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creatingblackcharacters · 3 months

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Lesson 7: "That's the Black one!"- Imagery and "Black-Coded" Characters

Now, you see me writing it!! I'm writing the lesson on Black-coded, non-human characters!! Y'all better go tell your friends and reblog, y'all been asking me forever about it!

This one was a bit hard for me to write. It didn't feel… New. It felt like a regurgitation of everything I'd already discussed. I was honestly confused every time people sent me questions; I thought we all understood how it worked. But I realized: that's not a bad thing! We can consider this an application of everything we've learned so far, because that’s all coding is, is an application!

The Definition

Coding (in media): giving a character or a group certain traits (physical or cultural experiences) that are similar to/that of a real-world specific group, without explicitly saying this fictional group is the real-world group. One may or may not mean to do it in their writing (which is where the opportunity for racist stereotype can leak in).

E.g., “queer-coded characters” gets used a lot on Tumblr; whether accurate or not, it is understood to mean that the blogger sees their/a queer identity portrayed by that character, or that the character was written with ‘queer’ traits in mind. Another example; Darwin Watterson is a goldfish in a world with no humans, but Darwin is Black-coded. The Fishmen in the One Piece Live Action are fantastical creatures, but they are Black-coded (of a very specific type of Black person; even!)

Youtuber KermitCurry explains and reinforces what I’m also going to explain here, but with a cool drawing of (the gorgeous) Grimmjow. She’s a Black artist and animator; go check her out and support her!

Here is a list of a few characters both canonically and Black-fanonically Black-coded:

When Coding Characters as Black

To keep it simple: if the rules apply when designing and writing a Black character, the same rules apply when designing and writing a Black-coded character! The moment you decided that this nonhuman entity was going to resemble a human group of people, you were obligated to be aware of the cultures and stereotypes of those people!

You can’t have a Black-coded character, emphasize a stereotype of Black people, and then say “oh, well, it’s not actually racist because they’re actually a cat-wolf creature!” Yes, it is. You’re still being racist, and upon noticing or being told, there’s no need to be defensive about it- just acknowledge ‘ah yes, I’ve messed up, I'm sorry for my actions’ and then actively work towards a better design or writing that does not include those things.

Example: Hair

Let’s say you want to draw hair on a fish-like Mer species, and you want them to be Black-coded. It would still be racist to give that Mer-woman pickaninny hair, even if "well they're not really Black!" You could find fancy fish scales or seaweed or something fish related to draw ‘Black hair textures’, so that we understand what it’s visually supposed to represent while still being fantastical. Or a robot! Someone mentioned tubes for locs, and you could do curly wires for twists. It's possible! Get creative!

I’ve been asked numerous times about Black hair on furries. Not that I’m the most educated on furries or furry culture- I am not- but they’re already anthropomorphic animals that talk, have human hobbies and habits, and often have pretty rainbow colors. It should not, then, warrant a complaint of “unrealistic” if you respectfully add Black hairstyles to them.

Example: Species

The point about furries actually brings up another good point. Watch out when you're coding Black characters on animals or animal-like species. Often people will have the “dark-skinned, struggling with balancing their humanity monster” Black/Black-coded, and the “pale skinned monster that somehow understands this battle more than them and can save them from themselves”. This is rooted in racist imagery.

I have mentioned it before in response to an ask, but if the only people you find yourself coding as your ‘monkey/animal/monster/beast’ creations are Black and/or dark-skinned, you are- however intentional it is or isn’t- replicating a racist, dehumanizing pattern in league with King Kong and ‘ravishing the white woman/body’. I’m not inherently ‘rugged and masculine’ as a queer Black woman, thus meant to be pushed into the werewolf role. Black men aren’t beasts that can’t control their violent impulses, thus meant to be pushed into the animalistic role. Why do you think Black bodies being beast-like is sexy? Why do you think we are not physically capable of delicacy? Of gentility?

This doesn’t mean that Black characters can’t be werewolves or those sorts of creatures- but you need to be writing/designing with intent, and that means recognizing when you just ‘thought it looked cool’, and that thought turned out to be a racist belief upon further reflection.

