#we are NOT the same person i just see her as a fictional character that i took the form of to help lina accept me easier

[scribefindegil]

Lorraine Baines McFly and Female Autonomy

Hello. I have spent the past month slowly losing my mind about Lorraine Baines McFly, Marty's mom in Back to the Future, so I am finally trying to articulate some of the reasons I'm so feral about her.

There's a quote from Lea Thompson, the actress who played Lorraine, that goes, "The three parts that women usually get to play are virgins, whores, and mothers, and in Back to the Future Part II, I got to play all three." While this is commentary on Hollywood and the limited roles that fictional women get forced into, I think it's also interesting to think about it in terms of how these roles are reflected onto actual women and used to limit their personhood and confine them to a very narrow range of acceptable behaviors . . . and then in turn to think about how the character interacts with these roles on a Watsonian level. They're affecting not just Lorraine the character as she was written, but Lorraine from an in-universe perspective trying to navigate life as a woman in a patriarchal world. Some of the sexism she faces is a deliberate narrative choice and some of it is a result of the writers' blind spots, but for the purpose of this essay I'm less interested in teasing out which threads are which and more in looking at it holistically.

Because the thing about Lorraine is that she's aware of what the acceptable roles and behaviors for women are, and the versions that we see of her across the various timelines alternately fight against and capitulate to these constraints. What is a woman allowed to be? How much is Lorraine willing to break from those restrictions? How much does she allow other women to break from them? Does she resent her role or embrace it? I have a lot of thoughts specifically about how the different iterations of her interact with concepts of female agency and autonomy.

(Putting this under a cut because it is. Long.)

I started thinking about this when I was talking with my partner about 50's Lorraine. She's extremely active and driven and planning to Get What She Wants (in a way that is very scary, if you are Marty) . . . but at the same time she's clearly aware that she isn't supposed to be. A Good Fifties Girl is demure and passive. Lorraine isn't--but she's still trying to toe the line. I think constantly about the scene where she shows up at Doc's garage to be like "I followed you home . . . so that I can ask you to ask me to the dance." The girl can embrace borderline stalking but she draws the line at directly asking a boy out! She's exercising a lot of agency but views doing so as rebellious and subversive--and risky.

And I also want to talk about the whole "boy crazy" thing because like . . . society (especially in the fifties) tells women that the most important thing they can possibly do is find a good man and become wives and mothers, that this will define the success or failure of their entire lives (and given how many things were unavailable to single women at the time this is in many ways true) . . . and then relentlessly mocks and punishes anyone who actually takes an interest in pursuing this instead of just sitting back passively and waiting. She is trying to do what society says will make her happy! And even her desire for a white knight is very much based in the reality of her situation! She's getting sexually harassed at school and around town and she's doing exactly what she's supposed to and standing up for herself and saying no and fighting back--and this is not enough. She does need backup! Biff harasses her in the middle of a crowded cafeteria and Marty is the ONLY person who does anything! No fucking wonder she latches onto him as hard as she does! (There's. I promise this is related but there's a BttF parody musical on YouTube where when Strickland comes to break up the lunchroom fight he says, "Now, I can excuse sexual harassment, but LIGHT SHOVING?" and like it's a haha funny joke but also?? Yeah?? That IS how it works. The way Lorraine's being treated is so overlooked and normalized that the authority figure isn't going to step up the way he will when it's a physical altercation between two guys. Screams.) I wonder if part of the reason she stuck with George in the original timeline even though they didn't have a lot in common is that "I have a boyfriend" is a boundary that some people might actually take seriously whereas "I'm not interested" is not.

But. In general 50's Lorraine is very much about grabbing as much agency as she feels she's allowed to . . . and then Twin Pines Lorraine is what happens when she regrets the result of those choices (because while we don't see it, it's pretty obvious that in the original timeline she pursued George as aggressively as she pursues Marty in the new one), and so she decides to deny, not just her own agency, but female agency as a general concept. She leans so heavily on the idea that her relationship was "meant to be" because it absolves her of any culpability in creating a life she's unhappy with. She's rewritten her own past to view herself as a passive participant in something inevitable. (Exactly the view of womanhood that she was fighting so hard against in the 50's!) And she extends this idea of female passivity to the women around her: telling Linda that she should sit back and wait and a relationship will "just happen," actively resenting Jennifer for doing something as simple as calling Marty on the phone. It's a really interesting form of internalized misogyny, perpetuating these sexist ideas as almost a misguided form of self-defense.

And then for Lone Pine Lorraine this is completely flipped! She loves Jennifer for the same reason she disliked her in Twin Pines: because she reminds Lorraine of her younger self. And like . . . this is something of an extrapolation, but while obviously her husband and kids are still very important to her, it also feels like she has interests and friends and other things going on in her life, whereas part of the isolation of Twin Pines is that her life has shrunk down to the point where she's ONLY a wife and mother with nothing else to define herself by. And it also matters that in this timeline she has a partner that supports her, not just in the big dramatic moments (although also that), but you can easily see the dance as a catalyst for George actually learning to listen to her and stand up for her about smaller things as well. George McFly feminism arc. (I'm being slightly facetious but like. George starts off kind of shitty. The spying is actively Bad and I hope Marty chewed him out for it offscreen, but also his reaction to the harassment scene being "I think there's someone else she'd rather go with," implying that he sees what Biff is doing as like. Normal flirting that he expects to work. He doesn't GET it. Unsurprising because he is. A teenage boy in the fifties. But I do believe that saving Lorraine was something of a wakeup call and after that he listened to her about things that make her uncomfortable and gave her the support that she needed. Which would also give her a lot more freedom in this timeline because she has someone with more societal power who has her back!)

And then. Hell Valley.

If Lone Pine is the version of Lorraine who has the most freedom, the most opportunities to make decisions based on what she wants instead of What Is Expected Of A Woman, Hell Valley is the opposite. The things denying her agency in Twin Pines is largely societal forces (and herself); in Hell Valley she is actively being denied autonomy by her evil husband who functions as the personification of a bunch of sexist ideas.

She's been objectified to the point that she doesn't maintain control over her own body; Biff pressures her to get cosmetic surgeries so she can continue to look attractive to him because that's the only value he sees in her. Her physical appearance is entirely tailored to his preferences.

Biff's view of Lorraine is wife-as-possession. He treats her like a prize he's won and her kids like parasites. And he is NOT subtle about this. But Lorraine is still desperately clinging to the idea that she's wife-as-family. She calls Biff "your father" to Marty when he arrives, and talks about "our children" because she wants so so badly for this to be something different than what it is. It's especially terrible because this is a timeline where she got seventeen years of being happy with George, she knows what she's missing, and she keeps trying to force this new relationship into a similar mold even though Biff is openly contemptuous of her and especially her kids. It's been twelve years and she's still trying to pretend. To call back to that Lea Thompson quote: it's obvious where Biff thinks Lorraine fits on the virgin-mother-whore axis, while Lorraine is actively trying to centralize her motherhood partially because the kids really are that important to her and partially as a defense mechanism.

(And it's also such a bleak cautionary tale about how fragile women's stability can be when they're dependent on their husbands; Lorraine was happy with George and had a fair amount of freedom, but he was the only one with an income so when he died she was suddenly forced into a truly horrific situation because she had no other means to support herself and her three young children. Especially given that the Hell Valley universe is also worse in some broader political ways that mean there were probably even fewer social supports available than in real life 1973)

And god. It kills me the way that we see her lash out, the way she's clawing for autonomy when she threatens to leave . . . and then exactly how Biff levels all his axes of control against her. It's very interesting that his first tactic is consumerist (Who will pay for all your things? Who will take care of you?) and that doesn't work even though not being able to support herself is a very real concern. It's only when he threatens her kids that she folds. And then she immediately crumples and pivots to rationalizing Biff's behavior and blaming herself for her own abuse (in a way that is both HEARTBREAKING and also? surprisingly sympathetic and realistic for an 80's movie?). It's similar to the passivity we see in Twin Pines, but here we see exactly where it comes from. She doesn't have any way out so she has to pretend. It's the only way she can keep going. She has these flashes of rage but they're immediately snuffed out by despair and denial.

There's not a lot of talk about Lorraine and what there is tends to reduce her to "well she's Marty's mom" as if she's a boring character who doesn't have a lot going on. But even though most of her role in the movies has to do with her relationships with the various men in her life, those relationships are really interesting if you actually pay attention to them! She's not just (in the 80's) a wife and mother--she's someone who has a complex relationship with marriage and motherhood and the societal expectations surrounding them. She's not just (in the 50's) a vapid boy-crazy girl--she's doing her best to go after what she wants in a world that doesn't want her to (the fact that one of the things she wants turns out to be her time-traveling son from the future is unfortunate but not something she has any way of knowing!). She's stuck in a society that doesn't want women to be people, and she knows this, and because we see her across two different time periods and three different timelines you can watch how sometimes society grinds her down until she gives in and tries not to be a person. And also how, sometimes, she fights back.

[annakaspring]

Officially the longest rant I've ever posted

Snater mauraders fans literally being the most shallow people on earth.

I will see them saying Snape deserved to be targeted and bullied. And the reason is always the same.

"he was creepy" how was he creepy? "He was obsessed with Lily and possessive of her."

oh, you mean like how James threatened to physically assault Lily if she didn't go on a date with him while simultaneously bullying her friend? While Severus did as Lily asked and left her alone when she said their friendship was over.

"He was racist." No, comparing the word mudblood a fictional slur to a real life racial slur is so ignorant, problematic and also completely disregards that there could be actual racism in the Harry Potter universe. And Snape is not a pureblood in fact he is way more muggle born than half blood as he grew up in a muggle neighborhood, wearing muggle clothes. Is what Snape called Lily right? No. could she have still been hurt? Yes. But I see the same people who bash Snape, Stan Malfoy who is canonically a pureblood who hates muggle-borns. Like be so for fucking for real rn.

"He was a nazi" Again, comparing a fictional "cult" to real life devastating history is ignorant and frankly ridiculous. But let's just humor that idea for a moment. Then why do I see maurader fans idolizing characters like Barry Crouch Jr? Or Regulus Black? Who not only joined the death eaters just like Severus did but were privileged purebloods who unlike Severus had money, a proper home, family. And in Barty Jr's case he is literally canonically evil.

"He was a bully." So was James, so was Sirius.And both James and Sirius are canonically described as being obviously well loved and privileged while Snape "so obviously lacked" that. Severus had reasons to be cold, stand offish and rude. had a terrible home life, neglectful if not straight up abusive parents, a single friend, depressed and was poor. What was James's excuse?

And I will see ppl who loooove Draco Malfoy yet despise Snape. Draco Malfoy, who is repeatedly voiced his pureblood prejudice so much as saying he wished death upon Hermione Granger simply for her blood status, was a HUGE bully, surely bigger than Snape ever was if he did ever bully (he didn't). Severus Snape used a slur once, once when he was a child while he was being SA'd and regretted it so much he never used the word again. While Draco literally never even apologized for his fanatical white supremacist behavior. "Well he didn't want to kill Dumbledore" I'm sorry but being too cowardly to kill someone does not equal being a good person.

