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Welcome to the WritingWithColor Askbox Masterpost!

Deletion Log Last Updated: 12/07/23

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A Disclaimer to our International Readers

The WWC Code of Conduct

4. Moving Forward

Where we started

In the summer of 2014, bookworm Colette Aburime founded WritingWithColor, WWC for short, to help writers add diverse representation of People of Color (POC) to their creative works, with a focus on Western fiction. At the time, the majority white-run advice blogs were unequipped for POC-focused Q&A. Some even banned questions about writing POC outright. 

Having a passion for reading, especially books that actually had a variety of BIPOC main characters, she felt compelled to bridge the gap in the writing advice world. Thus, WritingWithColor was born.

Since then, WritingWithColor has gained over 100,000 followers! We are committed as ever to help writers create more respectful, diverse, and inclusive works. With a changing and ever growing team of diverse moderators, we serve a broader demographic to promote thoughtful representation of marginalized groups that are not one’s own.

Where we are now

Generous donations from our readers have allowed us to purchase the domain writingwithcolor.org! With this, we can expand beyond Tumblr and make our resources independent and available for years to come. By revamping the old FAQ ahead of the website opening, we hope to touch base again with our long-time followers, welcome some new faces, and try our best to start everyone on the same page.

In the meantime, we’re sure you have noticed that the blog goes through cycles of inactivity and askbox closures. The most common reason for this is the backlog of questions. The second most common reason is moderator burn-out.

Asking these questions and fielding user feedback is taxing. All moderators work or study full-time in some capacity, and many of us also have households, partners and dependents. Establishing firmer guidelines will help us more consistently provide you with the feedback with which you have generously entrusted us over the years.

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We’ve taken the feedback and critiques from many of you over the years about the time it takes to hear from us as well as issues over limitations in our responses. However, please do not use WWC for emergency questions, as answering asks is a time-consuming process.

If the above is clear, please stick with us as we provide you with our recommendations, tips, and guidelines when using the WWC askbox.

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(Updated November 17, 2023)

FAQ Guidelines Writing with Color Writing Advice FAQ Mobile Navigation mobile LAST UPDATED NOV 2023

Desi Parenthood, Adoption, and Stereotypes

I have a story set in the modern day with supernatural traces, with three characters: a young boy, his bio dad, and his adoptive dad. The boy and his bio dad are Indian, the adoptive dad is Chinese.

The bio dad is one of the few people in the story with powers. He put his son up for adoption when he was a child because at the time he was a young single father, had little control of the strength of his powers: he feared accidentally hurting his child. The son is adopted by the other dad, who holds spite to the bio dad for giving up his son since he lost his father as a young age and couldn’t get why someone would willingly abandon their child.

This also results in him being overprotective and strict over his son. When the child is older, the bio dad comes to their town and the son gets closer to him, which makes the adoptive dad pissed, mostly acting hostile to the other guy, paranoid that he’ll decide to take away the child he didn’t help raise. Later when they get closer he does change his biases.

I can see the possible stereotypes here: the absent father being the darkskinned character, the light-skinned adoptive dad being richer than the bio dad, the lightskinned character being hostile and looking down on the darkskinned character, the overprotective asian parent, the adoptive dad assuming the bio dad abandoned the son. The reason for his bias isn’t inherently racist, but I get how it can be seen that way. Is there a way to make this work? Would it be better to scrap it?

Two problem areas stand out with this ask: 

  1. You seem confused with respect to how racial stereotypes are created, and what effect they have on society.
  2. Your characterization of the Indian father suggests a lack of familiarity with many desi cultures as they pertain to family and child-rearing.

Racial Stereotypes are Specific

Your concern seems to stem from believing the absent father trope is applied to all dark-skinned individuals, when it’s really only applied to a subset of dark-skinned people for specific historical/ social/ political reasons. The reality is stereotypes are often targeted.

The “absent father” stereotype is often applied to Black fathers, particularly in countries where chattel slavery or colonialism meant that many Black fathers were separated from their children, often by force. The “absent black father” trope today serves to enforce anti-black notions of Black men as anti-social, neglectful of their responsibilities, not nurturing, etc. Please see the WWC tag #absent black father for further reading. 

Now, it’s true many desis have dark skin. There are also Black desis. I would go as far as to say despite anti-black bias and colorism in many desi cultures, if one was asked to tell many non-Black desis from places like S. India and Sri Lanka apart from Black people from places like E. Africa, the rate of failure would be quite high. However, negative stereotypes for desi fathers are not the same as negative stereotypes for non-desi Black fathers, because racially, most Black people and desis are often not perceived as being part of the same racial group by other racial groups, particularly white majorities in Western countries. Negative stereotypes for desi fathers are often things like: uncaring, socially regressive/ conservative, sexist. They are more focused around narratives that portray these men as at odds with Western culture and Western norms of parenting

Desi Parents are Not this Way

Secondly, the setup makes little sense given how actual desi families tend to operate when one or both parents are unable to be present for whatever reason. Children are often sent to be raised by grandparents, available relatives or boarding schools (Family resources permitting). Having children be raised by an outsider is a move of last resort. You make no mention of why your protagonist’s father didn’t choose such an option. The trope of many desi family networks being incredibly large is not unfounded. Why was extended family not an option?

These two points trouble me because you have told us you are writing a story involving relationship dynamics between characters of both different races and ethnicities. I’m worried you don’t know enough about the groups you are writing about, how they are perceived by each other and society at large in order to tell the story you want to tell.

As with many instances of writing with color, your problem is not an issue of scrap versus don’t scrap. It’s being cognizant of the current limits of your knowledge. How you address this knowledge deficit and its effect on your interpretation of your characters and the story overall will determine if readers from the portrayed groups find the story compelling.

- Marika.

I have one response: what? Where are the father’s parents? Any siblings? Is he cut off? Is he American? A Desi that has stayed in India? 

Estrangement is not completely out of the question if the father is Westernized; goodness knows that I have personal experience with seeing estrangement. But you haven’t established any of that. What will you add?

-Jaya

Black Indian South Asian Desi absent black father stereotypes tropes adoption colorism research research research parenting strict Asian parents Asian families

Sri Lankan Fairies and Senegalese Goddesses: Mixing Mythology as a Mixed Creator

[Note: this archive ask was submitted before the Masterpost rules took effect in 2023. The ask has been abridged for clarity.]

@reydjarinkenobi asked:

Hi, I’m half Sri Lankan/half white Australian, second gen immigrant though my mum moved when she was a kid.