Example: Skin

Let’s say your demon species has dark grey skin bc they're rock people or something- yes, the grey skin is because it's a demon species, we recognize that it's not desaturated brown skin. Fine. But God forbid that this grey-skinned ashen group of Black-coded characters are the unequivocal villains? And everyone else that isn’t Black-coded are the ‘good guys’? But ‘it’s okay, because they’re not Black, they’re grey!’? Yes, this is still racism. There’s no getting out of it.

Example: Intelligence

If your Black-coded species is the one that is ‘less cultured’, ‘talks funny’, supposed to be ‘stupid’, or in need of some good (white) character to ‘change their ways and become better people’… Just don't do that. I should not have to say this. Black people are not less intelligent, or ‘more inclined to brawn over brain’, 'more likely to act out of instinct', ‘in need of more education/direction’, or every other reason that was used to justify our enslavement and now, present arrest and imprisonment rates.

Example: Culture

This segues from my last point on intelligence. There’s arguments on coding species that are meant to be "savage" or "inhuman", giving them stereotypical loin cloths or tattered clothes and having them "need to be saved". Now, I'm not informed enough about D&D to make valuable commentary on the existence and history of orcs. However, if you've decided to create an Orc culture, and it's clear that your imagery is taken from Black and/or Indigenous cultures, in addition to the language of savagery and white saviorism itself… That's extremely racist. And if you're thinking "Ice, of course no one would do that in 2024", Yes. Yes, they would. The bar is low, but don't ever assume people can't, don't, and won’t find a way to limbo under it.

Black and Brown people don’t need to be ‘saved’ from our own cultures or ‘introduced’ to anything. We don't need to be 'made better'. If that’s the narrative that you find yourself buying into while you write your story, Black or Black-coded characters, you need to step back and evaluate.

How This Imagery Lasts

Jim Crow Museum- Racist Cartoons and Anti-Black Imagery

This is obviously not everything I could put here as a example, but I wanted to offer a small example of how heinously racist imagery has made its way into the present. From depicting Serena Williams as an overgrown, childish, large-lipped Black woman (and whitewashing Afro-Japanese woman Naomi Osaka into the ideal, victimized blonde white woman), to Lebron James’ Vogue photo (this Black, married man now suddenly slave to the intensity of ball and white women for this cover), to the entirety of the Black Pete festival in the Netherlands.

This is imagery and behavior that evolves and lasts. What you put to paper will have an effect on someone else's ideas. You might not even think you believe these things, but someone looking at your art or reading your work will think you do! You should not want to be evoking any of this, coded or not, regardless of ‘if there’s a human involved’ because frankly… well, people already don’t see Black people as humans. We need to be treating our Black and Black-coded characters with care, and that means doing good research and avoiding replicating caricatures.

#creatingblackcharacters #black characters #character design #black character design #black coded characters #antiblackness #racist imagery

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spicyhamsamson · 2 years

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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?

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miraculouslbcnreactions · 2 months

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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.

#ml writing critical #ml writing salt #marinette deserves better

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artsekey · 10 months

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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.

#wish #disney #review #magnifico

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tls12lessthan3 · 4 months

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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.

#orv #omniscient reader's viewpoint #kim dokja #yoo sangah

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bacchicly · 8 months

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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.

#writing #writing fat characters #fat phobia #fat hate #long post #personal #body neutrality #body posititivity #writing about bodies

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xokohaneazusawa · 3 months

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hello i have a bllk request!

so uh today i got hit in the face during PE with a football (we were playing football for PE and i was daydreaming about bllk boys 💀) and i wasn’t paying attention and got hit in the face and got a small cut on my nose 💀.

yet all i could think about was how my favourite characters would be laughing their asses off at me/judging me and the amount that would genuinely be concerned was a bit tragic. 💀

which led me to think of this potential fic idea. inexperienced reader who has probably touched a ball less than 10 times in her life, whose class is required to do football for PE (as much as i love bllk, i could never enjoy playing football myself.)

so anyways, her bf (chigiri, rin, nagi, bachira, isagi, reo, and sae) sees her get hit in the face and is ready to laugh at her, but starts lagging when they see blood. (sweet infirmary scene maybe 😍😍)

reader is absolute dog shit at football due to a lack of experience, compared to him, who’s on the mf school team. (hence why they were in different teams.)

