourself (especially if they're your only disabled character), but if they are disabled, don't use the disability as a justification for them hurting people while finding a cure.

So are there any examples currently out there to look at where the trope is used, if not well, at least tolerably?

Yeah, I'd say so, but they're few and far between. Two examples come to mind for me though.

The Dragon Prince:

[ID: A Gif of Ava the Wolf from the Dragon Prince, a light brown, fluffy wolf who is missing her front right leg. /End ID]

The Dragon Prince on Netflix uses the miracle cure twice, but I still really enjoyed the show (at least I did, up until my Netflix subscription ran out, so I've only seen up to season 4). The first time the trope is used in the series, it's actually a fake-out. Two of the main characters, while looking for someone to help them heal the dragon egg they're carrying, encounter a young girl named Ellis and her pet wolf Ava. The two explain their egg is not looking good and they need to find someone to help it, but no one they've found had the knowledge or ability to do anything to help. Ellis says she knows a healer who can help them, and tells them that this healer even restored Ava's amputated leg when she was a pup. When we actually reach this "miracle healer" however, she is revealed to be simply an illusionist. She explains that Ava is still missing her leg, she simply made it look as though she had restored it because Ellis's parents were planning to throw the puppy out, believing it would not survive with its disability and would only be a drain on supplies. This was not actually true and Ava adapted to her amputation very well, she simply needed more time, and hiding her disability and making her appear abled gave her the time she needed to fully recover and adjust. When they return to the healer with the main characters, she removes the illusion and explains why she did it, emphasising that the real problem was never with Ava, but with how people made assumptions about her.

While I do feel it was drawn out a bit too long, I do appreciate the use of the trope as the set up to an overall positive twist. Disability does come with down-sides, it's part of the deal and it would have been nice to see a bit more of that, but for disabilities like amputation in particular, the worst of our problems often come from a lack of adequate support and people's pre-conceived ideas about us, and it was nice to see this reflected, even if it is a little overly simplified.

The second time this trope comes up in the series is when one of the antagonists, Soren, is injured during a fight with a dragon, becoming paralysed from the neck down. His sister, Claudia is absolutely beside herself, believing it was her fault this even happened in the first place, but Soren actually takes his new disability very, very well, explaining that he understands there are things he can't do now, but that there's a lot of things he can still try, that his previous job as a soldier just didn't allow time for. It's possible this reaction was him being in denial but it came across to me as genuine acceptance. He is adamant that he doesn't want a cure right from the beginning because he knows that a cure would come at a cost that he doesn't want his sister to pay, and that he is content and happy with this new direction his life will be going in. Claudia, however, is not content. It had been shown that she was already using dark magic, but this event is what starts her down the path of using it in earnest, disregarding the harm it will cause to those around her. She ignores Soren's wishes, kills several animals in order to fuel the healing spell that will "fix" him, and Soren is pretty clearly shown to be horrified by her actions. What I like about this use of the miracle cure trope is that it touches on something I've seen happen a lot to disabled people in real-life, but that rarely shows up in media - the fact that just because we accept ourselves, our disabilities and our new limits, doesn't mean our friends and family will, unfortunately. In my own life, my mum and dad were always accepting of my disability when I was younger, but as I got older and my support needs changed, my body took longer to heal and I stopped being able to do a lot of things I could when I was little, they had a very hard time coming to terms with it and accepting it. I'm not alone in this either, a lot of disabled people end up cutting contact with friends and family members who refuse to accept the reality of our situations and insist "if we just try harder maybe we won't be so disabled" or "Maybe you will get better if you just do [xyz]". Unfortunately however, some disable people's wishes are ignored completely, like Soren's were. You see this a lot in autistic children who's parents are so desperate to find a cure that they hurt their kids through toxic and dangerous "treatments" or by putting them through abusive therapies that do more harm than good. Claudia has good intentions, but her complete disregard for Soren's decision still harm them both in the long run, leading to the deterioration of their relationship and causing her to spiral down a very dark path.

Full Metal Alchemist: Brotherhood

[ID: A Gif of Ed from full metal alchemist, a white boy with blond hair, staring angrily at a jar of milk on the table. His brother Al, a sentiant suit of armour, is in the background looking directly at the camera. The caption, spoken by Ed, says "So we meet again you little bastard" /end ID.]

The show does begin with Ed and Al looking for a way to cure their disabilities (which they gave themselves when trying to resurrect their mother as children went horribly wrong). However, when the boys discover that the object needed to do that - a philosopher's stone, can only by made through absolutely abhorrent and despicable means, and using one, likewise, comes at the cost of potentially hundreds or thousands of people's souls, they immediately stop, and shift their focus on finding the stones that had already been made so it can't fall into the wrong hands, and preventing the creation of new ones. The core theme of the show is that everything has a cost, and sometimes the cost is simply too great.

However, right at the end of the show, several characters are healed in a variety of ways. Ed gives up his ability to do alchemy to get his brother's body back, as well as his arm so he can save his friends in the final battle, but neither of the boys come away from this completely "healed". Al's body has not been used since he was a child, and so it is shown he has experienced severe muscular atrophy that will take a long time and a lot of work to recover from, acknowledging that he has a pretty tough road ahead of him. When we see him in the epilogue, he is still on crutches despite this being several months after getting his body back. Likewise Ed is not fully healed, and is still missing one of his legs even if he got his arm back.

The more... interesting use of the trope, however, is in the form of Colonel Mustang who was blinded in the final season. Mustang is shown to take to his blindness pretty well given the circumstances, finding a variety of ways to continue doing his job and reaching his goals. When other characters offer to let him use the philosopher's stone to heal himself however, he takes it, acknowledging that this is a horrible thing to do and that Ed and Al would be extremely disappointed in him if they ever found out. He uses it both to cure his own disability, and to cure another character who was injured earlier in the show. While I'll admit, I did not like this ending, I can at least appreciate that the show made sure to emphasis that a) Mustang was doing fine without the cure, and b) that this was not morally justified. The show spent a very long time drilling into the viewer how morally reprehensible using the stone was, and it didn't try to make an exception for Mustang - you weren't supposed to like that he did that.

When I talk about these tropes, I do try to give them a fair chance and discuss the ways it can potentially work, but I really do want to reiterate that this particular trope really is best avoided. There are ways to make it work, but they will still leave a bad taste in many of your viewer's or reader's mouths and you have to be exceptionally careful with your wording and framing, not just in the scenes where this trope is used, but in the lead up. If you really must use it, I highly recommend getting a few disability sensitivity readers and/or consultants (yes, even if you are disabled yourself) to help you avoid some of the often overlooked pitfalls.

[vynnyal]

Turns out Sunlit Trail isn't quite done just yet, so after all that they just send you to a dead end 😂

[dangerousdan-dan]

Sometimes, liking a complex, well-written character means holding her close to your chest and protecting her from the "She did nothing wrong" blorbofication

[shopwitchvamp]

me the absolute first split second people are acting up in the shop

[jash-updates]

Most normal energy drink consumer