My main character for my story is a mixed demigod/fae. […] Her bio mum is essentially a Scottish/Sri Lankan fairy and her other bio mum (goddess) is a goddess of my own creation, Nettamaar, who’s name is derived from […] Wolof words […]. The community of mages that she presided over is from the South Eastern region of Senegal […] In the beginning years of European imperialism, the goddess basically protected them through magic and by blessing a set of triplets effectively cutting them off from the outside world for a few centuries […]

I was unable to find a goddess that fit the story I wanted to tell […] and also couldn’t find much information on the internet for local gods, which is why I have created my own. I know that the gods in Hinduism do sort of fit into [the story] but my Sri Lankan side is Christian and I don’t feel comfortable representing the Hindu gods in the way that I will be this goddess […]. I wanted to know if any aspect of the community’s history is problematic as well as if I should continue looking further to try and find an African deity that matched my narrative needs?

I was also worried that having a mixed main character who’s specifically half black would present problems as I can’t truly understand the black experience. I plan on getting mixed and black sensitivity readers once I finish my drafts […] I do take jabs at white supremacy and imperialism and I I am planning to reflect my feelings of growing up not immersed in your own culture and feeling overwhelmed with what you don’t know when you get older […].

I’m sorry for the long ask but I don’t really have anyone to talk to about writing and I’m quite worried about my story coming across as insensitive or problematic because of cultural history that I am not educated enough in.

Reconciliation Requires Research

First off: how close is this world’s history to our own, omitting the magic? If you’re aiming for it to be essentially parallel, I would keep in mind that Senegal was affected by the spread of Islam before the Europeans arrived, and most people there are Muslim, albeit with Wolof and other influences. 

About your Scottish/Sri Lankan fairy character: I’ll point you to this previous post on Magical humanoid worldbuilding, Desi fairies as well as this previous post on Characterization for South Asian-coded characters for some of our commentary on South Asian ‘fae’. Since she is also Scottish, the concept can tie back to the Celtic ideas of the fae.

However, reconciliation of both sides of her background can be tricky. Do you plan on including specific Sri Lankan mythos into her heritage? I would tread carefully with it, if you plan to do so. Not every polytheistic culture will have similar analogues that you can pull from.

To put it plainly, if you’re worried about not knowing enough of the cultural histories, seek out people who have those backgrounds and talk to them about it. Do your research thoroughly: find resources that come from those cultures and read carefully about the mythos that you plan to incorporate. Look for specificity when you reach out to sensitivity readers and try to find sources that go beyond a surface-level analysis of the cultures you’re looking to portray. 

~ Abhaya

I see you are drawing on Gaelic lore for your storytelling. Abhaya has given you good links to discussions we’ve had at WWC and the potential blindspots in assuming, relative to monotheistic religions like Christianity, that all polytheistic and pluralistic lore is similar to Gaelic folklore. Fae are one kind of folklore. There are many others. Consider:

  • Is it compatible? Are Fae compatible with the Senegalese folklore you are utilizing? 
  • Is it specific? What ethnic/religious groups in Senegal are you drawing from? 
  • Is it suitable? Are there more appropriate cultures for the type of lore you wish to create?

Remember, Senegalese is a national designation, not an ethnic one, and certainly not a designation that will inform you with respect to religious traditions. But more importantly:

…Research Requires Reconciliation

My question is why choose Senegal when your own heritage offers so much room for exploration? This isn’t to say I believe a half Sri-Lankan person shouldn’t utilize Senegalese folklore in their coding or vice-versa, but, to put it bluntly, you don’t seem very comfortable with your heritage. Religions can change, but not everything cultural changes when this happens. I think your relationship with your mother’s side’s culture offers valuable insight to how to tackle the above, and I’ll explain why.  

I myself am biracial and bicultural, and I had to know a lot about my own background before I was confident using other cultures in my writing. I had to understand my own identity—what elements from my background I wished to prioritize and what I wished to jettison. Only then was I able to think about how my work would resonate with a person from the relevant background, what to be mindful of, and where my blindspots would interfere. 

I echo Abhaya’s recommendation for much, much more research, but also include my own personal recommendation for greater self-exploration. I strongly believe the better one knows oneself, the better they can create. It is presumptuous for me to assume, but your ask’s phrasing, the outlined plot and its themes all convey a lack of confidence in your mixed identity that may interfere with confidence when researching and world-building. I’m not saying give up on this story, but if anxiety on respectful representation is a large barrier for you at the moment, this story may be a good candidate for a personal project to keep to yourself until you feel more ready.

(See similar asker concerns here: Running Commentary: What is “ok to do” in Mixed-Culture Supernatural Fiction, here: Representing Biracial Black South American Experiences and here: Am I fetishizing my Japanese character?)

- Marika.

Start More Freely with Easy Mode

Question: Why not make a complete high-fantasy universe, with no need of establishing clear real-world parallels in the text? It gives you plenty of leg room to incorporate pluralistic, multicultural mythos + folklore into the same story without excessive sweating about historically accurate worldbuilding.

It’s not a *foolproof* method; even subtly coded multicultural fantasy societies like Avatar or the Grishaverse exhibit certain harmful tropes. I also don’t know if you are aiming for low vs high fantasy, or the degree of your reliance on real world culture / religion / identity cues.

But don’t you think it’s far easier for this fantasy project to not have the additional burden of historical accuracy in the worldbuilding? Not only because I agree with Mod Marika that perhaps you seem hesitant about the identity aspect, but because your WIP idea can include themes of othering and cultural belonging (and yes, even jabs at supremacist institutions) in an original fantasy universe too. I don’t think I would mind if I saw a couple of cultural markers of a Mughal Era India-inspired society without getting a full rundown of their agricultural practices, social conventions and tax systems, lol.

Mod Abhaya has provided a few good resources about what *not* to do when drawing heavily from cultural coding. With that at hand, I don’t think your project should be a problem if you simply make it an alternate universe like Etheria (She-Ra and the Princesses of Power), Inys (The Priory of the Orange Tree) or Earthsea (the Earthsea series, Ursula K. Le Guin). Mind you, we can trace the analogues to each universe, but there is a lot of freedom to maneuver as you wish when incorporating identities in original fantasy. And of course, multiple sensitivity readers are a must! Wishing you the best for the project.

- Mod Mimi

asks multiracial multicultural south asian sri lankan senegalese west african identity representation worldbuilding fantasy mythology folklore fairies deities adoption identity issues mixed experiences coding
writingwithcolor

spellslots asked:

hi, i hope you're doing well today! i'm looking to create a pantheon for a d&d campaign, and i pictured the goddess of weather & seasons as a black woman. i thought making her hair an afro-like cloud would be an interesting way to design her. i'm worried that this may be insensitive, though, and that i'm othering curly hair. she would not be the only black character in the pantheon, but she's the one i'm most worried about being offensive. what are your thoughts on this design choice?

writingwithcolor answered:

Black Goddess with Clouds for Hair

I think this is a cool idea! You’ve got regular Black characters (women?) too, so even better. Not that there seems to be any poor implications with having the Black goddess; magical Black girls for the win! She may not need a “counter” exactly, but it’s always good to have multiple modes of representation, particularly as she’s not human. 