"Oh well they changed, they grew up and became better." Did they? Where's the proof? Where's the evidence? I never saw Sirius own up to his actions. Remus still excused his friends bullying. "Well actually Draco actually liked Hermione the whole time. And that's why he was so mean to her" So? If anything that makes even worse. If a guy wished me dead, was openly vile to I wouldn’t suddenly be okay with it because he was actually attracted to me the whole time.

So what arguments do the Snaters have left?

Nothing, absolutely zero justification other than shallow, half baked reasons.

Severus Snape commits the most unforgivable sin. Being poor, morally grey AND ugly.

Because being poor can be forgiven as long as you're hot i.e Remus Lupin. But forbid they actually show signs of their class. Being malnourished, having hand me clothes, not being able to have proper hygiene. These are all things that actually happen to severely lower class individuals. Being a pureblood snob can be forgiven as long as you're hot. Being actually evil with zero justification is forgiven as long as you're hot.

People will twist and headcanon characters we get two pages of information on into fully fleshed out people with intricate backstories and believable justification for all their evil behavior.

Meanwhile bashing Snape who is one the most complex, dark, interesting character in the series. All because Snape is "ugly".

Because god forbid a character does not fit their rigid beauty standards and is actually complex and human.

And we're not gonna get into how literally not once was Snape ever explicitly described as ugly or how Draco Malfoy in the books described as having a pointed, rat like face.

And just to clarity I'm not trying yuck anybody's yum. Love the characters you love, stan evil ones, ship all the characters you want. I do! I ship character who make absolutely no sense in canon. create intricate stories for background characters all you want That's what fandom is all about. But don't act you have an actual reason for hating Snape while simultaneously stanning Voldemort and Barty Crouch Jr.

Be straightforward and say you don't like him because he does not fit your rigid cookie cutter beauty standards and you have no compassion.

Cheers,

[luck-of-the-drawings]

THE ORDER OF PALMS An order of holy folk that serve The Helm, working to create powerful Aasimar Paladins for the purpose of protecting any who hire their help. [BACKSTORY UNDER CUT]

One day, Gjör and her peers were lead by their mentor Opheria, to a mission far from their home. On the peak of that mountain village, they saw upon the horizon, the castle of their home go up in flames. Horrified and scared, the apprentices sought to follow their mentors guidance, and followed her lead into a small barn. It was there, that Opheria proceeded to slaughter each and everyone of the apprentices. It seemed she somehow had a hand in this sudden attack on the Order of Palms. Gjör D'annevual survived a sword through the 'heart', on account of a rare condition, that places her heart on the other side of her chest. When she finally managed to bring herself back home, the Order was insulted by her survival. She had so many better peers, why couldn't any of them have survived? This runt was seriously the only thing that survived Opherias wrath? It was better to just wash their hands clean of this. Thus the Order decided to banish Gjör from their ranks. She now travels the land in search of a purpose.

[mimiatmidnight]

Will you be commenting on the Taylor drama?

I love the way this was worded, like I'm one of the siblings on Succession and the press has cornered me outside my penthouse to ask if I'll be releasing a statement on my family's latest scandal. Hehehe anyways.

Sorry but I just don't understand how anyone is shocked. Truly what has that woman ever done to successfully convince people that this is out of character for her. Like I don't want to diminish anyone's pain or anything but I see all these stans on here and over on Twitter in all this distress, having their very first epiphanies like "Hold on . . . does Taylor . . . suck??" And I kinda just have to chuckle at them cause like bless your hearts babes, but omg catch UP 😭

Lol because 1) she is a severely emotionally stunted person who thinks edgy British "bad boys" are hot like she's 12 years old, 2) she has no true deeply-held moral principles outside of issues that directly affect herself, and 3) truthfully, she seems to be suffering from a serious crisis of identity after the end of the longest and most significant romantic relationship of her life, and in my opinion is pretty clearly desperate to prove something to the world/her ex/herself.

The first reason is cringe but not news to longtime viewers, the second reason is pathetic but also not news (to those who can be honest with themselves), and the third is . . . understandable in some sense, but not pitiable enough to make me willing to humor this insufferable little episode she's having. I wish her luck on this humiliating rebound journey, but she is gonna have to walk that road on her own.

Normally, I always roll my eyes when people make these kinds of jokes, but given the circumstances I feel justified in saying: I can't wait to hear the breakup song about him, sis 🤡

[linabirb]

hi winter! And hi cherry too! Dont worry yall are doing your best and that's all the matters :3

omg hi hi!! this is cherry, tysm for your words 💖💖 (also we saw another ask from you, lina will reply to it later! they're kinda going through it rn)

[cosmogyros]

.

[cherry-treelane]

Just saw a beautiful fan video edit which explored the tumultuous relationship between Fiona and Monica and was met with Monica defenders in the comment section you people make me sick why are there so many of you 😭😭😭

[creatingblackcharacters]

No, That’s Not ‘How Color Works’. - Whitewashing

Whitewashing, as defined by Merriam-Webster:

"to alter (something) in a way that favors, features, or caters to white people: such as a) to portray (the past) in a way that increases the prominence, relevance, or impact of white people and minimizes or misrepresents that of nonwhite people and B) to alter (an original story) by casting a white performer in a role based on a nonwhite person or fictional character"

In fandom context, we know it to include:

Making someone’s skin lighter

Making someone’s hair a thinner texture

Changing someone’s nose to be thinner

Shrinking their lips

Changing the character in their entirety to be someone else

The Normalization of Whitewashing

Remember how I mentioned last lesson that despite the nature of poorly drawn Black characters, most audiences are not turned off enough to discourage the action in professional works? Similar idea with whitewashing. Not the same- unlike the Ambiguously Brown Character, which claims to have plausible deniability, overt whitewashing is usually enough to make fans speak up! But that’s the key word here- overt! It has to be “bad enough” to make enough people speak up, but as we’ve seen many a time, “bad enough” seems to have a much higher threshold for nonblack viewership (sometimes the limit doesn’t exist!)

Some visual examples

This is a link to my personal thread on a Netflix show I was watching- Worst Ex Ever. Now, while the show itself was quite enlightening, there was something I could not get over. I thought I was going crazy. And that was that no matter how dark the person of color would be in real life, the animated portions would draw this light pinkish-brown. Every. Single. Time. It's like they couldn't fathom scrolling down the color wheel. And this is a Netflix original! Netflix has plenty of money for someone to have caught this in creation. But... it was produced. And put out. And they're making more of it.

I asked all of the Dragon Age fans about the series, and uh… I didn’t know things were this bad, guys! Apparently this is a man of color, but it doesn't seem like the creators want you to know that 🤣. Jokes aside, as I’ve discussed before, the noticeable whitewashing- and that was one of many racist things I was told- was not enough to prevent sales... so why would they stop? I can only hope this new game, with all the updates, is enough to turn the tide. But the series has gone on for a while now, that if they’d chosen to do ye same olde… there clearly would not be a lack of financial support to prevent it.

Colorism as a Tool

Even when actors of color are cast, colorism often plays a role in normalizing whitewashing to audiences, even to Black audiences! People think “oh well at least they’re Black!” as if that is the only important part. It is not.

While Aaron Pierre, the actor cast for John Stewart of Green Lantern fame, is a GORGEOUS, STUNNING man, he is not the dark-skinned man that John Stewart is supposed to be and should not have been cast! To me, this is overt colorism, but clearly for many people this is not “enough” to warrant concern or even prevent the casting itself- including the studio behind the movie! Black fans have plead for years for the character of Storm to be played by a dark-skinned, preferably African, woman, and it has never happened.

It naturally happens in fan spaces as well, which is another indicator that colorism as a tool for whitewashing is quite effective for audiences. If I see one more Zendaya fan cast for Kida from Atlantis, I will scream. It’s been happening for years, and I don’t think any of the people who just want to see her and Tom on screen either understand or care that Kida is a dark-skinned character. Zendaya doesn’t look anything like Kida- it doesn’t matter if she’s Black too! Just because someone is Black does not mean they can play every single Black character! I’ve even seen people fancast Emilia Clarke of Game of Thrones fame, to which… I don’t have the words. I can’t fathom what would cause these decisions other than racism.

The Common Excuses

I must be honest. I don’t really feel like re-iterating how certain things are not okay and how to fix them, because I’ve already discussed these things in massive detail. So I’m just going to direct the excuses I regularly hear to my lessons, where you can read up on them.

“Their hair/eyes are like that because they’re biracial so-”

Relevant Lessons: 2.1, 2.2, 2.3, 8, 9, 10

There is nothing wrong with having biracial characters with a range of features. I am not saying that! Because yeah, genetics do happen!

But I mentioned this in my last lesson, and I will re-emphasize here, that using biracial identity as a way to whitewash is a sinister form of racism. The intention here- the real intention- is the issue here! The idea that somehow this character can only look the way you want them to look by "diluting" their Blackness… I don’t know how you can explain yourselves out of that one.

You don’t get to use us as an excuse for diversity while still trying to maintain your preference for Eurocentric beauty standards. Black biracial people don’t always look light skinned, thin-haired and ambiguous, and even the ones that do don’t deserve to be treated as your fetish for pretend antiracism. If you just want to draw a white person with a tan, do that. But don’t change a character’s entire look just so you can work in some whiteness. If you want to claim that canon Black character’s mother was white, then I guess they inherited some of her personality because their features should not change.

“It’s my style/It’s the color-”

Relevant Lessons: 3, 4, 10

I hate all excuses for whitewashing, but I’ve grown to despise, hate, abhor and loathe this one the most as I’ve become an artist. I wish there were stronger words to describe just how much I hate the “style” and “color” excuse.

Are style and use of color oft intertwined? Absolutely. I’m not saying they aren’t. But out of everything, there are two things I want artists to understand:

1. Style does not cancel out racism! No style forces you to choose ashy greys and to change peoples’ features. That’s you! If you look at something, and it looks offensive, you change the style. You grow as an artist!

2. “Everyone who is brown will look ashy so I just-” if you recognize that your Black characters look strange in comparison to your nonblack characters, then it’s time to try something else! I don’t understand this sudden need for “realism” when it comes to color and lighting, but not when it comes to hair, for example. No one cares about realism when giving every and all Black characters wavy tresses they probably wouldn’t have, but suddenly milquetoast watercolor attempts at brown and off-putting lighting is “how it works”. That’s not fair.

The color picker is an available tool! I use it often!

Dead giveaway of purposeful whitewashing: if someone gets the outfit color palette right via color picking, but the skin color is multiple shades lighter. That means they were looking at that character and chose not to proceed.