overall i’m just feeling a little mortified over the little accident and i think it’s gonna scar 💀 but watching other ppl, even fictional, suffer with me just makes me feel better lmao. it’s fine if you don’t wanna take this request or shorten the list of characters tho 🫶🫶

(my injured nose hurts as i’m typing this 😭😭)

OMG It’s been a couple days so I hope your nose starts feeling better!! But you're so iconic for thinking about Bllk boys when you’re supposed to be doing something else- Also Anon if you want me to go more into detail about some of the like infirmary and nurse scenes just lmk and I can totally make a part 2 and go into more detail!

Chigiri Hyoma -> Sadly this man did actually laugh at you, but then when he came over to check on you and realized there was actually blood he got a little nervous and did actually take you over to the nurse/infirmary/whatever else people call it -> Though when he brought you and the nurse said he was fine to go back he almost fought the person working in the nurse's office and they let him stay and keep you company -> He stayed by your side almost the whole time and did make fun of you a little bit, I mean it was a little stupid (HIS WORDS NOT MINE, I've had the same thing happen just with no blood) though he does kinda feel bad that it was somebody on his team that did it, though he won't ever tell you that -> He does eventually, after you stop bleeding, scold you a little for not paying attention, even though you don't know how to play you should at least be paying attention, though if you ask ever so nicely (aka he also hits too it) he'll at least teach you how to defend yourself from being in a situation like that again (It's his way of showing that he cares and doesn't want you getting hurt again<3) Rin Itoshi -> He will rush over immediately, I mean as much as he likes to win he doesn't wanna see you get hurt in the process, he could clearly tell the way the teams were set up was quite unfair, having the good players on one side and the bad ones on the other -> Checks around for injuries, all while grumbling that you should have been paying attention and not off in whatever world you were in -> When he realizes that you're bleeding though he stands you up, not too fast just in case, and takes you over to a teacher, letting them know that he's taking you over to the nurse/infirmary/whatever else, and then makes sure you get there safe before heading back -> Only goes back because the person working there said it was fine if he did and not because he wanted too, in all honesty he wanted to stay with you to make sure you were okay, as much as he didn't sound or look like it -> tries to take his mind off it by going back and playing more, but going against a team of lukewarm nobodies doesn't quite hit the spot for him so he just ends up worrying even more Nagi Seishiro -> The second that he saw you get hit he waited for a second and when he saw that you didn't bounce back like the people on his team normally did he made a slight effort to move a little faster to go make sure that you were alive still -> When he walked over and saw you were bleeding, he got up and let one of the teachers know, since he wasn't exactly sure what to do. They ended up making him help you to get to the nurse/infirmary/ whatever else, and when get got there he just kinda sat on the chair next to you, even when they told him he should go back to class -> He was kinda over football right then anyway, and he would have much rather stayed with you, way less of a hassle for him away, he would have also had to walk all the way back to the class and that's way to much work -> So instead he just stayed in there with you, and like everybody else kinda scolded you, or more in his case, lazily warned you about not paying attention when football are being passed around Bachira Meguru -> As soon as he witnessed you getting hit in the face with a ball, he laughed. No questions asked. -> Though as he was laughing he came over to check on you, at least to make sure that you were already and when he realized you weren't he quickly stopped laughing and tried to find somebody to get tissues or like really anything -> Gladly took you to the nurse/infirmary/whatever else you wanna call it when the teacher ask him to walk you down/over/up there. He def giggled about you getting hit in the face and was so curious about what you were thinking about before it happened -> Another man who is staying with you, Manz is not leaving until you leave, no matter what person tries to send him back to class -> Also, he's never gonna let you live it down Isagi Yoichi

-> This sweetheart! The second you got hit, he was right by your side (now if this was a match in Blue Lock, eh things would be different, but since he most likely wasn't trying all that hard since it was like people who actually knew how to play vs people that didn't he didn't wanna destroy anybody)

-> He helped you up and grabbed tissues and the whole nine yards, made sure to get you some water and everything like that, even volunteered to take you down to the nurse/infirmary/whatever else you wanna call it to make sure that you got there safe, and got some water on the way