This immediately made me think of artwork by the artist GDBee (whose art adorns the walls of my creative workspace)

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“Cloud Goddess Collection”

https://gdbee.store/products/cloud-bundle-print-bundle

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”Cosmiss”

https://www.deviantart.com/gdbee/art/Cosmiss-344803672

Artist Credits

-Mod Colette

For those of you interested in Geneva’s art, the Cloud Goddess print bundle, among others, is being retired this month–get these prints while you can!

Browse the rest of the GDBee store here:

– WWC Colette and Rina

writingwithcolor reblog black art woc art would you believe us if we said not sponsored prinnay

What Makes an Ethnic Villain “Ethnic” or “Villainous?” How Do You Offset it?

anonymous asked:

Hello WWC! I have a question about the antagonist of my story. She is (currently) Japanese, and I want to make sure I’m writing her in a way that doesn’t associates [sic] her being Asian with being villainous. 
The story is set in modern day USA, this character is effectively immortal. She was a samurai who lost loved ones due to failure in combat, and this becomes her character[sic] motivation (portrayed sympathetically to the audience). This story explores many different time periods and how women have shown valor throughout history. The age of the samurai (and the real and legendary female warriors from it) have interested me the most, which is why I want her to be from this period. 
The outfit she wears while fighting is based on samurai armor, and she wears modern and traditional Japanese fashion depending on the occasion. She acts pretty similar to modern day people, though more cynical and obsessed with her loss. She’s been able to adapt with the times but still highly values and cherishes her past. 
She is the only Asian main character, but I plan to make a supportive Japanese side character. She’s a history teacher who knows about the villain and gives the protagonists information to help them, but isn’t involved in the main plot otherwise. 
Are the way I’m writing this villain and the inclusion of a non-antagonist Japanese character enough to prevent a harmful reading of the story, or is there more I should do?

Why Does Your Villain Exist?

This makes me feel old because David Anders plays a villain with this kind of backstory in the series Heroes starring Masi Oka. 

I think you want to think about what you mean when you say: 

  • Villainous (In what way? To whom? To what end?)
  • Harmful (What tropes, narratives and implications are present?)

I’m relatively infamous in the mod circle for not caring too much about dimensions of “harm”. The concept is relative and varies widely between people and cultures. I don’t see much value in framing motivations around “What is less harmful?” I think for me, what matters more is: 

  • “What is more true?” 
  • “Are characteristics viewed as intrinsic to background, or the product of experiences and personal autonomy?”
  • “Will your portrayal resonate with a large audience?”
  • “What will resonate with the members of the audience who share the backgrounds your characters have?” 

This post offers additional questions you could ask yourself instead of “is this okay/not okay/harmful.” 

You could write a story where your antagonist is sly, sadistic, violent and cold-blooded. It may not be an interpretation that will make many Japanese from combat backgrounds feel seen or heard, but it’s not without precedent. These tropes have been weaponized against people of Japanese descent (Like Nikkei Japanese interned during World War II), but Japan also brutalized a good chunk of Asia during World War II. See Herge’s Tintin and The Blue Lotus for an example of a comic that accurately showcases the brutality of Japan’s colonization of Manchuria, but also is racist in terms of how Japanese characters are portrayed (CW: genocide, war, imperialism, racism).

You could also write a story where your character’s grief gives way to despair, and fuels their combat such that they are seen as calculating, frigid and deeply driven by revenge/ violence. This might make sense. It’s also been done to death for Japanese female warriors, though (See “Lady Snowblood” by Kazuo Koike and Kazuo Kamimura here, CW: sexual assault, violence, murder and a host of other dark things you’d expect in a revenge story). 

You could further write a story where your antagonist is not necessarily villainous, but the perceived harm comes from fetishizing/ exoticizing elements in how her appearance is presented or how she is sexualized, which is a common problem for Japanese female characters. 

My vote always goes to the most interesting story or character. I don’t see any benefit to writing from a defensive position. This is where I’ll point out that, culturally, I can’t picture a Japanese character viewing immortality as anything other than a curse. Many cultures in Japan are largely defined by transience and the understanding that many things naturally decay, die, and change form.

There are a lot of ways you could conceivably cause harm, but I’d rather hear about what the point of this character is given the dilemma of their position. 

  • What is her purpose for the plot? 
  • How is she designed to make the reader feel? 
  • What literary devices are relevant to her portrayal?

(Arbitrarily, you can always add more than 1 extra Japanese character. I think you might put less pressure on yourself with this character’s portrayal if you have more Japanese characters to practice with in general.) 

- Marika. 

When Off-Setting: Aim for Average

Seconding the above with regards to this villainess’s story and your motivations for this character, but regardless of her story I think it’s also important to look specifically at how the Japanese teacher character provides contrast. 

I agree with the choice to make her a regular person and not a superhero. Otherwise, your one Asian character is aggressively Asian-themed in a stereotypical Cool Japan way (particularly if her villain suit is samurai-themed & she wears wafu clothing every so often). Adding a chill person who happens to be Japanese and doesn’t have some kind of ninja or kitsune motif will be a breath of fresh air (well, more like a sigh of relief) for Japanese readers. 

A note on characterization—while our standard advice for “offset” characters is to give your offset character the opposite of the personality trait you’re trying to balance, in this case you might want to avoid opposites. You have a villainess who is a cold, tough “don’t need no man” type. Making the teacher mild-mannered, helpful, and accomodating would balance out the villainess’s traits, but you’ll end up swinging to the other side of the pendulum towards the Submissive Asian stereotype depending on execution. If avoiding stereotypes is a concern, I suggest picking something outside of that spectrum of gentleness to violence and making her really boring or really weird or really nerdy or a jock gym teacher or…something. You’re the author.

Similarly, while the villainess is very traditionally Japanese in her motifs and backstory, don’t make the teacher go aggressively in either direction—give her a nice balance of modern vs. traditional, Japanese vs. Western sensibilities as far as her looks, dress, interests, values, etc. Because at the end of the day, that’s most modern Japanese people. 

Sometimes, the most difficult representation of a character of color is making a character who is really average, typical, modern, and boring. 