Dead giveaway of purposeful whitewashing: if the white characters in the show are completely correct in their palettes. Again, that means they cared enough to look at everyone else… and not the Black characters.

If you use the color picker and the color picked is… disrespectful, you do not have to use that! You can simply choose a better color that is still similar to the brown that ought to be depicted!

“It’s the lighting-”

Relevant Lessons: 4, 5

If your white characters do not shine like snow in the sunlight because of your lighting, then your lighting does not make your Black characters suddenly light tan.

If your Black characters look bad in your lighting of choice- for example, putting a very dark-skinned character in electric white lighting can be ghastly- try changing the intensity or the color of the lighting. DON’T change your character’s skin color!

I'm going to show you some pictures of South Sudanese model Nyakim Gatwech. Pay attention to the choices of light, color, and makeup.

Look how BEAUTIFUL she is! Look at the choices of intensity and color of light, and how they make her look different in each image.

Now look at this image in comparison:

In this image, whoever did her makeup and took this picture did not take into consideration her skin tone. She's also under this really intense lighting. This is an example of "increasing the lighting does NOT make an image "better"". She didn't need to have lighter skin or "more lighting" to look good. She needed BETTER lighting, lighting that worked with HER.

To see this as an example in drawn art, @dsm7 makes an excellent argument for proper lighting and color, why it is an issue to use it as an excuse, and how to solve that problem.

‼️DISCLAIMER FOR NEXT EXAMPLE‼️

Okay. I am about to show y’all a fan-created example from my personal experience. It is a TEACHING EXPERIENCE ONLY. I am not including the artist’s name in this image. It happened a couple years ago, and it’s over- they’ve chosen to be who they are despite me kindly confronting them about it. The only reason I’m including it at all is because I feel like it would be remiss to have such a clear-cut, multi-level example, and not teach with it. That said, no, I am not telling anyone to act out towards them. Again, that is not what I’m telling you to do. The last thing I need is a literal lynch mob of angry nonblack viewership for trying to teach you all, and y’all sitting there watching it happen to me. Every example of whitewashing is not going to be so obvious, but I hope you learn how to spot the examples in the art you see and share.

I'm obviously a Hades fan, particularly of Patroclus- despite my disdain for the lack of effort in his canon character design. So I've seen a lot of things. That said:

“Well it’s just MY design of them-”

Relevant Lessons: ALL

The sepia coloring did not do this. The lighting did not do this. The design is the exact same as the Hades version, even down to the shape of the hair curling in the back. The only thing that is different… is the man himself.

Y'all. Y'all! You CANNOT take a pre-existing Black character and say “oh well this is my design of them” …and the design is of a whole white person. Because if the rest of the fit is the same, and the only thing that changed is the Blackness… Racism. If you’re going to “make up your own design”, then do that!

“Blackwashing”

Speaking of: I’m sure someone edgy out there thinks they’re so smart as they retort to the screen: “but if that’s not okay, then why is Blackwashing okay?” To which I say- shut up. 😐

The “definition” by fandom: making a nonblack character Black, usually an anime character, but characters in general.

Funny enough, the actual definition in the dictionary (or closest to) is “to defame”, in contrast with whitewash (as in whitewashing history). Maybe racist fans ARE using it correctly when they say you’re blackwashing their characters, when they mean you’re making them “less likable because they’re Black now”. 🤔

Anyway: Blackwashing is not real for the same reason reverse racism is not real.

Me painting these characters brown is not going to take away from the fact that there are far more of you in media than there is of me. Me saying that I ‘headcanon a character as Black with 4C hair’ is not going to make the studio go “oh! Well they must be Black with 4C hair now!” Me saying “oh I think I’d like this character better if they were Black” as a beta tester (less overtly, obviously, because I’m not racist!) will never make a studio change that character. Black viewers have minimal value in comparison to the power of the white viewer’s dollar. I could draw white characters Black every single day of every single game media… and they would still produce majority white characters. There has not been centuries- if not millennia, when we consider Jesus Christ himself, even- of purposeful “Blackwashing” with the intent of removing the original ethnicity- and thus importance- of white people. No one has ever been allowed to forget when someone is white. No one has ever been allowed to forget or not acknowledge white people.

How it could be "solved"

Personally, I love Black edits and I welcome them here. I find them creative and fun. But if you really, REALLY didn’t want us to make those edits, then naturally, we need more Black characters in all of our media!

I wouldn’t have to make edits if I saw more of me to begin with in the things I like to watch- but when we have those characters, racists act an ass about them. We’re not allowed to even be present! I’ve seen too many gamer bros mocking the existence of Yasuke in Assassin’s Creed, and he was a real ass man. But if we made a game about African peoples in African societies, how many of the gamer bros would actually play those games? Do you think there’d be as much support, when we hear so much about Black characters that are treated so abhorrently? How many games do we have where people would love their faves just as much if they were Black? I even learned that Solas was apparently supposed to be a man of color. IMAGINE how many people would not have liked that man, with the same exact plot and characterization.

Something I’ve noticed recently: apparently "Blackwashing" is not a thing when White fans “allow” it. Take this recent trend with Miku. International Miku was beloved! But if you draw any other character as Black on any other day, there will be people that are horrid about it. Ask any artist, Black artists and Black cosplayers especially, who’s ever done it what their comments are like. I’ve read entire missives akin to white supremacist drivel on how it’s somehow morally wrong to make characters Black. Meanwhile no amount of “hey maybe you shouldn’t do this” prevented the movie Gods of Egypt from being created, with a cast full of British White people.

Solutions to Avoiding Whitewashing!

1) Using References!!

Do I think you should know what Black people look like? Yes. We’re humans. It’s 2024. Everyone knows what we look like when it’s time to hate and discriminate against us, so you know what we look like when it’s time to love and depict us. If you’re on Tumblr, you have access to the Internet. ESPECIALLY if you’re in the U.S., as Black people are the source of damn near every piece of online pop culture. If you can find my dialect to make my jokes, you can find pictures of me.

Would I rather you use a reference every single time so that you can only strengthen your depiction of my people? ABSOLUTELY.

Anyone on the Internet telling you not to use a reference or that you shouldn’t need a reference? Unfollow them. You don’t need that negativity in your life. Why would you deprive yourself of a tool to create? The greatest portrait painters in history had to look at their subjects! You are not getting paid nearly as much to do this as Hans Holbein, and he had to stare at Henry VIII correct else lose his head- you can pull up multiple references. I’d far rather be judged for using hella references than be judged for being a racist!

Part of the issue is people draw what they’re used to, what they’re comfortable with (thus last lesson). But if what you’re used to is not what someone will look like… That’s not okay. Their features are not the issue, your skills are the issue. Learn! Practice! There is no rush. No one is rushing you to be perfect at drawing Black characters, and no one is rushing you to post them. You can just practice! If you’re not a professional, you can take as long as you need to draw! If you need to draw that piece of hair over and over until you feel like you have down the shape, you do that! If you need to use a tool that would draw the hair for you, you get that tool!

If you want to post, you can say you are practicing! If you make clear you are practicing, then be willing to accept that people may have feedback. I’d far rather deal with someone saying they’re unconfident and practicing, than someone posting a whitewashed caricature and closing their ears because “well at least I’m trying!”

2) Empathize! Care about actual Black people when you create a Black character!

Imagine, if you will, in the Twilight Zone: you went to an artist, and you asked for a white character (I typed in “regular looking white dude” on google). There’s hardly ever any white characters, you’re so super excited about this one! You paid good money, because you’ve seen just how amazing this artist creates! They’re so good at drawing characters of color! But no matter how many times you ask, they send you back an image of… Assad Zaman.

That man might be fine as hell! Gorgeous! Beautifully done! Chef’s kiss. Stunning! But… He’s not white. That’s not what you asked or paid for. You can’t even fathom how they mixed this up, they don’t even look alike! And when you confront them, they gaslight you, they call YOU the issue for not understanding how you can’t tell that this is a white man! They would never get this wrong! They have white friends, you’re the racist! But you’re not stupid, and you have functioning eyes- you can SEE what this drawing looks like! And… It’s not you.

It’s dehumanizing. It’s being told that there’s a “better way” to look like you, and that’s by… Not looking like you. You, as you exist, are what’s incorrect. Your identity is incorrect, not their drawing. It’s better to have thinner hair instead of an afro or locs, it’s better to have lighter skin, it’s better to have a straighter, thinner nose over a round one, and smaller lips.

And what makes it worse is knowing that people who don’t look like you? Probably won’t care. They won’t be willing to see- not unable, but unwilling- that playing with this caricature is harmful, that they’re propagating harm by not acknowledging it. They’re letting you know that your humanity means less to them than the clout received with a whitewashed or half-assed Black character, and that people will applaud them for that ‘attempt at inclusion’. And people will applaud! They will be entertained by the mere performance! And that hurts.

I’m going to say this, and it’s awkward and I try not to say it directly on here, but… Having Black friends and/or being around actual, real life Black people would help. I can tell from some of the questions I receive that Black characters and their traits- especially things like our hair and our cultures- are being treated as… alien concepts. But even if, for whatever reason, you legitimately don’t know any Black people, you do not need to know us individually to care about our humanity as a whole! Even if you do not know we’re there, we are, and we could possibly see your work!

By acknowledging Blackness and making room to understand what it means- and that includes how we can look- you are doing the bare minimum of acknowledging our personhood. If you cannot do even that, you don’t need to be drawing us.

Conclusion

Here’s the thing: if you want to draw a white man with tanned skin, do that. Just do it! You do NOT have to erase me to have more of you! There is not a single fandom where the majority of the white fans ever said “gee, not another white guy!” It simply doesn’t happen. God knows we wish it did sometimes. You will always have an audience for white characters. There’s no danger to any of you of “being erased”.

(Without putting on my political hat, I will say that a lot of white people who consider themselves to be far from white supremacist will express beliefs in line with great replacement theory if you push them hard enough. It is unfortunately not as uncommon an idea as you might think. I would do some self-evaluation.)

People are going to notice that you only ever draw white people, but… To be frank, that has never stopped anybody from being successful. Again, Jen Zee, at Supergiant with the terrible dark-skinned characters… Still has a job. at Supergiant. A professional studio. Dragon Age. Multiple games of consistent whitewashing and racist writing. Still going. If racism prevented creation and popularity, I wouldn’t have to have this blog. Alas, that is the society we currently live in.

But if you ACTUALLY want to depict Black characters, if you ACTUALLY want to do right and be respectful- not because you want the clout, but because it’s the right damn thing to do- then you need to commit! This means drawing them as they are meant to be! Accept that you’ll likely lose some fan base, who was there (whether they were aware of it or not) for the white and lighter skinned characters. Accept that this means that trying to appeal to those people by whitewashing characters is 1) wrong, 2) racist, which is 3) something you chose to do when you could simply have just… Drawn more white people.

