Guess Who Finally Finished The First Draft Of An Original Story!!!!

“Sooo is that a yes??”

Never witnessed a more aro ace man than Bruce Wayne in the Batman movie in my life

Selina & Talia

1 2 3

The first time Talia meets Bruce’s new lover, they stab each other.

Talia tries to ignore the fact that she’s a little impressed. It had been her understanding that the woman had no formal training and Talia hadn’t really expected her to get a hit in, let alone a stab wound. “You should leave my beloved alone. This will not end well for you otherwise.” she informs the woman.

The woman looks surprised. It makes Talia pleased until she speaks. “We literally just broke up.” she says and it’s Talia’s turn to look shocked now.

“Oh.” Talia wants to shift her weight but there’s still a dagger in her side. She supposes she can’t exactly complain since there’s a sword in the woman’s. “I apologise. It seems my intel is out of date.”

The woman, Selina she supposes now, looks at Talia like she’s never seen another person before. “You think?”

A far away corner of Talia’s mind notes that the splatter of blood on Selina’s face and the arch of her eyebrow make her look the exact kind of pretty Talia likes best.

She wishes she could shake herself. This encounter isn’t going how Talia had planned it. “I suppose we should both seek medical attention now.” she says, half to change the subject and half because it’s a valid point.

“I know a place.” Selina gets up, impressively steady considering how she has to keep one hand fixed on the sword in her to stop it moving around too much. Ones she’s on her feet she looks at Talia like she’s assessing her. Talia glares right back at her, back straight and eyes narrowed. Selina must like what she sees because she cocks the corner of her mouth into something a little like a smirk. “And afterwards you could come back to mine.”  she says slyly, “Just to rest, of course.”

Talia hadn’t quite expected that. She can’t say that she’s unhappy about it though. “Of course.” she echoes, “Not to dissuade you, but it is my understanding that you just broke up with someone?”

“Psh,” Selina waves the hand that isn’t holding Talia’s sword steady inside of her, “I’m not one to dwell on the past.”

Talia allows herself a smile. “Well then, how could I object?”

Disillusioned

Day 5: Lunar Witch🌙

Gus is best boy⭐️

Hi there! If you feel up to it, would you be willing to expand a bit more on the idea of white creators creating poc characters who are ‘internally white’, especially in a post-racialized or racism-free setting & how to avoid it? It’s something I’m very concerned about but I haven’t encountered a lot of info about it outside of stories set in real world settings. Thanks & have a good day!

Hey, thanks for asking, anon!  It’s a pretty nuanced topic, and different people will have different takes on it.  I’ll share my thoughts on it, but do keep in mind that other people of colour may have different thoughts on the matter, and this is by no means definitive!  These are things I’ve observed through research, trial and error, my own experiences, or just learning from other writers.

The first thing I guess I want to clarify is that I personally am not opposed to a society without racism in fiction.  It’s exhausting and frankly boring when the only stories that characters of colour get are about racism!  So it’s a relief sometimes to just get to see characters of colour exist in a story without dealing with racism.  That being said, I feel like a lot of the time when creators establish their settings as “post-racial,” they avoid racism but they also avoid race altogether.  Not aesthetically -they may have a few or even many characters with dark skin- but the way the characters act and talk and relate to the world are “race-less” (which tends to end up as default white American/British or whatever place the creator comes from).  Which I have complicated thoughts on, but the most obvious thing that springs to mind is how such an approach implies (deliberately or not) that racism is all there is to the way POC navigate the world.  It’s definitely a significant factor, particularly for POC in Western countries, but it’s not the only thing!  There’s so much more to our experiences than just racial discrimination, and it’s a shame that a lot of “post-racial” or “racism-free” settings seem to overlook that in their eagerness to not have racism (or race) in their stories.

A quick go-to question I ask when I look at characters of colour written/played by white creators is: if this was a story or transcript I was reading, with no art or actors or what have you, would I be able to tell that this character is a character of colour?  How does the creator signal to the audience that this is a character of colour?  A lot of the time, this signal stops after the physical description - “X has dark skin” and then that’s all!  (We will not discuss the issue of racial stereotypes in depth, but it should be clear that those are absolutely the wrong way to indicate a character of colour).