- Rina

writeblr Japanese Japanese women Villain antagonist tokenism characterization representation stereotypes immortality superheroes supervillains asks
writingwithcolor

italianpersonwithashippersheart asked:

(Part One) Hi, I am planning this fantasy series all set in a completely fictional world. There are no humans. Looking through your blog I already know some of the do's and don'ts of fantasy species and poc, but my question is, some of my fantasy species do have real skin tones and I wanted to give them features from different real races.

writingwithcolor answered:

I read all your asks about fantasy races but I there wasn’t one that talked about a fantasy world with no humans. My question is: is still othering to have poc in that context? Should I include more humans to balance it out?

Fantasy races with features from real human races

From what I gather, you are saying you are writing a fantasy series with no humans, but a variety of fantasy species, some of which have human-like features, including skin tones. I think this is a simple problem. 

When coding cultures and traditions:

Do not:

  • Code whole ethnicities/ races for whole species.
  • This would reinforce the racist pseudoscience notions that differences between groups with different outward appearances connote different intrinsic, biological and behavioral attributes.

Do:

  • Show ethnicities within species.
  • Show societal attributes that can all be linked to the circumstances of the environment, even if the outcomes are different for different groups living in the same region. 

Avoid dehumanizing coding
Lastly, I advise against creating a [human-like features] = [more human personality] / [animal-like features] = [Less human] dichotomy as this too falls in line with “dehumanizing based on physical appearance” reasoning you are looking to avoid in the event your culture-coding ends up revealing any intrinsic biases.

Marika

(Edited for repeat paragraph Dec. 11, 2023)

Worldbuilding Fantasy Species: Examples

Hey guys, Marika here:

I’ve seen some requests for examples w/r to the above. Please see below for an example of 2 species, each with 2 subspecies, who arrive in the same region at various points in time and create a society with a variety of ethnicities. These examples are things one would be able to create using knowledge from a standard Californian secondary school biology curriculum accompanied by standard material pulled from coursework found in most US university 1st year anthropology programs.

The Setting:

The setting for my example is a coastal region on an Earth-like sphere with a dry, Mediterranean type climate with mountains, hills, valleys and an ocean coastline (I live in Los Angeles in the United States).

Please note in my thinking how I focus much more on how environment informs culture (traditions, professions, calendars social roles), and much less on how the environment informs physical traits, unless I provide a clear justification. As we all know from basic secondary school evolutionary biology, changes in physical features via genetic mutation take many thousands if not tens of thousands of years, but creating cultural traditions to adapt to an environment can be done by a population much more rapidly.

Scenario A (Swimswims and Flapflaps)

2 sapient, different, reptilian species live in our region and possess physical traits that are function of different ways of living in the same space. We’re fudging things a little, but let’s say these species are in the same genus and are capable of communicating with each other to a high level of understanding - an accelerated version of how primates might communicate with each other.

Let us introduce two reptilian groups: Flapflaps (a subspecies of the Aireptile species) and Swimswims (a subspecies of the Watereptile species) (Names courtesy of Mod Rina). They will have different needs given climate and the region’s ecosystems + geography.

Swimswims:

  • Movement: Swimming+crawling.
  • Distinct characteristics: The more indigenous population to the region. They’ve lived in this region for a much longer period of time, and thus have developed (over millennia) the necessary physical adaptations to live out in the open in a dry, windy climate relative to other amphibious reptiles. Also, they are capable of living saltwater environments.
  • Habitat: Their ancestral homes might be in coastal estuaries and saltwater swamps, which all have some level of water no matter the time of year (An important consideration during times of drought).
  • Calendar: Their culture’s calendar revolves around rainfall, particularly when changes in salinity become high or low, as well as the impact the salt concentration in the water has on their capacity to raise offspring in the swamps.
  • Culture: Awareness of rainfall and the health of waterway ecosystems is paramount to their survival.

Flapflaps:

  • Movement: Winged flight throughout most of the year.
  • Social Calendar: The period towards the end of the year has high, unpredictable winds. This is a festive time when adolescents compete in coming of age competitions to showcase their strength in flight. Rainy season immediately following the windy season is a period of rest and introspection.
  • Culture: The Flapflappian culture stresses cognizance of conditions that might lead to forest fires, including wind speed, heat and drought.
  • Habitat: Due to their reliance on air quality, infrared eyesight to spot prey from a distance and roosts for habitation, Flapflaps live mostly on hills, foothills and mountain tops.

Left to their own devices, Swimswims and Flapflaps have little cause to interact. They may live in the same place and affect the same ecosystem. However, because they dwell in different biomes, the cultures they create are largely shaped by the needs of how the region’s seasons impact each biome and the physical needs of each species.

Scenario B (Enter Swumswums and Flipflips):

Now let us imagine the arrivals of additional subspecies Flipflips and Swumswums.

  • Flipflips (Aireptile): Sexually compatible with Flapflaps, but from a more humid environment.
  • Swumswums (Watereptile): Sexually compatible with Swimswims, but from a more freshwater environment.

Note our new arrivals are not very compatible with our region’s climate relative to Swimswims or even Flapflaps. This suggests that they are not necessarily here by choice: they may be part of some more acute displacement/ migration event. They will be eager to adapt and survive, and their situation will be urgent given their relative lack of establishment/ locally accumulated resources.

Swumswum adaptations and interactions with Swimswims:

  • Settling in a more comfortable environment: Swumswums settle in the least saline, most humid waterways: coastal streams fed by snowmelt from the mountains.
  • Technology to expand their range/population: over time, maybe they construct artificial irrigation/ rain harvest sites further away from the coast. Perhaps they excel at farming crops in freshwater as well as engineering.
  • Cooperation over shared resources: The level of conflict they have with Swimswims will depend on how the waterways and water content are managed after Swumswums’ arrival, but I like to imagine that their shared interest in maintaining the waterways results in mixed families with offspring possessing varying levels of tolerance to water salinity…
  • …And thus a 3rd community forms along the waterways: a midway point between the highly salty swamps and costal estuaries, and the seasonal snowmelt streams closer to the mountains. All 3 cultures will have a cultural calendar united by how the rains affect the waterways and mating season.