I’ll say it again: antiracism is hard. It’s hard doing the right thing in a society that rewards racism so easily. It’s really hard knowing that people will stop supporting you or caring as much about your work when you start including Black characters as actively as you do white ones, especially if you start talking about the importance of it. But in my honest opinion, I’d far rather be someone that cared about others, with genuine fans, than someone that was racist for the fleeting internet clout of strangers. And that may be less ‘hopeful’ than I normally am in these lessons, but… People make choices. And people who have been informed- as you are now- are aware of the choices they are making. It’s the thought that counts, but the action that delivers- let’s choose better actions.

[runariya]

Beyond Probability JJK (m.)

summary: Matching with an idol? Unlikely. But with a 99% compatibility? Beyond probability. pairing: idol!Jungkook x f!reader genre: idolvers, S2L, fluff, smut rating: 18+, MDNI! warnings: fluff, fluff, a bit of self doubt, fluff, fluff, explicit sexual content, shower sex, unprotected sex, pls lmk if I forgot smth word count: ~ 4k

a/n: It’s a rly cute and short oneshot, light and mainly fluff, nothing too deep, no big words etc this time. Just had to get it out of my system since the idea’s been on my mind for months now (unedited bc I fell ill halfway through writing it 🤒)

a/n 2: This work is purely fictional. All characters and events are entirely imaginary and do not reflect reality. No translations are allowed without permission. Thank you for understanding! 💕

Your biological clock’s ticking—has been for some years now—and even though you’re only now nearing 30, you’re painfully aware that the life you pictured as a kid might never come true.

It’s not like you’re unstable in who you are or what you’re doing. You’re fairly successful at your job, you’ve got your own place, and you’re more social than most people these days. Still, you’re only what most would call average-looking, and even though you’ve got a good career, you’re too soft to keep it up forever. You picture yourself more as a loving wife and mother than a corporate boss bitch climbing the ladder of success.

That’s also why your dating life has been rocky all along. Men see what you put out there, but they don’t like who you really are or what you want from life, which has left you single for most of it.

So, when a new project starts—after the K-pop industry finally acknowledges that idols need partnerships and a life of their own, and fans finally understand that these people are human too, that they deserve to experience love and happiness like everyone else—you decide to take your chances too.

Funnily enough, all the labels have teamed up, hiring not only the best scientists and psychologists from Korea but from around the world to create a program that can find ideal matches for their idols. Sure, science shouldn’t determine who you fall in love with, but… what if it could?

After being pre-selected—just to confirm you’re not some crazed fan—you’ve spent over two weeks going through tests. Recorded interviews, personality assessments, even physical evaluations… now you’re staring at your company’s computer screen, listening to Dr. Song explain the results through the phone. 

“Ninety-nine percent?”

“Yes. The chances of such a high compatibility score are next to impossible. We see it as a perfect match and would like to introduce you to your match.”

“Sure, of course.” Even though your voice is steady, you can feel your nerves flaring up like never before.

“Is tomorrow at 8 p.m. alright for you?”

“Yes, that works for me.”

“Perfect, we’ll see you then.”

Well, joke’s on you, you didn’t expect this outcome. 

Meeting an idol feels surreal, and the closer you get to 8 p.m. the next day, the more you can feel the anxiety and doubts inside you rising. Every last detail in Dr. Song’s calm, clinical rundown replays in your mind, the ninety-nine percent match, the endless rounds of testing, the surreal realisation that, somehow, all those numbers and algorithms miraculously spat out a name next to yours. 

You want to trust that there’s a reason for this, that somehow science isn’t just working with chance, but the tension of actually meeting someone this special is so overwhelming you barely notice yourself entering the lab building until you’re standing outside Dr. Song’s office.

“Right on time,” she chirps, giving you an approving nod. She seems to sense your nerves, and as she leads you down a hallway you’ve never been before, she gives you a reassuring smile. “I know this is all a lot. But he’s likely feeling the same way. The tests told us that he’s, well, quite like you.”

Her words would make you laugh in any other situation, though disbelief and a strange kind of comfort floods through you still. Like you. An idol, standing here in a lab somewhere to meet some random stranger, feeling just as out of place as you. You’re not sure of that but still like to think it must be true. 

You don’t have time to process it fully before you’re led into a quiet room with yellowish walls so plain they almost blur in the corners of your vision, a low, comfortable couch and a couple of chairs standing there and none of the lab equipment that surrounded you in the testing rooms all those weeks ago. 

And then you spot him, sitting on the couch, alone. He stands the second you walk in, hands half in his pockets, a slight, almost unsure smile grazing his lips as he glances down at you. He’s got that casual look about him, the same dark eyes you’ve seen a hundred times on a screen that somehow feel warmer and more human here. 

He looks not quite better than he does on screen, but not worse either. Somehow, he’s realer, if that’s a word—close enough that you can see the little flecks of colour in his irises, the slight tension in his posture, the faintest trace of nerves hiding under his composure.

“Hi.” Jungkook’s voice is lower, softer than you expect from an idol. “Nice to meet you, I’m Jungkook.”

“Nice to meet you too. I’m ___.” There’s a pause, and you can tell he’s just as unsure what to do with the space between you two as you are. The click of the door makes you turn around briefly, only to realise Dr. Song has left you both alone. “This is, um, weird, right?”

He nods, a quick, breathy laugh breaking through. “Very. I mean, this isn’t exactly a ‘normal’ kind of meeting, right?”

His words are awkward but disarming, and suddenly, you’re aware of all the tiny, meticulous details of him that somehow make him feel more relatable than his polished, on-screen persona. The way his hand keeps moving to rub against his thigh or abs, his tongue playing with his lips and piercing ever so slightly—everything about him is familiar but also somehow close enough to feel completely new.

“I don’t think I was ready for this,” you admit. You aren’t really talking to him but more like letting your own thoughts slip out in the safest way possible, like saying it makes it feel less absurd.

“Honestly, same.” He laughs, and you think there’s a light flutter in your chest now. “I kept thinking about this whole ninety-nine percent thing. Like… how does that even work? Isn’t it supposed to feel, I don’t know, obvious? Like you know the moment you see someone?”

You nod, understanding exactly what he means, and somehow you move on autopilot, walking towards him and sitting down on that couch with him beside you. It feels like you should both somehow know, like there’s a sign or an instant connection, something that would make all of this feel simple, easy. But it’s just the two of you in a quiet room, barely knowing each other, held together by nothing but a number on a report.

“Yeah, that’s so wild. I didn’t think I’d have a match, this close to a hundred even less. Might be a glitch if our score is this high.”

Jungkook nods with sparkling eyes, seemingly relieved by your honesty and humour. “Yeah, I get that. I kept thinking about it too. Wondering if maybe the tests were wrong, or maybe I was just…thinking too much.” He lets out a sigh, his gaze meeting yours for a long, meaningful second. “But I think maybe this is about finding out, right? Not having it all make sense right away.”

“Hm, makes sense.” You giggle, because what else can you do in the presence of him.

The two of you sit there in a momentary silence, as if testing each other, feeling out the small boundaries that keep you both distant.

“So, what did the report tell you about me?” You ask the question half-jokingly, trying to break the quiet, but also curious. You want to know what he knows, how much of this supposed ninety-nine percent compatibility is actually something that either of you feel. 

He lets out a silent breath, looking down as if slightly embarrassed. “Honestly, not as much as you’d think. They told me you were kind of… soft-spoken but resilient? And that you have a job that’s, uh, stable and…” He trails off, the tips of his ears slightly pink, like he’s embarrassed to keep going.

“And?” You can’t help but push further—not maliciously, just way too curious and playful for your own good. Jungkook’s expression shifts from embarrassed to surprised, and then to a look that’s just as playful.

“And that we’re, apparently, very much sexually compatible.”

Really, you should be the one feeling embarrassed or shy now, but you can’t help the laugh that slips out. You know exactly what he’s hinting at—your report clearly showed the same.

“Well, it might be not wrong. And they told me…” You pause, realising that you barely remember the details in the face of the reality in front of you but alas. “They said you’d be a good match because, I think, there was something about humour?”

He chuckles, shaking his head. “Humour? Never heard of it.” And it makes you laugh all over again. “I feel like they just told us things we’d want to hear, to make it seem easier and normal.”

His words hit close to home, but they’re strangely comforting in the way he says them. You reckon, he’s just as bewildered by this as you are, maybe even more so. And somehow, in the middle of all the awkwardness, you find yourself genuinely smiling at him, naturally gravitating towards him, finding that there’s a softness and reassurance in his gaze, a gentleness that cuts through your nerves like a knife through melted butter in the sun. 

You start talking more freely after that, exchanging stories that are too mundane to make sense in any real context but feel right here. You tell him about your last trip to the beach, how you got sunburned and spent the whole evening sitting on your balcony, nursing it with iced water and aloe, wishing for a helping hand that you didn’t have. He laughs, nodding along as if he can picture it exactly and tells you about how he tried to make pasta he ate in Italy for the first time a few months back and ended up burning the whole batch, because no one was by his side, so badly his kitchen smelled like smoke for days.

The more you talk, the more you notice the little things about him that aren’t so polished, aren’t so perfect, and make him feel more human and real than anyone you ever met. He has a way of listening, eyes intent on yours, like he’s trying to pick apart every word to understand it better. When he laughs, it’s with his whole face, even body, not the careful, composed look of an idol but a natural, carefree laugh that makes you feel like maybe he’s as relieved as you are to be here, to have someone he doesn’t have to impress. 

At some point, you both lapse into a comfortable silence, each lost in your own thoughts but somehow still connected. The tension from earlier has faded away, replaced by a soothing aura you know you don’t want to miss for a day in your life.

Eventually, Jungkook glances over at you, his eyes sucking you in without much resistance. “I kept thinking this would feel forced, you know? Like we’d be sitting here, struggling to find anything in common.” He leans back, drapes his arm around the back of where you’re sitting, glancing up at the ceiling as if searching for the right words. “But… it doesn’t feel that way. You feel… I don’t know, right?”

The slight flutter in your chest has now swelled into a full-blown hurricane, and you’re not sure if it’s that ninety-nine percent compatibility causing it. But you don’t let yourself think too much—not when you’ve both been inching closer with each word, not when you take a chance and lean in, resting your head against his side. Especially not when his arm settles directly over your shoulder, pulling you a little closer, his other hand finding yours, fingers intertwining just to see how it feels.

“Yeah, it feels right. I really like this.”

As you absently play with his fingers, breathing in his scent for the first time and deciding it’s like heaven, you let yourself trust science. Because this feels like exactly where you’re meant to be.

While the first meeting with Jungkook went better than you’d ever hoped, you’re painfully aware of your overthinking nature. Overthinking in a way that makes it painfully clear there are countless women out there who, on the surface, would seem a better visual match for him than you.

Overthinking to the point where you wonder why Jungkook would even need matchmaking when he could so easily choose a partner on his own. It’s also why staying focused at work isn’t exactly easy today, knowing that soon his label will be sending a car to pick you up for your next meeting with him.