This expands to a wider issue of using dark skin as a be-all-end-all indication of diversity, which is what I mean by “aesthetic” characters of colour (I used the term “internally white” originally but upon further reflection, it has some very loaded implications, many of which I’m personally familiar with, so I apologize for the usage).  Yes, the character may not “look” white, but how do they interact with the world?  Where do they come from?  What is their background, their family?  A note: this can be challenging with diaspora stories in the real world and people being disconnected (forcibly or otherwise) from their heritage (in which case, those are definitely stories that outsiders should not tell).  So let’s look at fantasy.  Even the most original writer in the world bases their world building off existing things in the real world.  So what cultures are you basing your races off of?  If you have a dark skinned character in your fantasy story, what are the real world inspirations and equivalents that you drew from, and how do you acknowledge that in a respectful, non-stereotyped way?

(Gonna quickly digress here and say that there are already so many stories about characters of colour disconnected from their heritage because ‘They didn’t grow up around other people from that culture’ or ‘They moved somewhere else and grew up in that dominant culture’ or ‘It just wasn’t important to them growing up’ and so on.  These are valid stories, and important to many people!  But when told by (usually) white creators, they’re also used, intentionally or not, as a sort of cop-out to avoid having to research or think about the character’s ethnicity and how that influences who they are.  So another point of advice: avoid always situating characters outside of their heritage.  Once or twice explored with enough nuance and it can be an interesting narrative, all the time and it starts being a problem)

Another thing I want to clarify at this point is that it’s a contentious issue about whether creators should tell stories that aren’t theirs, and different people will have different opinions.  For me personally, I definitely don’t think it’s inherently bad for creators to have diverse characters in their work, and no creator can live every experience there is.  That being said, there are caveats for how such characters are handled.  For me personally, I follow a few rules of thumb which are:

Is this story one that is appropriate for this creator to tell?  Some experiences are unique and lived with a meaningful or complex history and context behind them and the people to whom those experiences belong do not want outsiders to tell those stories.

To what extent is the creator telling this story?  Is it something mentioned as part of the narrative but not significantly explored or developed upon?  Does it form a core part of the story or character?  There are some stories that translate across cultures and it’s (tentatively) ok to explore more in depth, like immigration or intergenerational differences.  There are some stories that don’t, and shouldn’t be explored in detail (or even at all) by people outside those cultures.

How is the creator approaching this story and the people who live it?  To what extent have they done their research?  What discussions have they had with sensitivity consultants/readers?  What kind of respect are they bringing to their work?  Do they default to stereotypes and folk knowledge when they reach the limits of their research?  How do they respond to feedback or criticism when audiences point things that they will inevitably get wrong?

Going back to the “race-less” point, I think that creators need to be careful that they’re (respectfully) portraying characters of colour as obvious persons of colour.  With a very definite ‘no’ on stereotyping, of course, so that’s where the research comes in (which should comprise of more than a ten minute Google search).  If your setting is in the real world, what is the background your character comes from and how might that influence the way they act or talk or see the world?  If your setting is in a fantasy world, same question!  Obviously, avoid depicting things which are closed/exclusive to that culture (such as religious beliefs, practices, etc) and again, avoid stereotyping (which I cannot stress enough), but think about how characters might live their lives and experience the world differently based on the culture or the background they come from.

As an example of a POC character written/played well by a white person, I personally like Jackson Wei and Cindy Wong from Dimension 20’s The Unsleeping City, an urban fantasy D&D campaign.  Jackson and Cindy are NPCs played by the DM, Brennan Lee Mulligan, who did a good job acknowledging their ethnicity without resorting to stereotypes and while giving them their own unique characters and personalities.  The first time he acted as Cindy, I leapt up from my chair because she was exactly like so many old Chinese aunties and grandmothers I’ve met.  The way Jackson and Cindy speak and act and think is very Chinese (without being stereotyped), but at the same time, there’s more to their characters than being Chinese, they have unique and important roles in the story that have nothing to do with their ethnicity.  So it’s obvious that they’re people of colour, that they’re Chinese, but at the same time, the DM isn’t overstepping and trying to tell stories that aren’t his to tell.  All while not having the characters face any racism, as so many “post-racialized” settings aim for, because there are quite enough stories about that!