Flipflip adaptations and interactions with Flapflaps:

  • Settling in a more comfortable environment: Flipflips won’t find the foothills and mountains Flapflaps find so useful for flying and perching very comfortable because those areas are very dry. Thus, Flipflips may move towards the seaside lowlands where the humidity is constant throughout the year.
  • Being from a more humid environment, perhaps, as a rule, they don’t fly very far distances or use wind/ thermals for flight. (See gliding snakes for RL examples)
  • Technology/division of labor to gain resources: Maybe they use flight for short distances to capture prey or avoid enemies. Maybe they spend less time flying and more time cultivating prey/ livestock (Like large insects) that everyone else also consumes.
  • Permanent settlements and land ownership: Struggling with the cooler temperatures of the coast, maybe they start looking for warmth. Happily, this is FakeLosAngeles. One Flipflip finds an underground hot-spring (Yes, these exist in LA), and this becomes their real starting point. Land ownership, particularly land ownership for livestock and linked to the water rights of hot-springs sources throughout the region become crucial for their community.
  • Cooperation: Over time, hot springs are also discovered in the mountains where groups of Flapflaps live, and the little mountain hamlets where Flipflips can provide resources become essential for Flapflaps, especially in the winter, when cold, rain, wind and snow can threaten the health of vulnerable populations like the elderly, chronically ill and young.
  • Tolerance to diversity and accomodation: Mixed families of Flipflips and Flapflaps form. Flipflippian culture is often characterized by their appreciation for commerce and hospitality. Their rituals emphasize these values as well as a willingness to care for those needing accommodation. The culture of Flapflaps, which prizes distinct physical abilities related to aerial maneuvers and fire-fighting, may have struggled in this regard in the past.

Newcomers like the Swumswums and Flipflips are contributing to the region with their skills, and helping make the region more habitable both for themselves and for marginalized members of the native population (Flapflaps and Swimswims), as well as “Flipflaps” and “Swimswums” who may find the region’s more extreme environments challenging to thrive in.

This is not an argument that newcomers to a region improve that region more than their indigenous counterparts. Rather indigenous counterparts often have lifestyles so well suited to their environment and if I’m bringing in less well adjusted groups and I want interactions to be mutually beneficial and productive, having the new arrivals contribute to the indigenous societies seems a natural way to encourage the groups to mix.

The Point of this Flap-flapping Exercise:

We now have a region with two species, Aireptiles and Watereptiles, each with two distinct subspecies–Flapflaps and Flipflips, Swimswims and Swumswums, but also mixed groups of the subspecies — Flipflaps and Flapflips, Swimswums and Swumswims. Each individual member of each species possesses a rich, fully formed cultural background, family history and social role, all of which are informed the interaction of the species’ needs with the region’s climate, environment and migration history.

External physical appearances are up to the author - provided they make sense on a basic biological level, but one can easily picture a diverse collection of 3-4 groups for both flying and swimming sapient reptiles of various appearances chilling in FakeLosAngeles.

Note: You’ll notice I am pointedly not using the term “race” here. As many readers of our blog know, race as we understand it is a distinctly modern, human social construct that links physical appearance with intrinsic traits and lineage. In other words, it’s a convenient sociopolitical concept that is very real in its impact, but is ultimately something that is only as real as how people and their societies decide to use it. I haven’t progressed far enough in this world-building exercise to decide if “race” is “real” for my suspiciously Pokemon-like reptile groups.

Notes on Social Representation While World-Building

Societies and social roles tend to revolve around the production of offspring, propagation of lineage, distribution of property/ power , etc. In my scenario, the mating of Aireptiles and Watereptiles will not produce live offspring, though both species are sapient and can communicate with each other.

I like to be cognizant of the existence marginalized groups: disabled individuals, LGBTQ individuals when I world-build, as well as the possibility of mixed families. Thus when I world-build, I’ll be thinking of what social roles given the parameters of the cultures (informed by my environment above) do not necessarily require the production of live offspring or may require some form of accommodation for social roles.

This is easy to imagine if I use IRL examples. Many large, social, reptilian species IRL are known to take great care of their young. Let’s say that some LGBTQ+ or mixed Air/Water couples, despite their lack of capacity to produce live offspring, might help raise children in their families or raise children of their own who are abandoned or orphaned.

Another example: an able bodied aro-ace reptilian may find their place in a role that is less compatible with romantic/ sexual partnership and offspring. Imagine a Flapflappian sentry/ smoke jumper for forest fires, or a Swumswummian instructor for a form of dangerous underwater repair for flood levees that takes years of experience to master. A disabled individual may similarly hold vital roles: a blind masseuse for Aireptile wings, a storyteller or musician during a cultural periods of rest–you get the idea.

IRL, many societies do create some social roles for at least a few marginalized groups, but they will not do this for every marginalized group given a variety of limits. Similarly, cultures do not necessarily maintain or expand the prominence of such roles as they alter over time, even if the society+region becomes more capable of supporting a more diverse group of individuals. The whys are many and varied, but I try to read up on history to make sure my logic is consistent. I can feel however I want on about an issue, but I try to make sure my understanding of the problem is grounded in fact as much as possible: that is simply my preference. Thus, how much of a utopia v. dystopia the author creates is a YMMV issue to me as long as it is believable. There are very different versions of my story that end in war, genocide, colonization, etc. I just prefer mine - and feel the facts are sufficient to present this option to the audience.

The main point: A writer can always create preferred traits and physical attributes to assign to a race, ethnicity or culture. Similarly, a writer can always create social roles characters from varying backgrounds can fill or not fill, even in an imaginary non-human fantasy culture. However, it’s also up to the writer to create the logic of the world these characters and populations inhabit to justify these choices, even if one’s characters and populations are a bunch of sapient, anthropomorphic reptiles. The writer’s understanding of the variety of disciplines utilized above will heavily inform how to do this.

The TLDR: If you want to write fantasy with original non-human species, leaving aside your interest in literature, an interest in biology, ecology, anthropology and world history will greatly assist your world-building efforts.

writingwithcolor worldbuilding fantasy race fantasy species geography evolution speculative fiction speculative evolution spec evo anthropology aliens coding asks fantasy science fiction sci fi writeblr

How do I respectfully discuss the topic of diversity with a co-author, as well as assigning a race to an “ambiguous” character?

Anonymous asked:

My co-author and I, for context, are both white and in highschool. For the main cast of our story, each of us ended up creating three characters. All three of her characters were white. Two of mine were white as well, alongside one character who is ambiguously brown-skinned.

Do you have any advice on respectfully bringing up the subject of diversity to a co-author, even if it means potentially changing our established characters?

Additionally, do you have any advice on retroactively assigning a race/culture to a character? I now understand after reading this blog that “ambiguously brown” characters should be avoided, but I did not when initially creating him. I worry that I could fall into stereotypes— while portrayed positively, he’s somewhat of a “nerd” archetype. But I don’t want to whitewash him either.

“Hey, why’d you think we made a mostly all-white cast?”