You understand the precautions they’ve taken and completely agree it’s better to meet in a private, safe space rather than making headlines this early on. That’s why, as the tinted car arrives, you feel a bit more at ease than you have all day.

Soon enough, you’re driving down the path to the label’s underground garage, and while you fix your makeup real quick, the car comes to a stop. The driver nods and guides you towards the lift, where the lights are dim and everything has this quiet, professional atmosphere you’ve only seen on screen.

You try to take it all in, letting your thoughts settle just a bit more as you follow through to the hallways upstairs, past doors labelled with room numbers and studios, and then finally, you’re outside the door to Jungkook’s studio, right where you’re supposed to meet.

Your heart beats a little faster as you hear Jungkook’s familiar voice call out, “Come in,” and when you open the door, you find him leaning casually against the chair before his equipment with an easy smile that somehow manages to be both happy and slightly flirty. 

Again, Jungkook’s dressed just like uniquely him, with a few silver rings glinting on his fingers. And while you didn’t think he’d even get up to greet you, he steps forward and embraces you in hug so tight, it leaves you drowning in him. 

“Hey,” he greets with that disarming grin, eyes boring into you, taking in your formal work attire, as he gestures to the coffee set up besides his laptop. “Hope you don’t mind the casual vibe.”

You laugh a little, settling onto the free chair beside him, feeling a bit strange but somehow not. “I think it’s perfect. And to be honest, I don’t think I’d cope well with the whole five-star dining treatment and whatnot.”

He laughs, nodding in agreement, taking your purse from your hands and draping it casually over the back of his chair. The fact that he’s still so attentive, even though he’s clearly in his element here but completely relaxed, is rather fascinating and pulls you in even more.

Like the day before, talking with him comes easy, and while there’s nothing groundbreaking in your conversations, every word feels meaningful in the bigger picture.

Eventually, you feel yourself relaxing like you were at home by your own, getting comfortable enough to let out the thoughts that have been swimming in your head since last night. “I’ve thought a lot about how all of this could play out,” you admit, taking a sip of your coffee, trying to find the right words, though knowing there won’t be any wrong words when talking with Jungkook. “And honestly, I’m not really interested in taking things public if they did work out. I know that’s probably strange to say, but I’m not cut out for the spotlight.”

He tilts his head, watching you thoughtfully. “No, it’s not strange at all. I get it.”

A small smile tugs at your lips as you go on, “I just want something real. A partner who’s loyal, someone who’s there because we get each other, not because we’re some public ‘it’ couple, parading around every chance we get. Does that sound crazy?”

He shakes his head, while he swings from one side to the other.  “Not at all. That actually sounds perfect to me.” There’s a sincerity in his tone that makes you feel, for the first time, like there’s some truth to your report. “The whole ‘idol’ thing is just a job. It’s not who I am, not at the core. And having someone who sees it that way, is what I want too.”

It elates you to know that you could have something like this, with him,  someone you could genuinely share your life with.

Then, in a thoughtful voice, he asks, “What do you want for the future? I mean, outside all of this.” 

You take a breath, feeling a little nervous but wanting to be honest. It’s not like it’s news to him, seeing that this information’s written in the report he was handed. “I want something traditional. A home, a family, maybe staying home with kids, having that steady, grounded life. It sounds simple, I know, but it’s what I’ve always pictured.” You look up at him, expecting maybe a hint of judgement, but instead, you find him nodding, his eyes lighting up like a candle in the night.

“I don’t think that sounds simple at all, but meaningful.”

A shy smile forms on your lips as you add, “Sometimes I feel like people don’t see that side of things anymore, you know? Like everyone’s so focused on careers and success and everything else… and I get that, I do, but I’ve always just wanted something steady. Something I can hold on to.”

His hand finds yours, his fingers like second nature intertwine with yours, and the gesture is so simple yet so heartwarming that you feel like squealing out of happiness. “That’s exactly what I want too.” It’s nothing new to you too, but him saying that, seeing the honesty in his eyes, is better than any data shown to you. “I want that sense of home.”

You feel yourself falling a little harder, a little faster, and maybe that scares you a bit. You’ve seen the kind of attention he gets, the kind of girls that throw themselves at him, and it’s hard not to let those doubts creep in. Especially now. “I know this probably sounds insecure,” you start awkwardly, glancing away, “I think, I don’t know, maybe I’m not the kind of person someone like you would go for. I mean, you could have anyone, and not just because you’re an idol.”

He gives your hand a gentle squeeze, his thumb tracing soothing circles against your skin. And while his mouth opens to say something, the pull against your hand surprises you as much as him settling you in his lab. “Hey, don’t think like that. I’m here because I want to be. And trust me, I’m not looking for ‘anyone’. I’m looking for someone who gets me. And that someone is you, no?”

The look in his eyes is so genuine, so unguarded, that it’s hard to keep your heart from doing all sorts of stunts. He’s not the polished idol right now; he’s just Jungkook, being flirty, being compassionate, being so him, sitting in a cosy studio with his tattoos, his piercings, his moles, his beautiful smile, his whole presence more comfortable and inviting than you could have imagined.

And as he sits there, looking at you like you’re the only person in the world, you realise that you definitely don’t have to doubt this. Maybe it’s okay to let yourself believe that he’s here because he wants to be, that he’s falling for you irrevocably just as you’re falling for him. 

“Sooo… that means?” You know you need to be brave now, because if this isn’t a dream, you’d never forgive yourself for not taking the leap.

“That means, if you want to, I’d love to have you as my girlfriend.”

“Isn’t it a bit rushed?” You don’t actually think so, but you still need to be sure.

“I’m all in if you are. I don’t want to waste any more time, and even though it’s just a report, I can feel there’s real truth behind it.”

Fast forward seven months, and you find yourself pressed against the shower wall like you do every night. But this time, it’s different—just hours ago, you made your first public appearance on a music show with Jungkook, just because you both felt ready, where he was not only nominated for Best Singer of the Year but won as well.

“Koo, right there, right there.”

It still amazes you how his cock seems to find your g-spot as soon as he enters you, though you wouldn’t want it any other way.

“Yeah? Right there, hm? Or is it…” he trails off, shifting his hips ever so slightly, making you realise he’s actually hit the centre point of your g-spot now, his hard, unrelenting thrusts pushing you over the edge without warning.

“Oh my goooddd,” your eyes roll back, mouth hanging open against the cool shower wall, as your cunt keeps gripping him even though it’s already creaming around his cock.

“Good girl, keep going, love. Show me how many you can take tonight.”

There’s nothing you can do, not that you’d want to do anything other than let him rearrange your insides. Especially not when his tattooed hand finds its way from the back of your hair to your jaw, tilting your head to the side, giving you the perfect view of his upper body—rivulets of water cascading down his chiselled form, lips parted, eyebrows furrowed. 

He’s the epitome of perfection. Not just a ninety-nine percent but a hundred. 

His eyes, though hooded, bore into your soul as his hips pick up the pace. It’s this connection you share with him make being with him feel so special.

“Koo…”

“I know, love, just a bit more. Can you be a good girl?”

“Yes,” you moan, because hell, you can. “Yes, for you…ah, winning the trophy.”

Even though you shouldn’t feel his cock twitch with the pace he’s set, you do, realising instantly what he needs tonight.

“Best singer, Koo…fuck…best boyfriend, only fucking me when, hmm, the whole world wants a piece of you.”

“Only you. Always you, ___, love.” You think you catch him licking a drop of saliva from his lips as he stares down at where your bodies connect, sending another wave of arousal from your stretched-out hole.

“You’re so big.”

“Just for you, fuck, squeeze a bit more.”

It’s not that you did it on purpose, but when his hand shoots down to your clit, circling it just right, your body responds as though it’s never felt this good, soaking him even more and gripping him tight as a vice.

“Like that, love, like that.” Jungkook grunts and pants, holding you harder, tighter as his cock seems to swell even more, pumping frantically in sync with your impending second orgasm.

When Jungkook can’t hold back any longer, it’s all you need to let go too, the rush flowing through your veins just as fiercely as the love you feel for this man.

After some time, Jungkook pulls out, helping you straighten up and lean against his chest under the stream. His veiny hands trail down your body, washing away his release dripping out of you, as he plants kisses along the side of your face.

When he’s had enough, he, like always, turns you, brushing the wet strands of hair from your face. And as you do the same to him, captivated by how content and in love he looks, you can’t help but feel like the luckiest girl in the world when, for the first time, Jungkook declares his feelings.

“I love you, till the day I die, ___.”

“I love you too, and beyond.”

Because this, because having Jungkook calling you his, is beyond probability.

a/n 3: lmk what you think in any way you like! 👀 If you liked what you read, pls consider buying me a ☕️ Ko-fi.com/runariya 💕

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[spicyhamsamson]

I am. So fucking tired of Batman being portrayed as a bad parent and a toxic person. And it’s so goddamn widespread. Fuck, it might be as bad as the whole “Superman being a kindhearted Boy Scout is boring” take.

I get it, the man’s not exactly stable, he watched his parents get murdered in front of him and spent years of his life training to fight crime dressed like a giant scary bat, of course he’s not perfect.

But to say that Bruce Wayne isn’t caring, isn’t empathetic, to call him abusive…it just misses the point of who the character is to me.

Why do you think he fights crime? Yes, part of it is because he’s bitter and sad because his parents were cruelly ripped from him as a child, and he’s lashing out against the corruption of his city. It’s arguably the focus of his earlier years. But he learns to become more than that. He learns to bring hope, a chance to be better.

Harleen Quinzel is the Joker’s right hand lady, but she’s also a victim of an abusive relationship and a woman with a surprisingly strong moral compass and a love for animals, and wants to get better. That’s why we see time and time again that he has a noticeable soft spot for her, because he knows that she’s a good person at her core.

Harvey Dent is a man who will decide someone’s fate on a coin toss(and a pretty inaccurate depiction of DID), but he’s also Bruce’s close friend who clearly needs help learning to live with his condition, rather than try to get rid of it, and someone who he still goes out of his way to visit, even after everything, because he recognizes he’s not just a criminal with a weird gimmick, he’s a man who is struggling with a condition that he’s mishandled his whole life.

Victor Fries is a cold, emotionless man who will callously discard allies and blame them for being careless, but he’s also a man who’s either lashing out because he had the love of his life taken from him, or just desperate to make sure she isn’t taken from him, and is willing to do anything just to guarantee her survival. Of course Batman would understand, his whole life was defined by having people he loved taken away from him.

Even the Joker, arguably one of the most morally bankrupt characters in all of fiction, is someone that Batman has offered a chance to. After the guy shoots the daughter of his friend, a girl he cared for like she was his own kid, and paralyzes her from the waist down, he tells the Joker that he doesn’t want to hurt him. He wants to get him help. He looks at this monster who has taken countless lives and says “You don’t have to be alone.”

