I wanted to address all of the controversies about me and put some explanations on them because unfortunately we live in a day and age where people just see the dirt without ever wondering how the dirt got there. They think "Man that guy never washes his car look how filthy it is" because I just fuckin went offroading 10 minutes ago but they didn't know that.
Aight let's start with numero uno, the thing I'm called the most, the big word for good ol Jay: Transphobe!
This is the one with the most hilarious backstory of them all which to this day baffles my goddamn mind.
I used to be a hated artist because I drew violent shit, I was known for Lil Miss Rarity which is a super violent comic. Naturally this lead to people saying that I was "killing children" because I was drawing violent (and sometimes pornographic) images of a children's cartoon show (My Little Pony).
So in my quick rise to stardom, I had a lot of hateful people attacking me as well, and I had fun with it. I called them out, called them stupid, etc.
Well, one of them was Dumbo. Dumbo spent 6 full months making posts about me that are still on their blog to this day. Every single time I made a post, they reblogged it or reposted it, to call me a shithead, call me an ass hole, wish I'd kill myself, etc.
One day I was doing a fundraiser to put away money for a potential emergency because my mom had hurt her spine really bad and was in the hospital. I had a goal of $300 and raised $1200.
Dumbo, of course, was saying hateful shit about me still, and said, I quote, "I hope that whore dies in the hospital lmao"
So, I looked into who Dumbo was. The Brony fandom was, at the time, all about Love and Tolerance, so I did some sleuthing and found out they were an artist on DeviantART taking full color commissions for $10. I commissioned them on my DA account, and asked them to draw Lil Miss Rarity. They and I had a very polite conversation, and since they drew the picture very quickly I tipped them 100% and told them to up their prices because their art is very good.
They thanked me, not knowing it was me (despite that it was literally my main account), and I walked away.
Then, they checked my gallery, found out it was me, and went into a rage, making a post that says, "LMFAO, Jay just begged for money and then turned around and used it to commission an artist for double their asking price, what a shithead!!"
So, I took the screencaps of all of their death threats over 6 months, compiled them all, and showed my massive Tumblr following in a huge callout post against them. In the middle, I referred to Dumbo as "he/she/it/clown" and everyone (AND I FUCKING MEAN EVERYONE) completely ignored the 6 months of death threats and how consistently polite I was to them, and sided with Dumbo in a moment that labeled me "Transphobic" for the rest of my life.
Another instance is I called Kris from Deltarune he/she, and was called transphobic for that, and got the amazing quote "That's a real-ass child and you're misgendering them deliberately," to which I replied, "That's not a real-ass child that's a fictional character you fucking retard"
NEXT UP: ABLEIST.
I grew up in Los Angeles in special ed classes and have a mentally retarded brother, I have the pass to say retard, fuck off.
NEXT UP: RACIST.
I grew up in Los Angeles with a father who called himself "N*gger Bob" (he's white) because he was a super racist who believed being asked to help take the trash out was "akin to slavery." He also beat my retarded brother half to death for having a black girlfriend.
I was in LA during the Rodney King riots, I was in LA right in the middle of the Crips and Bloods trying to kill each other and having fuckloads of gang shootouts that I overheard when I was chilling in the Ceritos (spelling) mall.
I know what racism looks like.
A white boy saying the n-word while playing Fortnite is not what racism looks like.
A white boy singing along with Busta Rhymes (hi that's me) on a livestream and casually dropping n-bombs because I'M SINGING ALONG WITH BUSTA, BITCH, is not what racism looks like. I had three black friends growing up, Davion, Julian and Smalls, and also Undrier but Undrier was retarded and I didn't consider him a friend he just followed me around and called me "Day" because he couldn't pronounce J's. But me, Smalls and Davion would stand on Davion's aunt's porch and eat zucchini cornbread and listen to Woo Haw and headbang and sing along til the fucking cows came home.