In other words: Just be normal about it. As you yourself note, you also didn’t exactly put a great deal of thought into the racial/ ethnic identity for your single brown character either, so it’s not just about your writing partner. This is about how you guys like to create as a team, and what sources of inspiration you both tend to gravitate towards. If a pair of high school students who write together can’t have a chill conversation about the races of the characters they are creating, then I’d worry more for their dynamic as a creative team. Discussions of race are only as weird and awkward as people decide to make them, and that’s often framed by the baggage each person is bringing into the conversation.

Whether or not you change the characters is up to you.

“Diversity is a marathon, not a sprint!”

Write diverse characters when and because you want to. I think the push for diversity is best when it’s self-motivated. Strangers on the internet telling you to do something is definitely not the reason to do it. I’ll note the same applies IRL. Otherwise, you’re changing your behavior for the sake of peer pressure. Writing groups on the internet like our blog do not exist to sit in judgment of your work. These are venues to discuss, critique and receive feedback, but the final choice always rests with you.

There’s not enough info for me to tell if the experience of whiteness is so intrinsic to your characters that changing their race will alter them greatly. I would argue the same for gender and sexual identity. Sometimes, changing dimensions of a character’s identity alters a lot about who they are. Other times, particularly if the character is not thoroughly fleshed out, changing their race only adds to their characterization. Only you can say which scenario applies here.

Other mods have written on how to handle your dilemma of “white as default” in an earlier post available here. Please explore our #POC Profiles for more inspiration. 

Your third paragraph can be answered by re-reading all 3 sections of the FAQ and exploring our archives using the tags. 

  • Marika.
creator responsibility white white as default characters diversity asks representation writeblr

My alternate universe fantasy colonial Hong Kong is more authoritarian and just as racist but less homophobic than in real life, should I change that?

@floatyhands asked:

I’m a Hongkonger working on a magical alternate universe dystopia set in what is basically British colonial Hong Kong in the late 1920s. My main character is a young upper middle-class Eurasian bisexual man. 

I plan to keep the colony’s historical racial hierarchy in this universe, but I also want the fantasy quirks to mean that unlike in real life history, homosexuality was either recently decriminalized, or that the laws are barely enforced, because my boy deserves a break. Still, the institutions are quite homophobic, and this relative tolerance might not last. Meanwhile, due to other divergences (e.g. eldritch horrors, also the government’s even worse mishandling of the 1922 Seamen’s Strike and the 1925 Canton-Hong Kong Strike), the colonial administration is a lot more authoritarian than it was in real history. This growing authoritarianism is not exclusive to the colony, and is part of a larger global trend in this universe. 

I realize these worldbuilding decisions above may whitewash colonialism, or come off as choosing to ignore one colonial oppression in favor of exaggerating another. Is there any advice as to how I can address this issue? (Maybe I could have my character get away by bribing the cops, though institutional corruption is more associated with the 1960s?) Thank you!

Historical Precedent for Imperialistic Gay Rights

There is a recently-published book about this topic that might actually interest you: Racism And The Making of Gay Rights by Laurie Marhoefer (note: I have yet to read it, it’s on my list). It essentially describes how the modern gay rights movement was built from colonialism and imperialism. 

The book covers Magnus Hirschfeld, a German sexologist in the early 1900s, and (one of) his lover(s), Li Shiu Tong, who he met in British Shanghai. Magnus is generally considered to have laid the groundwork for a lot of gay rights, and his research via the Institut für Sexualwissenschaft was a target of Nazi book-burnings, but he was working with imperial governments in an era where the British Empire was still everywhere. 

Considering they both ended up speaking to multiple world leaders about natural human sexual variation both in terms of intersex issues and sexual attraction, your time period really isn’t that far off for people beginning to be slightly more open-minded—while also being deeply imperialist in other ways.

The thing about this particular time period is homosexuality as we know it was recently coming into play, starting with the trial of Oscar Wilde and the rise of Nazism. But between those two is a pretty wildly fluctuating gap of attitudes.

Oscar Wilde’s trial is generally considered the period where gay people, specifically men who loved men, started becoming a group to be disliked for disrupting social order. It was very public, very scandalous, and his fall from grace is one of the things that drove so many gay and/or queer men underground. It also helped produce some of the extremely queercoded classical literature of the Victorian and Edwardian eras (ex: Dracula), because so many writers were exploring what it meant to be seen as such negative forces. A lot of people hated Oscar Wilde for bringing the concept to such a public discussion point, when being discreet had been so important.

But come the 1920s, people were beginning to wonder if being gay was that bad, and Mangus Hirschfeld managed to do a world tour of speaking come the 1930s, before all of that was derailed by wwii. He (and/or Li Shiu Tong) were writing papers that were getting published and sent to various health departments about how being gay wasn’t an illness, and more just an “alternative” way of loving others. 

This was also the era of Boston Marriages where wealthy single women lived together as partners (I’m sure there’s an mlm-equivalent but I cannot remember or find it). People were a lot less likely to care if you kept things discreet, so there might be less day to day homophobia than one would expect. Romantic friendships were everywhere, and were considered the ideal—the amount of affection you could express to your same-sex best friend was far above what is socially tolerable now.

Kaz Rowe has a lot of videos with cited bibliographies about various queer disasters [affectionate] of the late 1800s/early 1900s, not to mention a lot of other cultural oddities of the Victorian era (and how many of those attitudes have carried into modern day) so you can start to get the proper terms to look it up for yourself.

I know there’s a certain… mistrust of specifically queer media analysts on YouTube in the current. Well. Plagiarism/fact-creation scandal (if you don’t know about the fact-creation, check out Todd in the Shadows). I recommend Kaz because they have citations on screen and in the description that aren’t whole-cloth ripped off from wikipedia’s citation list (they’ve also been published via Getty Publications, a museum press). 

For audio-preferring people (hi), a video is more accessible than text, and sometimes the exposure to stuff that’s able to pull exact terms can finally get you the resources you need. If text is more accessible, just jump to the description box/transcript and have fun. Consider them and their work a starting place, not a professor. 

There is always a vulnerability in learning things, because we can never outrun our own confirmation bias and we always have limited time to chase down facts and sources—we can only do our best and be open to finding facts that disprove what we researched prior.

Colonialism’s Popularity Problem

Something about colonialism that I’ve rarely discussed is how some colonial empires actually “allow” certain types of “deviance” if that deviance will temporarily serve its ends. Namely, when colonialism needs to expand its territory, either from landing in a new area or having recently messed up and needing to re-charm the population.

By that I mean: if a fascist group is struggling to maintain popularity, it will often conditionally open its doors to all walks of life in order to capture a greater market. It will also pay its spokespeople for the privilege of serving their ends, often very well. Authoritarians know the power of having the token supporter from a marginalized group on payroll: it both opens you up directly to that person’s identity, and sways the moderates towards going “well they allow [person/group] so they can’t be that bad, and I prefer them.”