-> When he got there, def was such a sweetheart to the people who were working and how concerned he looked for you, they didn't even ask him to go back to class, they just let him sit next to you and hold your hand and even almost all let out an "aww" when he would ask how you were every few minutes

-> Though once you started feeling better he would try to explain that you really have to be paying attention when you play, but also give you some help in learning ways to defend yourself against said flying footballs Reo Mikage

-> Another sweetheart, while he did slightly chuckle at you at first, when he jogged over and realized that you were bleeding he started worrying, asking people to grab him basically anything, which knowing Reo's popularity at school everybody scattered to grab something

-> Walked you up/down/over to the nurse/infirmary/whatever else you wanna call it, and while he did also laugh on the way, teasing you slightly about if you were thinking about him, he was still pretty worried for your safety

-> Would sit in the infirmary/nurses office/whatever else with you the whole time, making sure that either the bleeding spotted or their wasn't any bruising or anything along those lines

-> Another one who would wait to scold you, he needs to make sure you're okay first, and he will tease you the whole time about getting hit in the face with a ball, and you'll never live it down

Sae Itoshi

-> Brother Like Brother

-> Will wait for a couple seconds just to see if you can take care of yourself, but when he realizes you're bleeding he walks over pretty fast, pushing anybody out of the way

-> Gets somebody to grab some tissues or something, or just anything to stop the bleeding as he takes you down to the nurse/infirmary/whatever else you wanna call it

-> Unlike his brother, he will stay, even if people tell him to head back. Why would he, it's not like lukewarm players will actually change anything for him

-> The staff might be a little pissed off at him later about his mean comments, but that's an issue for later.

-> He'll also ask every couple minutes if you're okay and if you need anything, but he won't sound as nice as Isagi when saying it. He will also call you dumb for not paying attention and getting hit in the face (but later on he'll also smile and chuckle at the thought)

#blue lock x reader #blue lock #bllk #bllk x reader #chigiri hyoma x reader #chigiri hyoma #rin itoshi x reader #rin itoshi #nagi seishiro x reader #nagi seishiro #meguru bachira x reader #bachira meguru #isagi yoichi x reader #isagi yoichi #reo mikage x reader #reo mikage #sae itoshi x reader #sae itoshi #xokohaneazusawa’s writings!

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igotlovestruck · 1 year

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right where you left lover girl [ charles leclerc , ben chilwell ]

[ 𝗣𝗔𝗜𝗥𝗜𝗡𝗚 𝗔𝗡𝗗 𝗖𝗛𝗔𝗥𝗔𝗖𝗧𝗘𝗥𝗦 ] — charles leclerc x singer!ex!reader ; ben chilwell x singer!reader . ⊹ ✶ ㄔ 🫂 °. *

[ 𝗗𝗘𝗧𝗔𝗜𝗟𝗦 & 𝗪𝗔𝗥𝗡𝗜𝗡𝗚𝗦 ] — mostly angst, some romance . ⊹ ✶ ㄔ ℹ️ °. *

࣪˖ 💭 .. 𝗘𝗬𝗔’𝗦 𝗡𝗢𝗧𝗘𝗦 ⌕ clearing my drafts again 😵‍💫 if you ask me, i’m obsessed with singer!reader fics lol

this work is purely fictional. names, characters, places and incidents either are products of the author’s imagination or are used fictitiously. © httpsuniverse, 2023. do not steal, repost in other platforms, translate and/or claim this work as your own.

cleclercsource

26,929 likes

cleclercsource double date in wimbledon 🎾 charles, alex, kika and pierre spotted in today’s game!

view all 2,719 comments

user alex looks so pretty and i know she’s nice because i met her once, but i miss y/n ☹️

user :(( i do too, but it’s just not meant to be. they both want different things and are in different places in the relationship

user damn why did THAT hurt

user no offense/hate towards alex but the fact that y/n and charles have been together since they were thirteen just...pains me and i’m not even part of their relationship

user me too!! 😭 they literally went through ups and downs together and saw their careers go big :(

user yeah but i hate to break it to you guys but it’s been two years since they broke up and charles being in a new relationship is okay, they’re both adults! i mean, you guys know that eventually they’ll meet somebody, no?