But now that I'm grown up, my upbringing apparently doesn't matter, my FUCKING SKIN COLOR DOES (you know, racist ideology!) and I'm no longer allowed to say the n-word despite having casually spent my entire childhood surrounded by black friends who were completely okay with me saying it. I grew up in the hood, motherfucker! Bellflower born n' raised, bitch! Wes' Side!
But I'm <skin color> and since <skin color> isn't allowed to <thing that's designated for only other skin color to do>, I'm racist.
NEXT UP: PEDOPHIIIIIILE
I was molested when I was 13, which thankfully didn't leave too much emotional scarring on me. Anthony Sevarino, the dude's name was, and he shoved my hand in his pants and showed me his dick during a camping trip and said he was gonna fuck me in my bed. I was so shocked by this happening that I didn't even tell my parents who were in the same motorhome literally asleep 10 feet from me.
Growing up, I always had a really emotional trigger to seeing harm come to children, I hate it. I cry and shake uncontrollably when I see children getting hurt, no matter what. It's the only thing I have I'd call a "trigger."
I saw that episode of Rugrats where Tommy cuts his finger and then he's scared to do anything anymore because he might get hurt, and that made me fucking bawl, it still does, seeing Tommy cry super fucking hard over seeing his finger bleed- holy shit it's making me teary eyed right now just typing that.
So, naturally, I don't want children to get hurt and am extremely against pedophilia, child predatory behavior, MAPs, grooming and these FUCKING PEOPLE WHO KEEP CASUALLY TALKING TO 13 YEAR OLDS ON DISCORD FOR FUCK SAKE.
"But Jay! You drew foalcon! Those fictional ponies are underaged!"
What, you mean that tag that's still extremely popular and always has been in the brony fandom?
Yeah can't imagine why I, a very popular artist in the brony fandom from 12 years ago to 10 years ago, would ever draw something so insanely high demand and so insanely popular. Can't fucking imagine.
Never mind that I haven't drawn it in 3 years, removed all my old images of it, and even announced I'm not drawing that shit anymore, I'm still losing friends when they find out I did once, because "I can't associate with a pedophile I'm sorry." (See: "I can't differentiate fiction from reality and also can't allow a person to move on from a troubled past that they had.")
Also never mind that the few crowdpleaser foalcon moments in Lil Miss Rarity were officially written out entirely (the part where Twist and Sweetie Belle kissed).
But you know what's amazing? Being part of the brony fandom and being an artist willing to draw anything meant that people would come to me and literally confess that they're in possession of the "real shit" and wanted to know if I was interested. Seven of them, seven, are in prison now because of me and my buddy "Z" contacting the FBI with their confessions and the shit they shared with me thinking that I was a "safe person" to admit that shit to.
My position in the fandom as an artist who gets to know their commissioners personally and was willing to draw that type of shit was literally fishing out real actual predators and putting them in prison, but I was still getting called a pedophile, and still get called it today. It's fuckin great man.
NEXT UP: TRANSPHOBE (PART 2)
I was trans. Shaved my hair half off, dyed it blue, called myself Jynkx, cussed out my family, moved to Ohio with a guy who wore diapers around the house (with his brother living there) and collected loli figurines, and dated a transgirl who was catfishing and manipulating me for 9 fucking years. I have a Discord server to this day with pronoun selection roles, my best friend is trans (I met her when she was cis and helped her come to the decision to transition and it has since improved her life and happiness), and almost every mod in my Discord server is trans.
The problem, of course, is that the trans activist community hates itself more than any other, which makes perfect sense if you think about it. This is a group of people who encourage hating cisgendered people, and encourage people to hate the body they're in and to transition to a "different body." It's been proven multiple sources that there are entire "Femboy Cults" (search that on YouTube) who are actively seeking out depressed people to manipulate them into starting HRT, and cutting off their family.
WELL GUESS WHAT HAPPENED TO ME?
Bridget, as you all remember her, was a manipulator who lied to me for 9 years of dating to make me depressed, hate myself, hate my family, give her thousands of dollars, and kept promising we'd meet some day while turning down every opportunity (such as conventions we were both already going to) to meet (yes, I went to conventions she was at and didn't meet her).