For fuck’s sake, he sat with Joe Chill in his last moments so that he wouldn’t be alone. Joe Chill, the man who murdered his parents, who took so much from him, the person responsible for all of the misery and suffering he’s gone through. And he sits with the man to comfort him while dies. Do you know how much emotional intelligence and maturity that must take? To comfort someone who arguably ruined your life?

And you’re gonna tell me the man who did that would abuse his kids?

That he’d hold up the young man whose death was his greatest failure, the boy he grieved, and say this?

That he’d look his goddamn son in the eyes and say this to him?

Why the FUCK do you think he took in Dick Grayson in the first place? It wasn’t because he saw the kid and thought “Ah. A potential soldier.”, it was because he saw a boy experiencing the same heartbreaking loss he had so many years ago, and wanted to make sure he didn’t end up as bitter and miserable as he was.

Why do you think he smiled when Tim Drake presented him a broken watch for Father’s Day? Because he was just happy to see the boy alive and safe.

DAMIAN LITERALLY POINTED AT A COW AND SAID “I’m keeping her. She’s Bat-Cow.” AND BRUCE JUST WENT WITH IT. DIDN’T EVEN NEED TO ARGUE WHY BRUCE SHOULD LET HIM KEEP HER. HE SAID “this cow is my pet now” AND BRUCE SAID “aight, bet”.

The thing about Batman is that he wants to make sure nobody else ends up feeling the way he does. That’s not just about stopping a mugger so a boy’s parents aren’t gunned down. It’s about giving his loved ones the support and care that he couldn’t have, because it was taken from him. It’s about comforting someone who just went through a traumatic experience and letting them know that they’re going to be okay. It’s about going to someone locked away in a cell who thinks that they’re a lost cause and a burden to society and telling them that he wants to help them get better. It’s about EMPATHY and COMPASSION.

That’s what makes him a HERO. He’s meant to inspire us, to show us that we can have that same empathy for others around us, that we can turn our suffering into hope for a better future.

I just wish more people at DC would start recognizing that. But I might as well follow that example myself. Maybe through this struggle of having to see this hero mistreat the people around him and act like a grade-A jackass, people will start to recognize that missing compassion, and slowly but surely, it might come back. After all, what is this post, if not trying to bring attention to the matter in the hopes of fixing it?

[literaryvein-reblogs]

Any advice for figuring out how to work on writing characters arguing?

I’m just curious and also I mistakenly derailed part of my writing over struggling to write a scene of characters starting an argument that was meant to escalate.

Writing Notes: Arguments

Arguing is full of tension.

Even benign conversations between friends so often belies subtextual personal agendas that are antagonistic or covertly full of anger or upset.

Honesty itself sometimes is the product of extreme tension and upset.

One’s resistance to telling the truth to another or admitting to oneself a truth can be excruciatingly tense and stressful, even between lovers.

SIDESTEPPING

You instantly create conflict in dialogue when you avoid “on the nose” responses.

On the nose means a direct response, sometimes even echoing the previous line.

You can avoid direct response:

With a statement that is unrelated to the prompting dialogue

By answering a question with a question

With a line of dialogue that is going to need some explanation

Also consider using silence:

“Are you ready to go, dear?” Bob asked. Sylvia said nothing.

Or use an action response:

“Are you ready to go, dear?” Bob asked. Sylvia picked up the mirror.

OPPOSING AGENDAS

Always know what each character wants in a given scene.

If a character in a scene is just taking up space, give him an agenda or get him out of there. Or cut the scene entirely.

Scenes require conflict or tension, even if it’s subtle.

Before you write the scene, note what each character wants.

Then spend a few moments playing with those motivations.

List 3 other possible motives for each of the characters, then mix and match to decide which ones will make for the best conflict.

It is also important to create tension among allies.

One of the danger points in fiction is when two friends, or people who are at least on the same side, have a talk about what’s going on. The trouble is there might not be any trouble between them. So much of the dialogue becomes a friendly chat.

This will violate Alfred Hitchcock’s axiom (Hitchcock once said that a good story is “life, with the dull parts taken out.”).

The fastest way to handle it is to make sure there is tension manifested from the start.

Create tension in at least one of the characters, preferably the viewpoint character.

Example: When you have Allison meeting Melissa, her college friend, for coffee, don’t have them sit down and start talking as if nothing’s wrong in the world. Put the trouble of the story into Allison’s mind and nervous system and make it an impediment to her conversation with Melissa. In Melissa, place something that might be in opposition to Allison’s needs. Allison needs to ask Melissa’s advice about a crumbling marriage. Maybe Melissa is full of news about her sister’s impending wedding to a wonderful man and gushes about the prospects.

Spend some time brainstorming about the ways two friends or allies can be at odds. Then weave those things into the dialogue.

DIALOGUE AS WEAPON

Look for places where you can use dialogue as a weapon, a means for your characters to charge ahead in order to get what they want.

Keep in mind that dialogue is action.

It’s a physical act used by characters to help them get what they want. If they don’t want anything in a scene, they shouldn’t be there.

Note that not all weapons are explosive. They can be small and sharp, too.

PARENT-ADULT-CHILD

A great tool for creating instant conflict in dialogue is the Parent-Adult-Child model, popularized in the book Games People Play by Eric Berne (1964). This school of psychology is called Transactional Analysis.

The theory holds that we tend to occupy roles in life and relationships.

The 3 primary roles are Parent, Adult, and Child (PAC):

The Parent - the seat of authority, the one who can “lay down the law.” S/he has the raw strength, from position or otherwise, to rule and then enforce his/her rulings.

The Adult - the objective one, the one who sees things rationally and is therefore the best one to analyze a situation. “Let’s be adult about this,” one might say in the midst of an argument.

The Child - not rational, and not with any real power. So what does s/he do? Reacts emotionally. Throws tantrums to try to get his/her way. Even an adult can do this. We’ve all seen clandestine videos that prove this point.

So it is a helpful thing to consider what role each character is assuming in a scene.

How do they see themselves? What is their actual role? (It may indeed be different than what they perceive it to be.)

Most important, how will they act in order to accomplish their goal in the scene?

Answering these questions can give you a way to shape your dialogue so there is constant tension and conflict throughout.

Also consider that the characters might change their roles (try something new) in order to get their way. Thus, this is a never-ending source of conflict possibilities and only takes a few moments to set up.

TIP ON DIALOGUE

Look at all of your dialogue exchanges, especially ones that run for a page or more.

Analyze what roles the characters think they’re inhabiting.

Rework the dialogue by getting each character to be more assertive in their claimed role. (Also note that a character can change roles as a matter of strategy. For example, if the Parent isn’t working, a character might switch to pouting like a Child in order to get his way.)

Sources: 1 2 ⚜ More: Writing Notes & References

Hope this helps with your writing!

[miraculouslbcnreactions]

Regarding the post about Marinette being punished for trusting people and the response to it, this is something I always have trouble explaining because it sounds callous? But fictional characters aren't people. It's not that their lives just so happen to get in the way leading to something bad happened the writers decided that should happen, and it's important that you stop and ask WHY this happens. If the camera is "on" per se, people assume it's relevant and will tie into something larger. So like if the camera is on and all we see is Alya revealing her identity and then the result is she's outed in the same way she was in Heroes Day, the audience naturally concludes it's connected and thus realizes the lesson is either "Alya learns she shouldn't share her identity" OR "Marinette learns she shouldn't trust people" or both.

Secret identities are a great example of this phenomenon. We're NOT shown every time a villain's plan is foiled because they didn't know the heroe's identity, we ARE shown every time a heroe's identity causes friction in their lives. As such, large parts of the audience think of secret identites as inconveniences because that's what's shown (not just in Miraculous Ladybug, in tons of other shows)

Like you are supposed to make connections in Television about what's being shown to you that no one would make in real life (or at the very least no one SHOULD make in real life) because there's a limited space to tell the story and the audience is assuming the writers aren't wasting our time.

If these were real people it would be unreasonable to say because people have their own lives Marinette can't trust them, but in a story where Marinette is the main character who is explicitly always supposed that's. An accurate way to read the story!

And I also understand that this is a very boring construction if you're making headcanons or thinking about these characters! But that's a different lens, it doesn't make the broader writing lens invalid. You're speaking different languages at that point.

Anyway I hope that helps someone, that's my two cents

You summed it up perfectly! There's a ton of valid criticism to be had of Miraculous, but you can tell from the narrative framing that almost all of it comes down to writing choices and not things that are supposed to be seen as in-universe issues even though a lot of fans treat them as such. It's really weird to see things like people complaining about everything revolving around Marinette as if it's a personal flaw of hers and not the result of her being the main character in a fictional world. "Main Character Syndrome" literally pulls its name from the fact that this is how main characters work in a lot of media. It's a flaw when a real person does it, but in terms of story telling, it's extremely normal - and often good story telling - to have everything revolve around your main character or a core cast.

The issue with Miraculous is that they chose a lot of poor conflicts if they wanted Marinette to be the one and only main character, but that's not her fault. She didn't decide to have the rules around identities make no sense. The writers did. She didn't decide to make the main villain Adrien's dad while also keeping Adrien from being involved in the story. The writers did. The list goes on and on and, because none of it reflects badly on Marinette in the writers' eyes, the show doesn't act like Marinette is in the wrong. Remember, these are the same writers who think that Derision was a great episode that added depth to Marinette instead of destroying her character and making her look unhinged. Their judgement is clearly a little skewed.

While the writers love to make bad plot choices, they are generally using proper story telling language to make those choices, which is why I can tell you how characters' actions are intended to be read. The Rena Furtive and Nino example is a great one because it allows me to show that the writers do understand how to set things up. In fact, once they've decided that they're going to do a thing, they pretty much always set it up at a basic level. It's rarely spectacular and often frustrating, but it's never shocking.

In Rocketear, Alya promises Marinette that Nino will never learn about Rena Furtive. The episode then ends with her breaking that promise via the following exchange:

Alya: (sighs) I'm still Rena Rouge. (Nino gasps.) But now I'm in hiding and that's why Ladybug asked me not to tell anyone. Nino: But why are you telling me if no one's supposed to know? Is Ladybug cool with this? Alya: I can't hide it from you, because I love you, Nino, and we share everything.

Look at how this confession is presented. Look at what the dialogue focuses on. When Marinette confessed her identity to Alya, it was all about the confession and supporting Marinette. There was no discussion of this being a problem for Chat Noir or anything like that because - in the writers' eyes - that wasn't a problem for some reason. This is why Chat Noir almost instantly absolves Ladybug of blame once he finds out about the identity reveal (see: Hack-San.) The writers didn't want it to be an issue so it wasn't:

Ladybug: I'm really sorry, Cat Noir. I should've told you. I mean, if I found out that you told someone about your secret identity, I'd... probably be upset, too. I'm really sorry I hurt your feelings. Cat Noir: You didn't hurt my feelings. You did everything right

But when Alya confesses her identity to Nino, the conversation is not just about her confession. It's about her confession and how she's not supposed to do this. That's why Nino's response is not loving support. Instead, he asks if this is a good idea and if Ladybug knows.