Like it or not, any marginalized group can have its fascist members, sometimes even masquerading as the progressives. Being marginalized does not automatically equate to not wanting fascism, because people tend to want fascist leaders they agree with instead of democracy and coalition building. People can also think that certain people are exaggerating the horrors of colonialism, because it doesn’t happen to good people, and look, they accept their friends who are good people, so they’re fine. 

A dominant fascist group can absolutely use this to their advantage in order to gain more foot soldiers, which then increases their raw numbers, which puts them in enough power they can stop caring about opening their ranks, and only then do they turn on their “deviant” members. By the time they turn, it’s usually too late, and there’s often a lot of feelings of betrayal because the spokesperson (and those who liked them) thought they were accepted, instead of just used.

You said it yourself that this colonial government is even stricter than the historical equivalent—which could mean it needs some sort of leverage to maintain its popularity. “Allowing” gay people to be some variation of themselves would be an ideal solution to this, but it would come with a bunch of conditions. What those conditions are I couldn’t tell you—that’s for your own imagination, based off what this group’s ideal is, but some suggestions are “follow the traditional dating/friendship norms”, “have their own gender identity slightly to the left of the cis ideal”, and/or “pretend to never actually be dating but everyone knows and pretends to not care so long as they don’t out themselves”—that would signal to the reader that this is deeply conditional and about to all come apart. 

It would, however, mean your poor boy is less likely to get a break, because he would be policed to be the “acceptable kind of gay” that the colonial government is currently tolerating (not unlike the way the States claims to support white cis same-sex couples in the suburbs but not bipoc queer-trans people in polycules). It also provides a more salient angle for this colonial government to come crashing down, if that’s the way this narrative goes.

Colonial governments are often looking for scapegoats; if gay people aren’t the current one, then they’d be offered a lot more freedom just to improve the public image of those in power. You have the opportunity to have the strikers be the current scapegoats, which would take the heat off many other groups—including those hit by homophobia.

In Conclusion

Personally, I’d take a more “gays for Trump” attitude about the colonialism and their apparent “lack” of homophobia—they’re just trying to regain popularity after mishandling a major scandal, and the gay people will be on the outs soon enough.

You could also take the more nuanced approach and see how imperialism shaped modern gay rights and just fast-track that in your time period, to give it the right flavour of imperialism. A lot of BIPOC lgbtqa+ people will tell you the modern gay rights movement is assimilationalist, colonialist, and other flavours of ick, so that angle is viable.

You can also make something that looks more accepting to the modern eye by leaning heavily on romantic friendships that encouraged people waxing poetic for their “best friends”, keeping the “lovers” part deeply on the down low, but is still restrictive and people just don’t talk about it in public unless it’s in euphemisms or among other same-sex-attracted people because there’s nothing wrong with loving your best friend, you just can’t go off and claim you’re a couple like a heterosexual couple is.

Either way, you’re not sanitizing colonialism inherently by having there be less modern-recognized homophobia in this deeply authoritarian setting. You just need to add some guard rails on it so that, sure, your character might be fine if he behaves, but there are still “deviants” that the government will not accept. 

Because that’s, in the end, one of the core tenants that makes a government colonial: its acceptance of groups is frequently based on how closely you follow the rules and police others for not following them, and anyone who isn’t their ideal person will be on the outs eventually. But that doesn’t mean they can’t have a facade of pretending those rules are totally going to include people who are to the left of those ideals, if those people fit in every other ideal, or you’re safe only if you keep it quiet.

~ Leigh

colonialism colonization worldbuilding alternate history history lgbt china hong kong british empire ask

Any advice for handling race in reincarnation situations?

@swamp-spirit asked:

I’m writing a story that includes characters being reincarnated with completely different appearances. It’s a fantasy world, and most of the characters are being reborn in the same region, but I still want a range of skin tones and features in the main cast (this is a comic). I have weird feelings about a character being ‘reborn’ with notably lighter or darker skin, but it also feels implausible and lazy for people to Just Happen to have a similar appearance when the theology of the story doesn’t support it. Characters being reborn, and taking out things specific to real life groups, what are the major things you’d want an author to read up on or take into account? (Note: there is not a 'white’ looking ethnic group in this story)

I don’t think it’s a problem as long as the skin tones don’t have any correlation to the circumstances that they’re reincarnated into.

- SK

It’s an interesting question, because in most religions where reincarnation/ transmigration of the soul is a feature of “what happens after death”, remembering one’s past life is not really part of the package deal. From what you’ve written, it’s not clear to me where the “memory” of these characters’ lives are held. Is there a 3rd person omniscient narrator telling the audience who each person is in their next life or do the characters themselves retain memory of past lives?

Assuming this is your typical reincarnation scenario where characters retain no memory of previous lives, it doesn’t much matter. The next life is the next life. Who a person was in their previous life and that identity, in theory, means nothing to them. This also means whatever personality, values, experiences and so on they had in their previous life no longer has meaning. They are, in effect, another person. However, you say you feel awkward about the above which makes me wonder if characters are remembering past lives, in which case…

If you study pretty much any major Asian religion where reincarnation is a part of the belief system, having no memory of the previous life is par for the course. In present-day religions like Jainism, Sikhism, Hinduism and Buddhism, only “special” (I’m using the term very casually here) entities like bodhisattvas, guru, arihant, buddhas, etc. usually get to keep their memories, while the rest of us (literal) mere mortals are supposed to lose our memories between lives as a part of Samsara. In Hinduism, even the gods often forget their previous lives, unless their reincarnation had a targeted purpose (Like being born to defeat an evil entity). 

For most people, it is only through prayer, devotion, meditation and accumulated virtuous/ good/ compassionate deeds that humans are thought to deepen their understanding of the nature of the universe, and thus have the capacity to remember past lives (I’m, again, paraphrasing very loosely here from several years worth of university history+religion courses).  

This is why the isekai genre in Japan is largely regarded as a “cheat”/ parody genre of fantasy. The protagonist, according to common Japanese cultural beliefs, which are quite heavily grounded in Buddhism, is definitively “cheating.” Not to get too ironically biblical, the character’s success often comes from the forbidden knowledge borne of their previous life. 