user what pains me the most is that y/n hasn’t released anything since she and charles broke hp 😣💔 i miss my girl

user they look like mean girls

user i would be scared to walk past them

user love how alex is just happy to be there hahaha she’s so cute

yourusername

liked by yourlabel, sabrinacarpenter, selenagomez and 3,286,048 others

yourusername oh hi hello 👋🏻 i know it’s been a while since i’ve last released music and contributed to the industry, and i see everyone’s tweets saying how much they miss me and guess what? i missed you guys too, so here’s a little something for being so patient with me🤎 this song is very personal and important to me and i hope you’ll love it just how i loved writing it. right where you left me is now available to all streaming platforms 🎶

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sabrinacarpenter 🫶 masterpiece

selenagomez proud of you✨😍

user omg y/n!!!

user the queen is back :( welcome back y/n!!

user streaming right NOW

user you cant do this to me y/n y/l/n!!!!!!!

user just got out of a 4-year relationship today, thanks for the masterpiece maam <3

yourusername 🤎 wish you all the best with healing

user OMG

user thanks y/n, now i do have a reason to cry today 😍

yourusername stopp bahahaha enjoyyy

prodbymika

250,297 likes

prodbymika glad to have produced another song and film a music video with my bestie 🫶 here’s some behind the scenes of y/n during recording and filming the music video of right where you left me <3

view all 17,926 comments

yourusername mika my love!!! ☹️🤎 thank youu couldn’t have done it without youuuu 🫶

user wait that place on the 3rd photo is familiar

user it’s charles and y/n’s place from their 24 hour with vogue video 😭

user omfg that’s probably why it’s titled right where you left me 😭

user the 😭 restaurant 😭 she 😭 and 😭 charles 😭 loved 😭

user fuck me im trying to move on 😭

user y/n wearing the same clothes she would wear during date nights with charles 💔☹️

yourprivate

yourprivate i know eventually it will lead to one of us meeting someone new. i hope she’ll love you the way that i did, more than how i loved you, charles. and i can’t believe that it’s been two years since we broke up. in my mind i’m still 23, living in my own delusion that one day you’ll come back to me. i loved you, charles_leclerc. and i still do. i really meant it when i said i wish you both the best. now, it’s time for me to move on and leave the place where you left me.

ㅤㅤㅤㅤㅤㅤ─────────────────

yourusername

1,926,472 likes

yourusername me doing big girl things 😄 bye bye monaco 🇲🇨, hello london 🇬🇧 ready to make new memories, new songs and of course, new apartment tour video soon :p

view all 1,827 comments

user omggggggg the chances of me running to you are HIGHHHHH

yourusername see you aroundddd <3

user AAAAAAA

user omg omg omg she’s finally out of her delusions, we’re officially over right were you left me era !!!!!!

user she finally let go of the house she and charles shared 😭

user no bc imagine the adjustment!! she lived there even when she and charles broke up :(

user my girl can finally FINALLY breathe

benchilwell

liked by masonmount, reecejames, judebellingham and others

benchilwell you’re my, my, my, my lover 🩷

view all 23,816 comments

jackgrealish mate, that’s so cheesy 😂

reecejames i know something you don’t 🤧

masonmount i know something you will never know 😂

user NAHHHH QUIT PLAYING WITH US

user NOOOOOOOOOOOOOOOOOO

user cong😭ratu😭lations😭

user now who is the lucky woman 🤔

user wait is that y/n

user what the hell

user i think soo!!!!

user STOP IM GONNA FUCKING CRY RN

yourusername

liked by cmpulisic, reecejames, masonmount, benchilwell and others

yourusername guys meet my london boy 🩷

view all 28,493 comments

benchilwell i told you not to post that picture of me

yourusername 😵‍💫 but you looked so cute and you helped me compose a song

masonmount he did? 😨

yourusername took us a while, but yep 🫡

user im so happy for you y/n!!!!