These things are getting focused on because the writers are telling you that this is a bad thing. It's supposed to feel ominous. When I first watched Rocketear, I assumed that the season was going to end with Gabriel getting the fox off of Alya due to Nino because that was an obvious way to raise the stakes and they'd just heavily implied that Nino knowing would be a bad thing. I was, unfortunately, right. The only on screen consequence of Nino knowing is that he outs Alya to everyone in an incredibly forced series of events (see: Strikeback):

(Ryuko successfully prevents the Roue de Paris from hitting them, yet, it flies to the direction where Rena Furtive is. This causes Carapace to panic.) Carapace: Rena! (takes out his shield) Shell-ter! (Carapace's superpower successfully prevents the Ferris wheel from hitting Rena Furtive on top of the Tour Montparnasse. But the information of Rena Furtive's active status shocks the heroes, as well as Shadow Moth.) The heroes: Rena?! Shadow Moth: (from the top of the Eiffel Tower) She's still active?

Of course the Ferris Wheel goes straight for Alya's hiding spot and of course Nino screams her name before casting his power and of course the villain overhears it. It's all so forced and unnatural, which should make it glaringly obvious how much the writers wanted this to happen. This wasn't something they were kind of forced to do because it made sense for the narrative and they wanted to tell a good story. Instead, they wrote an awkward series of events because they really, really, really wanted Nino knowing to be a bad thing that outs Alya so that Marinette loses all of the miraculous even though none of this makes much sense.

How the hell did Gabriel hear Nino's shout from so far away? Is he able to overhear everything the heroes are saying? How does Nino even know that Alya is hiding there? And since when was a Ferris Wheel a threat to these guys? Your girlfriend is a magical girl and she's in her magical girl form, dude. You could drop a building on her and she'd be fine, a thing you have to know because this scene literally goes on to have Chat Noir go flying into a building, hitting it so hard the cement literally cracks, and no one really cares. I guess it's fine if Adrien is a punching bag, but Alya must be protected at all costs...

Anyway, while the above series of events was annoying, none of it was surprising. In fact, it would have all be perfectly predictable even if Alya outing herself was that treated as a more neutral event. Her choice leading to bad things falls perfectly in line with a truly bizarre running theme in the show: outing your identity to the person you love romantically is a bad thing that leads to bad consequences. That's why Chat Blanc and Ephemeral ended the world and why Nino knowing cost Ladybug the fox and why the character they call Joan of Arc has to give up her miraculous to be with her love and why the Kwami's have this absolutely asinine dialogue in Kwamis' Choice:

Plagg: Sugarcube! Having to force them to choose between love and their mission is just awful! Maybe Master Fu was wrong to choose them. Tikki: No, they’re made for each other. Love is what gives them their strength. Plagg: But the impossible part of that love is destroying them, and I know a thing or two about destruction. Tikki: (sighs heavily) What can we do? Plagg: We must free them of that impossible choice. We must… free them of us.

This is the voice of the author telling you that outing the identities is not and never will be a good choice for the love square. Never mind that Alya is allowed to know Marinette's identity or that Gabriel finding out is what actually ended the world in the alternate timelines or that Felix outted himself in public but is still wielding or that freaking Gabriel was allowed to know half of the temp heroes' identities while they were still actively wielding. For some reason, those things don't matter to the narrative, probably because romantic love wasn't involved. The "identity reveals are a bad thing" rule only seems to apply when romantic love is a key element to the point where it's a reoccurring theme in this supposed power of love show.

[artsekey]

Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

 When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”).  She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too!  Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

              What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

              But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

              In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

              While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.  

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

              But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

            It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

 But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

              Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

              It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

              They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

 The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

[tls12lessthan3]

can i tell you guys about my interpretation of a no-scenarios relationship between kim dokja and yoo sangah. im gonna do it anyway. the thing about a no-scenarios relationship of any kind between kim dokja and yoo sangah, for me, is i really think it would be so difficult for a genuine connection to form between them because kim dokja ultimately dehumanizes and fictionalises her the same way he does yoo joonghyuk. like his specific brand of dissosiation works as him viewing the world through the lens of fiction and he applies that so heavily to yoo sangah when we first meet her. she and him already have some vague form of relationship by this point - i would not call them friends but he moved those cameras for her! he kept her secret! and she knew and trusted him to an extent. that is on top of their teamwork in the job interview.

but we know none of this when we first meet yoo sangah because dokja views her as a heroine who would never cross genres with him, and he erases their history together in the process. he does the same thing with her putting pepper in her boss's coffee - thats not something a perfect pretty heroine would do so we have no idea she did it until she tells us, because kim dokja sort of - filters it out. he smoothes down the edges of her reality as a person and all the 'out of character' things she does into an easily digestible character he can push away as 'from a different genre'. and this is a massive fucking disservice to yoo sangah!! for the same reasons what kim dokja does to yoo joonghyuk is a massive fucking disservice to him!!

shes not a heroine! shes not perfect! shes not from a different genre! shes just a person and she wants to be your friend! i think if they were friends outside of the scenario kim dokja would a) try and push her away and more interestingly to me b) he would continue to try and slot her into his worldview as a 'heroine protagonist' and i think that would really grate on her. especially considering how the role kim dokja creates for her has some parallels to the one her parents made for her. kim dokjas lesson over orv of coming to understand the 'characters' as people is analogous for the one he would need in real life - just like his relationship with yoo joonghyuk couldnt reach its peak until he stopped viewing him as a character, he would need a similar journey of realization to start really understanding yoo sangah. its only then i could see them getting really close.

[theriverbeyond]

how exactly is John lying (/about what) and is that the worst part of him and how explicit is it in the books? i often dont understand general/fandom characterizations of fictional characters and HtN is definitely not the book I paid the most attention in, so I just wanna see if I missed something wholly obvious

So John is a Lying Liar Who Lies, and I think the most damming evidence for the sheer enormity of it all is this bit in HtN, page 482:

Many of the things John says are like, him reflecting or discussing things only he has memory of, with no one left to dispute his version of events, and it's clear that he has long ago lost the "objective truth" of his own history--some of this is likely the side effect of being alive for ten thousand years, but a lot of it is probably due to the fact that he doesn't want anyone to know what actually happened. HtN p. 158:

John is talking to Harrow here, but to Me, he is also reassuring himself. He KNOWS that people would judge him for his actions, and alters the stories he tells accordingly. Nobody has to know. It happened, and he can't undo it, and they wouldn't understand. He's motivated to lie, he's capable of lying, and he himself has stated that he believes that there is no difference between the truth, and the truth he tells himself. Because he's God.

Anyway. re: "how explicit is it", a lot of the times where we know for sure John is telling an untruth, he isn't directly lying per say, but rather misrepresenting events to such an insidious extent that it is functionally the same as lying. Here is a short and incomplete list:

All the times Harrow begged him to protect her from G1deon the First, and John was like sorry I can't do that, when in fact JOHN was the one who ordered G1deon to attack Harrow

Changing the names of all his friends and not telling them what their previous names or personalities were (and if he didn't tell them that, it's very reasonable he may have kept other things from them as well)

Saying that the House of the First was killed by "rising sea levels" and a "massive nuclear fission chain reaction" when the Earth actually died because John initiated a nuclear standoff, and then set off a nuke. like yeah what he said was technically the truth, but it also served to paint an extremely different picture when compared to what we learn in NtN

In NtN, in the dream, John tells Harrow about the time he killed all those cops, and he mentions that when it happened he was like "I swear to God, I didn't know what I was doing" "I freaked out, it was an accident", "I made a mistake". and then like half a page later he tells Harrow "Come on love. Guys like me don't have accidents"

Saying he ate peanuts "discreetly", and "the once"

"is this the worst part of him" I think that is up to you, I really like the layers this adds to the story. So much of NtN is literally just John telling Harrow/the reader a story, and we know he misrepresents events and tells untruths and is motivated to protect his own image and no longer sees a difference between the truth and the truth he tells himself. So it's like... we are getting all this info about what happened pre-appocalypse/resurrection, but how much of it is REAL? How much of it is reliable? How much of it would match the story if anyone else was alive to tell their side? It is so interesting to me. It's like a hefty peanut butter filled kong, to me.

[bacchicly]

A few imperfect thoughts about writing fat characters respectfully

By me :

A short (5'2"), fat (approx 300 pounds), middle aged (turning 42 thank god), married to not a fat man, mother of a pre-teen, white, CIS, Anglo, Canadian, upper-middle class woman who writes fic (including smut) about a character who is fat by TV and Hollywood standards (Penelope Garcia)

Note: fat hate or debates about whether being fat is healthy or not will not be tolerated on this post. That is not what this post is about. This is about giving some insight into what writers may want to consider when trying to respectfully include more fat characters in their work and generally moving towards writing doing less harm to fat people.

This post started with me wanting to respond to someone honnestly asking "how do I write good descriptions of fat people" because they wanted to write more fat characters and write them authentically (and I assume in a way that would be respectful to fat people) which is an awesome! ...Or maybe it started a few months ago when a writer friend asked about whether a fat character in a fic borrowing a shirt or hoody from her fit boyfriend made sense. ...Or maybe it started way back when I started writing my first fan fic featuring Penelope Garcia partly in response to being irritated about how so many writers wrote her as a young woman and were often silent on her size or spent a lot of time on her insecurities about her body... anyhoo that's where I come from... doesn't make me an expert except maybe on my own unique experience with a fat body...rather more a fellow muddler / fat character writer enthusiast.

THE BASICS

This first part is a quick list of basics you'll read in other posts about writing characters in general - but we'd better get them out of the way because they apply:

Every character is unique and they way they act and think and feel tends to be a product of some mix of what they look like, how their body works or doesn't, how their brain works and doesn't, their "personality", what they were taught, their unique experiences, and the situation/society they are currently in. There are patterns (which is why we get tropes) but the fun thing is that small things can make big differences. So to write an authentic character, it helps to have a fairly clear sense of at least some of those elements and do some imagining about how all of that would funnel into the moment your writing.

The amount to which you describe character bodies and the style which you use to describe them tends to depend on genre, what the heck is going on in your story, the pov you're writing from, the reason you're writing etc. So their are no hard or fast rules. There may be norms for certain styles of fiction, but then it's up to you to decide if it's stronger for you to lean into those norms or to write "against" them at a particular moment.

In order to be more respectful and less harmful to fat people (especially if you see value in actively challenging the anti-fat status quo), you may have to change how you describe all bodies in your work, as well the attitudes both fat people and non fat people have about bodies in general.

Now that that's out of the way... let's get specifically to my thoughts on writing fat characters. I'm going to divide this part into tips for DESCRIBING FAT BODIES, FAT BODIES IN SPACE, and THINKING AND FEELING IN A FAT BODY.