Thus, there are two ways I look at your characters’ predicaments: 

  1. It’s not technically reincarnation - not by the way most major world religions define reincarnation, anyway. You have people who died now inhabiting other bodies, but that’s not the same as the transmigration of the soul. Also, you want to delve into the weirdness (and maybe heaviness) of “Wow, I went to sleep with one face and woke up with another.” There are certainly stories about people who have had dramatic cosmetic plastic surgery, weight loss surgery, HRT, etc. and then experienced the difference in the “before” versus “after” of how their altered physical appearance makes them feel, as well as how other people treat them. Even if the community your characters are born into now differs from their previous community (Which I guess would make this more a “I traveled between dimensions, and my appearance altered in the process” sci-fi adjacent affair), their new life will still have social environments with differing attitudes towards human physical appearance that will affect your characters’ emotional states. 
  2. Isekai it up and play with the ridiculous contradiction of having past lives and differing memories of one’s appearance. Isekai manga, manhwa and webtoons all make use of this trope heavily, especially with protagonists who experience a “glow-up” (Ex. Going from a Plain Jane OL to beautiful fantasy heroine) or, by contrast, protagonists who end up in very different forms from their original lives (Tensura, I’m a Spider, So What?). I’d be creative and go even more granular. Being able to tan after a lifetime of getting sunburns or no longer needing glasses might be nice, but what if the new body lacks the enzymes to process dairy or alcohol? What about dealing with differences in hair texture? Skincare routines? What about living life as a very tall person after being quite short or vice versa? What if you bumped into an acquaintance from your previous life, and one of you clearly got a more “coveted” reincarnation?  See how far of an extreme you can take this idea until it feels too uncomfortable or ridiculous. 
  • Marika.
reincarnation skin skin tone worldbuilding religions characters ask isekai writeblr
writingwithcolor

writingwithcolor:

Diversity Win: Is “Crazy Rich” POC Representation Necessarily Empowering?

sodapopsculptor asked:

I’m writing a story with two sets of protagonists: A trio with a Black girl, a Latino, and a Vietnamese-American boy who all come from middle-upper class to ridiculously rich families, and a pair of white working-middle class sisters. They’re all heroes of this story.
I’ve seen way too many rich white people and poor poc people in fiction, and I’m kinda getting sick of it, but I’m worried that by having the poc kids be rich and the white girls not so much, I’ll be reinforcing the idea that poc somehow rule the world.

The only time the rich kids use their status as leverage is when the Asian threatens to sic his cop dad on a bully (race unstated but I imagined him as white) picking on a freshman, and during the Black girl’s birthday party, when she pays the biggest jock there fifty bucks (And later says offhandedly that it was just what she had in her pocket) to chase off a creep hitting on her.

OP, have you ever seen the “diversity win!” meme before?

I understand that your motivation for these narrative choices is to give POC a chance, if you will, to be the rich characters. But it is evident from this ask that you have not asked yourself what this entails. I want to ask you to critically examine the race and class intersections you’re creating here, as well as these kids’ roles in oppressive systems.

You explain that these rich POC are heroes and only have righteous reasons for leveraging their power.

  • But is your Black girl character aware of the potential disciplinary and/or legal consequences her jock accomplice might face while she has the resources to keep her hands clean? Are you?
  • Is your Asian character aware of how much of an abuse of power it is to “sic” a cop on someone, and the sheer amount of harm a criminal record or incarceration does to a juvenile with behavior issues? Are you?

So you want to put POC in positions of power for #representation.

  • Does it resonate with the group you’re representing?
  • Do you research and portray the unique ways race, ethnicity, class, and majority vs. minority status come together?
  • Or are you putting these characters in oppressive hegemonic roles for the sake of a power fantasy, on behalf of a group you’re not even in?

To your question, you’re not reinforcing the idea that “POC rule the world” because such a generalized belief does not exist. Instead, you’re reinforcing:

  • The idea that society has “winners” and “losers.”
  • The idea that the problem with disproportionately powerful people is the lack of “equal opportunity” as opposed to the power imbalance to begin with.
  • The idea that those in oppressive positions of power need only have the right intentions to justify their use of it.

To be clear: that is not to say that you can’t have jerk aristocrat billionaire millionaire crazy rich POC. Evil or mean rich characters are fun! I have some myself! You can even have rich characters who are gentle-hearted and well-intentioned, but you have to know the ways in which they’re privileged and decide how aware of that your characters are. That’s no problem.

But if you think that wealthy and powerful POC would have the same values and priorities as their poorer counterparts, you’re deluding yourself. There’s a reason why the quote “power corrupts” exists. There’s a reason why no matter where you look on the globe, there are historical dictators and tyrants.

If you want bratty rich POC who lack regard for the consequences of their actions, because you want bratty rich characters, great! If you want them because it would be uplifting or empowering representation? You’re doing it for the wrong reason.

~ Rina

I fully agree with Rina, and truly want to emphasize the last paragraph.

If you want bratty rich POC who lack regard for the consequences of their actions, because you want bratty rich characters, great! If you want them because it would be uplifting or empowering representation? You’re doing it for the wrong reason.

I don’t think you need to aim to subvert or purposely make all the BIPOC rich and powerful and the white people poor and suffering. Add diversity and include upper class rich and class privileged BIPOC, sure thing! And you can avoid your fears of intentional subversion message by including rich and powerful white characters as well, even if they’re not the focus of your story. Just their existence helps. You could also include middle-class characters of Color as well.

More reading: Black in upper-class society

~Mod Colette

writingwithcolor class upper class capitalism POC creator responsibility asks representation wealth privilege subverting tropes intersectionality crazy rich asians last edited 1/8/24

[Running Commentary] Zombies are Zombies: Cultural Relativism, Folklore, and Foreign Perspectives

She obviously started getting into media in Japan, and (from my research into Japanese media and culture), Japan’s movies about zombies are mostly comedic, since due to traditional funerary practices the idea of zombies bringing down society is ridiculous to a lot of Japanese people. 

Rina: OP, this you? https://www.tofugu.com/japan/japanese-zombies/

Marika: Counterpoint: Parasite Eve. Resident Evil. The Evil Within. 

Rina: Literally all the grody horror game franchises that people forget were developed and written by Japanese people because the characters have names like “Leon Kennedy” and “Sebastian Castellanos” 

~ ~ ~

Based on the reception we received the last time we did one of these, the Japanese moderator team returns with another running commentary. (They’re easier to answer this way) (Several of Marika’s answers may be troll answers)

Our question today pertains to foreign perspectives on folklore—that is, how people view folklore and stories that aren’t a part of their culture. CW: for anything you’d associate with zombies and a zombie apocalypse, really.

Keep reading for necromancy, horror games, debunking the Sapir-Whorf hypothesis, Hong Kong jiangshi films, Japanese disaster prep videos, and Vietnamese idol pop…

Keep reading

Youtube asks japanese vietnamese cultural differences cultural relativism linguistic relativity zombies sci fi science fiction necromancy death funerary customs funeral ghosts vampires folklore natural disasters disaster preparedness rina says stan thanh duy writeblr