— ❤️ by yourusername

user why is y/n, a person who loves chinese food, dating a man who hasn’t eaten chinese food

yourusername don’t worry, i bought chinese the other day. he’s no longer chinese food virgin. i took his virginity.

benchilwell y/n y/l/n.

yourusername 😚 you liked it though

benchilwell okay fine yeah

user why do i feel like a new album will come out ...

yourusername

liked by charles_leclerc, benchilwell, prodbymika and 4,836,917 others

yourusername suprise (well... not so surprise haha) !! been working on this album the past year and it’s finally here and i can’t wait to share it with you guys so HERE YA GO 🩷😚 the whole album is dedicated to, of course, my lover, my benji, benchilwell i love youuuu and this album is my love letter to you (you spoiled the lyrics on your previous post 🙄 but its ok i forgive u now pls come back faster bc i miss u) enjoy everyone ! lover girl, y/n 🩷✨

view all 56,826 comments

benchilwell i love you angel 🩷

yourusername stopp im shy i miss you

benchilwell 😂 im coming over

user y/n in her lover era 🥹 happy for her, she deserves this!

user she really does 🥹

user STOPPP THIS WJOLE ALBUM IS JUST Y/N AND BEN BEING IN LOVENWITH EACH OTHER

user “all that you ever wanted from me was sweet nothing” BENJAMIN JAMES CHILWELL YOU ONE LUCKY MF

user y/n is SO in love i’m here for it

charles_leclerc congratulations on another amazing album, y/n!

yourusername thank you charles! 🫶

user HEY WHAT IS MR. RIGHT WHERE YOU LEFT ME DOING HERE

user ARIANA WHAT ARE YOU DOING HERE

yourusername we’re still friends guys, chill 😂

sabrinacarpenter YOU ARE AMAZING, Y/N

yourusername SAAAABBBB i love you ,, you are amazing

user from right where you left me to paper rings 🥺 THE GLOW UP

#charles leclerc imagine #ben chilwell imagine #charles leclerc angst #ben chilwell fluff #charles leclerc instagram au #ben chilwell instagram au #f1 imagine #football imagine #f1 fan fic #football fanfic #f1 x you #football x you #f1 x reader #football x reader #formula 1 imagine #football instagram au #f1 instagram au

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romanshomeonwattpad · 4 months

Text

Girl in New York

pairings - art donaldson/reader | challengers au! |

“__” = Y/N

masterslist | next chapter

sypnosis - men would call you a siren, and women would call you a bitch. but all he knows is that you’re his.

warnings - future smut

word count - 1.5k

authors note - this fic will be having a part two. its completely out my comfort zone, and i wanted to experiment my skills as a writer to create a character super complex. any hate will be deleted and blocked. reminder that this is purely fiction!

His pink lips glistened with beads of sweat that resembled diamonds. Unknowingly licking your own—your thighs clenched as his girlfriend pecked his cheek. You didn’t know why, but having the attention of every man in the vicinity made you feel as if you were worth something. The pain on girls’ faces after seeing their man’s arms wrapped around your figure always made you….

…….bite back a smile.

Your current subject was taken. It was perfect. A challenge never bored you—but only encouraged your habits.

Art Donaldson was on every girl’s agenda at the moment. Whenever you went to your local gym, he was playing on the tv screen at every treadmill with hunger in their eyes. These suburban women go crazy for a pretty boy with nice eyes and a fit bod. And the fact that you’ve never seen him smile, is a plus. He wasn’t a pushover.

He was a challenge.

The blonde haired girl got on her tiptoes, wrapping her tiny arms around Art’s shiny neck. You could see his defined muscles slightly bulge beneath his completely soaked t-shirt, making him look absolutely delicious. He offered her a smile, mumbled something, and she nodded before going to the snack bar.

Taking this as your chance, you dug into your purse and pulled out a cherry sucker from a few days ago. Plucking it into your mouth, you hummed at the sweet tart like taste—carrying your long legs that were hugged tightly by a pair of tiny workout shorts towards the tennis player. He had been tying his shoe when you paused before him.

You cocked out your hip, clearing your throat. His eyes slowly trailed up your figure, jaw clenching as they finally met yours. “Cute girlfriend of yours. Looks pretty young, though….” you sigh afterwards, swirling your tongue over the top of the pop. Art’s eyes slightly widened at the sight, gulping. “I’m _ _! What’s your name, pretty boy?”