There a couple factors that contribute to the positive example I gave above.  The DM is particularly conscientious about representation and doing his research (not to say that he never messes up, but he puts in a lot more effort than the average creator), and the show also works with a lot of sensitivity consultants.  Which takes me to the next point - the best way to portray characters of colour in your story is to interact with people from that community.  Make some new friends, reach out to people!  Consume media by creators of colour!  In my experience so far, the most authentic Chinese characters have almost universally been created/written/played by Chinese creators.  Read books, listen to podcasts, watch shows created by people of colour.  Apart from supporting marginalized creators, you also start to pick up how people from that culture or heritage see themselves and the world, what kind of stories they have to tell, and just as importantly, what kind of stories they want being told or shared.  In other words, the best way to portray an authentic character of colour that is more than just the colour of their skin is to learn from actual people of colour (without, of course, treating them just as a resource and, of course, with proper credit and acknowledgement).

Most importantly, this isn’t easy, and you will absolutely make mistakes.  I think the most important thing to keep in mind is that you will mess up.  No matter how well researched you are, how much respect you have for other cultures, how earnestly you want to do this right, you will at some point do something that makes your POC audience uncomfortable or even offends them.  Then, your responsibility comes with your response.  Yes, you’ve done something wrong.  How do you respond to the people who are hurt or disappointed?  Do you ignore them, or double down on your words, or try to defend yourself?  Just as importantly, what are you planning to do about it in the future?  If you have a second chance, what are you going to do differently?  You will make mistakes at some point.  So what are you going to do about them?  That, I think, is an even more important question than “How can I do this right?”  You may or may not portray something accurately, but when you get something wrong, how are you going to respond?

Essentially, it all comes down to your responsibility as a creator.  As a creator, you have a responsibility to do your due diligence in research, to remain respectful to your work and to your audience, and to be careful and conscientious about how you choose to create things.  It’s not about getting things absolutely perfect or being the most socially conscious creator out there, it’s about recognizing your responsibilities as a creator with a platform, no matter how big or small, and taking responsibility for your work. 

In summary:

Research, research, research

Avoid the obvious no-no’s (stereotypes, tokenization, fetishization, straight up stealing from other cultures, etc) and think critically about what creative choices you’re making and why

Do what you’re doing now, and reach out to people (who have put themselves out there as a resource).  There are tons of resources out there by people of colour, reach out when you’re not sure about something or would like some advice!

Responsibility, responsibility, responsibility

Thank you for reaching out!  Good luck with your work!

Neon Bruce Wayne by Dan Mora

Silt verses s2 off to an incredible start

“Hobie did more for Miles after knowing him for ten minutes than Gwen did” my brother in christ one of these characters was presented as having very little fondness, one might even say some derision, for spider society while for the other it was their entire support system they are not the same

Au where Billy doesn’t get his demigod form but just a shit ton of magic instead.

(can kinda be read as a continuation of this)

~

Zatanna has been hopping around Europe for months now. She’s been finding her father’s old teachers and new ones that are all her own and getting them to tell her everything they can. Since she left the mountain she’s been wringing every drop of knowledge she can from the world and practising it until she falls asleep with all her magic spent.

It feels a little like healing.

Sometimes it feels like something else though. When Zatanna thinks about how the only real connections she’s made on this journey have been with her teachers. Those connections aren’t like the one she shared with her father. Not like the connections she still shares with the Team. She makes the effort to go and visit the mountain on occasion but it’s not enough. The feeling of other people being close and loving her doesn’t fill her up like it used to.

She decides that this probably is healing. This whole thing she’s doing. But it’s a lonely breed of it.

Then a boy with black hair and blue eyes and far too much power, just like her, comes tumbling into her room one day.

“Uh. Hi. I’m Billy.” he says, uncertain. His aura crackles with lightning and Zatanna doesn’t think she’s ever seen someone with so much raw magic running through their veins.”You’re Zatanna right? I was hoping that you could help me? I want- I need to learn magic.” He pauses. “It’s important. A wizard told me so.”

Zatanna hasn’t thought about helping anyone in a long time. She’s been too focused on saving herself to have room for other worries. She realises that she misses it.

She must hesitate for too long because Billy looks far more worried than a kid that age should have any right to. “Please?” he says.

Zatanna smiles, because healing takes many forms and she thinks that this might be one she prefers. “Okay.” she says.

Billy smiles and it lights the room up so much that Zatanna thinks he might actually be doing magic on accident.

They’ll work on it.

Batman unburied is fucking sensational let no one tell you otherwise