TIPS FOR DESCRIBING FAT (OR OTHER) BODIES

I would say that both consistency and diversity across the work is important, by this I mean :

Consistently describe bodies in about the same amount of detail across your work for the same type of character regardless of body type. So protagonists should get about the same depth and breath of body descriptions as each other regardless of body type. Same goes for vilalns, supporting characters etc. Sometimes people are mute about the look and shape of "strait sized" character bodies (because what's to describe - they are just "normal") but then spend a bunch of time on "other sized" bodies or vice versa (in this case, the fat body is erased usually because of some form of internalised fat hate or phobia paired with "if you can't say anything nice" don't say anything at all.) If you're doing either of these things, I'm not saying it's wrong and has to be fixed- I'm just saying it's a flag that you may want to think about why you are writing differently about different body types and what your work is saying about what bodies have value and which don't.

Diversity Bodies in the real world come in a lot of different shapes and sizes (I know I know obvious woman strikes again) but if you are writing stories with fairly large casts and everyone has the same body type - there better be a good reason for it within the narrative. Truthfully there are cases where this does make sense to some degree... if you're writing about a group where there are physical requirements and standards for the folks in that world (ballet dancers, fire fighters, cops, soldiers, fbi agents) there may or may not be less diversity in body type and more homogeneous attitudes to body norms within the group - and certainly those who are outside of the norm may be commented on or feel like they are "other". But if you are in a more free setting - if you write without a diversity of body types - especially in settings where there is diversity - that is probably a clue that you're not thinking enough about what your various characters look like and may be "normalizing" one type of body over others. Similarly, if you are writing about a real time and place where there is evidence that there were fat bodies and you have none...that's another flag to ask yourself why.

The magical tools in your toolkit for describing fat and other bodies: Body neutrality and POV

Body neutrality is about not loving bodies and not hating bodies just accepting bodies as they are....or in this case describing them as they are. No poetic language. No judgement. Just this is what this character looks like. If you're struggling to do this, I suggest doing a body map for at least two characters with different body types - possibly one that you find easy to think of positively (in this case likely someone thin or at least fit) and one that you find more difficult to describe positively (in this case someone fat).

Describe them head to toe, naked and then clothed, in detail - acurately but not poetically. Start with their feet and then work up bit by bit. Pay attention to things like hair, scars, shape of joints, acne, tightness or looseness of skin, colour of skin, nails, fat, lack of fat, muscle tone, where do they hold their stress, what's in the bowels, how well they do or don't work, do they have their appendix, what they ate last, proportions (is their torso long or short compared to their legs), lungs - how much do they hold, are they healthy? - now describe their throat, shoulders, hands, hair, then end with face.

The only rule is no positive or negative connotations to anything. it's neither good nor bad that they have stretch marks - they just do and they have faded to silver. Now that you "see them' clearly - now look at them through the eyes of someone who loves them in a familial way...what do they see most? what words do they use? now through someone who is attracted to them sexually and love them and aren't ashamed...what do they see most? what words do they use? Now through the eyes of someone who hates them or wants to change them? or a child? or a dog? Now... how does your character feel about these descriptions? Now you have a variety of words you can draw on to describe the body and you also should have a fairly good idea of what is a more skewed view of the body and a more realistic view.

Also...it can be helpful to remember there are no consistently good or bad words to describe bodies - it depends on context and who is using the words. It's a lot like how sick can be used to describe something negatively or positively depending on the agreed upon meaning of the word by a group.

DESCRIBING BODIES IN SPACE/MOTION

Ok here's the thing - for every activity you can think of - there is a fat body that does it well and a fat body that can't do it easily or at all and there are a lot of reasons for both. Often it has to do with the fact that a lot of equipment is built for people who are 250lbs or less; and anything for bigger people tends to cost a premium. Also, if it's not an easy new skill to acquire with the body you've got...it may take longer and more bravery to keep pushing through to achieve mastery. People may try to discourage you from pursuing things. Sometimes out of prejudice, sometimes out of impatience, sometimes out of caring.

So deciding what your character's body can do easily and what it can't and why is more important than me giving you a list of words for how to describe fat movements.

My suggestion is: do your research. What sorts of body types have done the activity in the real world? What are the exceptions? What changes? So for example if a fat person is climbing a mountain - do they need more help? Different equipment? A different route?

Things to consider:

- equipment / things that can have weight limits: bunk beds, roller coasters, scooters, waterslides, camping chairs, elevators, trampolines, some bikes, life jackets (finding one that fit was a nightmare), exercise balls, airline seats (learning to ask for the seatbelt extender without second thought or shame was a lifesaver)

- not all fat people have pain, those who do will move taking into account the specifics of the pain - same as a lean person

- when I was pregnant I just got more cylindrical and did not get a classic belly. I moved well and easily all the way through my pregnancy, I had none of the back pain or ankle pain some people get. I stood for a lot of my labour. I gave birth on my hands and knees. Other fat people will have had different experiences of pregnancy...but that was mine.

- clothing can have a huge impact on what bounces or jiggles and what doesn't

- most (but not all) fat people I know are particularly sensitive to appearing sweaty or smelling bad

- how winded someone gets is not directly correlated to body size, neither is heart rate or breathing style; I have theatre training and grew up swimming - I breath very slowly and very deeply normally - so when I talk a slow deep breath...it is very slow and deep indeed. I have always been fat but can swim forever - I have always gotten winded and kind of dizzy running... Other fat people may be opposite.

- people do not "see fat" consistently. People regularly underestimate how fat I am (by 100+ pounds or many clothing sizes) because I am short, well spoken, proportioned in a way that is seen as fairly typical, and very mobile and very light on my feet. Someone who weighs less than me but is slower moving, dull witted, in a sour mood, is illl, or poorly dressed may be perceived as much heavier than than someone the same weight or heavier who is behaving/clothed differently (which can change how much fat hate someone experiences) and definately heavier than they are. Height also changes how people perceive weight.

- many stores still don't carry plus sized clothing, but eventually i sort of got used to it - although some days it makes me angry and other days sad

- chairs with arms or the occasional booth can be uncomfortable or just plain impossible to sit in, it's probably partly my ADHD but I often forget this until it happens; for taller and fatter people than me this can be a much more regular occurrence.

- once (if) a character figures out how to dress/move their body in a way that feels comfortable and meets general standards (or at least theirs) of respectability - they may not think that much about their body...or at least until something external draws attention to it

- I don't like feeling like I'm squishing people, so I will make myself small and still on buses or at the theatre, I also don't like sitting on laps or being lifted or carried.

- I often feel much taller than I actually am - except when I am standing right beside someone taller or am trying to reach something on a high shelf. The same principle applies - I feel larger next to smaller people and smaller next to larger ones.

- clothing and what I'm carrying also changes how I move (just like my lean counterparts)

- I don't lounge, my car seat is set almost straight but I sit further back than my brother in law who has a similar height and weight - he leans the seat back but pulls closer. I don't nap. My leaner husband both lounges and naps.

- some fat folks eat, walk, and move quickly - some slowly; figuring out which your character does, when they behave "out of character", and why these are their preferences will go a long way to creating an authentic feeling fat character

- acne is a thing and learning to accept ones rolls and tummy aprons (and thus take care of them properly) is a common challenge; although many do it naturally without thinking much of it. You lift your breasts and wash underneath - you lift you belly and wash underneath.

- fat bodies have the same reactions as everyone else: they tingle, burn, get numb, get goose bumps, like to be touched in certain places and in certain ways, feel the breeze, get hot, get cold, shiver, stretch, relax, get aroused, feel release, hold tension, feel capable and strong, feel weak...no matter who you are sitting in a chair that's too small for you will put pressure on your body and feel uncomfortable or safe ..you can explore what that is like. Sometimes it is a reassuring sensation. Sometimes it is uncomfortable. This is the same for fat bodies. It just may happen more frequently and depending on your character's context and experience the emotional reaction / thoughts that are generated may be a bit different.

THINKING AND FEELING IN A FAT BODY.

I think I touched on some of this in some of the earlier sections...but here I want to talk a bit about my experience of being fat and my thoughts about it - your fat characters may or may not feel similarly...but my hope is that you at least think about options as opposed to only writing one or two types of fat character.

I mainly "feel" fat in moments when it is pointed out to me or I am limited in what I can do because of it

I quite like my body, it is my home and I feel very connected to it's features. In my experience this is unusual for many people in North American society regardless of actual body shape or weight. Sometimes I feel guilty for not hating my body the way "I am supposed to" and wonder vaguely if my body would be different if I could hate it more (although as I get older I doubt it).

I do feel some pressure to be a cheerful "good" fat person as a way to stay safe and survive.

Nothing makes people more uncomfortable than me calling myself fat without judgement or asking for accomodation matter of factly. It took me a long time to feel comfortable doing so, but I do it now all the time and it makes my life better.

I felt some pressure to be the fun friend who people feel comfortable eating whatever they wanted with and I often felt like I was depended on to order dessert so they could too. This may have been all in my mind though.

Fat bellies can be very intimate places.

Not all fat people have dieted, but many have. I was lucky enough to never be forced into a diet. I did try keto once but it was a bit intense and nuts so I stopped. I learned a bunch doing it though.

Medical people not treating you appropriately when your fat is 100% a thing.

Internalised fat hate and fat phobia is a thing for many fat people and it pops up at weird moments.

I don 't.give a damn about being in a bathing suit. As long as it fits and my boobs and butt.aren't.falling out - I am happy and feel very attractive. In fact I am probably at my most comfortable in a bathing suit or naked. My body is mine in both those instances.

To reach the "healthy weight" for my height - I would have to lose half of my body mass. That is a lot of me to loose. Embarking on something like that would be totally different than loosing 5 or 10 pounds. Trying to navigate the various medical opinions about whether being fat is bad or not is exhausting.

For me, being fat and older is easier than being fat and younger. This could easily be the opposite for someone else.

Some fat people are into sex, some are not . Some folks are into sex with fat people and some are not. Some are nice about it. Some are not. Some want nice. Some do not.

Fat people are all around you living their best life or their worst life or somewhere in between. We know we are fat. We sometimes care and sometimes don't.

Ok that's it. I don't know if it will help anyone or if it's just a collection of rambles - but at the end of the day...fat people are just people. We are not going to go away. We are all sorts. We are the heroes of our own stories. We are people who are loved, depended on, hated, ignored, and/or spotlighted.

Some fat people think about being fat all the time. Some rarely. Just please don't erase us or other us.

Just by taking the step to interrogate your own biases and any feelings / assumptions you have about fatness/thinness is a huge step and will help limit the harm you could unintentionally do to fat people...actually to all people. Like all forms of hate and intelorance - Fat hate hurts EVERYONE. I would argue it privileges a few...but even that can be excruciating for the individuals who strive to retain that priviledge. We need to dismantle it.