You already knew it. As soon as he had shown up on your tv screen.

His eyes were bluer in person, if possible. It was as if there were thousands of diamonds carved into his eyes as the sun set on them. Sun-kissed skin had a thin gloss of sweat from his tournament, his broad shoulders quickly going up and down as he breathed heavily. He was considerably taller than you. He had to look down at you.

“Uh…Donaldson. Art…Donaldson.”

Bending over a tad, making sure your large breasts slightly spill out your bra—you smile innocently. Your lips release the suction on the lollipop with a loud pop! “Pleasure! I was wondering if you offer private lessons?”

Shamelessly, his eyes darted over your hardened nipples. His tongue poked out and slid across his puffy bottom lip, “I um, I charge 20 bucks an hour.”

“Deal. But I’m sure we can come up with a way to give me a discount,” you winked, pulling out your phone from your bra. You heard his breathing turn ragged as you handed him it. “Put your number in. I’ll let you know when I can start.”

His teeth sunk into his lower lip, narrowing his eyes at you. “Just meet me here next Tuesday same time. Make sure to bring cash,” he muttered, looking away from you. Your brow rose at his sudden dryness—but realized you probably intimated him with your forwardness. And to make matters worse, his air headed girlfriend had returned with a boba drink in her hand.

“Art, who’s this? A friend?”

“_ _ Smith. And no—we aren’t friends. I’m only a customer, a happy one at that.” Excusing yourself, you made sure to not even glance at her. You sent a brow towards Art, his eyes filled with a storm.

“See you soon, Mr. Donaldson.”

When next Tuesday rolled around—to say you were ecstatic was an understatement. Your black tennis skirt stopped right at the bottom of your ass, a black skin tight jacket hugging your breasts tightly. The side of your heel hit the bottom of your racket as your hair swayed in its ponytail. A smirk grew onto your lips as you spotted Art, waiting for you at the court.

Pulling your glasses down, you noted how his intense eyes burned holes into your body. “Hello, again. Your girlfriend here?”

“Why does that matter?” His tone was cold—a challenge. Every second seemed to get better and better.

He looked scrumptious. There was a hickey poking out from beneath the collar of his white tennis shirt. His girlfriend probably left it there so you wouldn’t try anything—to mark her dominance per se. But the problem with that is, you don’t respect anybody’s property. What’s yours….

……..is yours.

Your brow raises. “I’m getting the impression you don’t like me to much.”

He scoffs, “I know what type of girl you are. Not interested.”

You didn’t realize this was an assessment.

“I’m unaware of what—“

“I have a girlfriend for fucksake, and you’re dressed like—like—“

You innocently round your eyes at him, deciding to play it off as if you’re hurt by his words. But he didn’t actually know the real you—he was just trying to paint a picture for his own benefit. He was scared of what you were capable of. Which meant he was cracking.

“I didn’t come here to be slut shamed,” you shrug, taking a step back. “I’ve been watching your tournaments on tv for a few months now, and thought you were beyond talented. I tried my best not to act too starstruck and got carried away.”

His eyes soften.

Bingo.

“But I’ll leave—“

“Look, I’m sorry. Let’s just forget about this and start over.” He ran a hand through his hair, then leaving it on the back of his neck.

You bit back a smirk.

There were pleading undertones laced in his words, feeling guilty for judging your outfit and questioning your morality. You knew this time to come off less forward, figuring out he liked submissive women instead. Women who go with what he wants, who let him control the situations.

“Understood. Shall we get started?” You offer, in which he chuckles and agrees.

For the duration of two hours, Art accessed your abilities. He complimented you multiple times on how quick you were. Although he was significantly faster when it came to hitting the ball—you knew he didn’t expect you to be at least a little good. After the session, Art when to retrieve the both of you water as you grabbed the cash from your purse.

You should’ve paid him triple just for how good his butt looked in those shorts.

“Thanks,” Art handed you your matte black hydroflask—snatching you from your thoughts. He watched you take a couple swigs from it, a drop of water rolling down between the crack of your breasts.

He licked his lips before chuckling, hoping you didn’t catch him stare. “You hate the color black, huh?”

Looking down at your hydro, you laughed before holding out the cash for him. “It’s my favorite color. Besides, it goes with everything.”

“Hm,” his eyes fall to your hand offering the cash. Instead of taking both 50 dollar bills—he takes one and sends you a smirk.

“You get a half off discount for me being a dick. One time offer.”

You nod and chew on your bottom lip as he swallows thickly. “Perhaps I can at least buy you a smoothie or something. It’s pretty hot,” you offer, adding a suggestive tone to the end of your sentence. Noticing a hard tent forming in his pants, Art steps back, clearing his throat.

“I can’t today. I’ll see you on Thursday—same time.” He mutters, turning around and offering a sheepish smile before walking away. You wondered if he was going to rub one out in his car, or fuck his girlfriend and imagining it was your pussy he was driving into.

The thought made a pool begin to seep through your panties.

The tip of his cock poking out between his fisted palm, leaking with drops of creamy pre-cum. A mouth of pure ecstasy pulling at his features as his mouth hangs open, gripping his center console as he finishes all over the interior of his car.

Or fucking his girl from behind, imagining your bouncy ass rippling with every thrust. His fingers tugging at your strands, reaching the deepest spot inside your dripping pussy. He would think of you—not her. He would….

……cum for you.

Patrick, your cousin, had been visiting from East Boston and staying at your family’s house. He was passionate about tennis, just like you, and pretty much taught you everything you know. That’s why you were so skilled. Learning from Art was simply to get into his pants.

And of course, he wanted to crash your tennis class with Art. Said some bullshit about Art and him meeting at a summer tennis camp—whatever. You were plotting on snatching Art from his perky titted girlfriend—but with Patrick there, it may be a bit hard.

“For fucks sake, I said no!” You shout before lighting a cigarette, painting your big toe a glittery cherry color you bought at the drug-store. You heard your neighbor slam their window shut before Patrick slides open the screen door and comes out to the backyard where you were. After taking a puff, you blow the smoke into his face. “Love you, cuzzo. But you’re cockblocking me here.”

Patrick snatched the cigarette from you, taking a frustrated hit of his own. “Didn’t you say he had a girlfriend?”

“And?”

You receive a glare, causing you to roll your eyes and snatch the cigarette back from him. “Fine. Whatever. You can come.”

He gasps before hugging you, causing you to scoff and push him off you. It would be cool for him to reunite with his old friend, but this was so not the time for that. Patrick got on your nerves but you had love for the dude. It’s always been hard to say no to him. It was despicable.

You took another hit. The rancid stench filled your senses, smoke swirling around your figure. After finishing your last toe—Patrick pulled up a chair and sits on it backwards. “You like this dude or what?”

A laugh couldn’t leave your lips after. Who does he think you are?

You haven’t truly dated a guy since you were seventeen. Ever since your ex, you didn’t grow feelings for another individual. And it had nothing to do with him—you just outgrew relationships. It was fun to have options. Especially when those options, were already taken.

Men with girlfriends are harder to obtain. They had settled already, and it takes a lot for them to trust you. But once there’s a clear understanding you don’t genuinely care for them…and only what’s in between their legs—

That’s when the real fun begins.

“Hell no. He’s hot. That’s it.”

Patrick lights another cigarette, nodding before blowing out the white ropes of smoke. “Ah. I see. You wanna fuck his brains out.”

“Precisely.”

“Back when I met him, he was dating this cute tiny little thing. What was her name? Tracy? Tara? Tam—Tiffany!”

Your smirk twitched, taking another hit of your cigarette. It was almost finished at this point. “Is she blonde?”

He looks over at you, sending a brow. “You know her?”

“I’ve seen her prancing around.”

“He told me she’s controlling and shit. Wonder if that’s still true,” he pops open the cooler and pulls out a beer, tilting his head back and taking a swig. You suddenly perk up at his words as he swallows the fermented alcohol harshly.

“Heard they took therapy classes together.”

You pressed a finger on your chin, giving him a mischievous look. “They’ve been together for a while now…huh?”

“Yeah, pretty much.”

Hm.

It was going to feel all the much better to steal him.

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