I was a victim of manipulation, was surrounded by horribly manipulative and narcissistic pieces of shit who warped my mind and made me believe I was depressed because I was "an egg" and needed to go get on HRT and change myself. And I almost did! I came within a hair's reach of shoving a hormone-altering drug into myself in hopes it would cure my depression, and then went "Wait a second, I'm not depressed because I'm a woman trapped in a man's body, I'm depressed because femboy-obsessed manipulative pervert rapists want me to turn myself into their fetish." I broke up with Bridget, I moved home from Ohio, I waited for my hair to stop being blue, and I became proud of myself for escaping that horrible situation and bettering myself mentally.
So how's this make me a transphobe?
I DON'T FUCKING KNOW, YOU FUCKING TELL ME YOU FUCKING INSANE BOOGEYMAN-BELIEVING ASSHOLES WHO BLAME EVERY OTHER PERSON FOR YOUR OWN INTERNAL LACK OF FUCKING SELF WORTH.
WAKE THE FUCK UP. YOU'VE BEEN MANIPULATED BY THESE FUCKING TRANS ACTIVISTS WHO ARE JUST SICK FETISHISTS WHO WANT TO TRANSFORM LONELY MEN INTO "FEMBOYS" UNDER FALSE PROMISES THAT IT WILL FIX THEIR MENTAL PROBLEMS. GET OUT WHILE YOU FUCKING CAN. I DID AND I'VE NEVER BEEN HAPPIER IN MY LIFE.
Next up: HOMOPHOBE
I draw LGD (Lesbians Getting Dicked) because I think it's hot when girls who like girls have sex with guys. I've drawn some pretty offensive pictures of it such as a pic of two lesbians being told "Pride month's over, ladies, time to be straight again" while being surrounded by hard dicks and looking scared.
Why'd I do this? Well because a lesbian friend of mine also likes that shit and we did that as an art trade.
But why do I draw it on my own sometimes? Because it's hot. It's fucking fictional porn, it's not real, it can't hurt you. I tag it LGD and only post it in servers you need accounts to see. You don't like it stop going out of your way to look at it, and if someone slams it in your face in your private "We Hate Jay" Discord server (which there are many of. I have moles who tell me.), that's not my fault y'fuckin dipshits. I properly tag and hide my stuff so only people who want to see it can see it. If someone showed you a picture of my spread asshole, you should get mad at them, not me. They're the one who SAVED IT TO THEIR COMPUTER AND SHOWED IT TO THEIR FRIENDS UNSOLICITED, YOU MORONS.
Anyway.
Next up: AN ASS HOLE.
I've spent 13 years being called all of the above names no matter how much I've catered to their activism and was even part of their activist movements directly. Fuck you.
Next up: A NAZI
Lmao.
I said on Twitter, "I hate that no matter what you say on this site, someone somewhere will get mad."
And that, without any further comment from me literally at all, turned into a massive amount of people including "Wootmaster" (Added note: I talked with Woot in private and he gave me the okay and apologized, we cool) calling me racist and a "Bootlicking Nazi." I literally did not add to it. I literally just said the opening line and left it for 3 days.
That's why I deleted my Twitter.
That's why people think I'm a Nazi.
Because I said "I hate that no matter what you say on this site, someone somewhere will get mad."
Next up: I DON'T FUCKING KNOW I BET THERE'S MORE.
You see why I make angry rant posts like this one?
Because this is how I've been treated for 13 fucking years.
I've been attacked, called names, labeled evil, told I'm phobic against the movements I was literally part of and being an activist for, had money stolen from me by perverts who got arrested for drilling a hole in the bathroom wall at a brony convention to jack off to his female roommates (he pretended to be trans and bullied them into letting him room with them in their "Safe Women's Hotel Room" and then did that shit and got arrested. But not before he stole money from me! Six thousand fucking dollars!), lived with a fucking probably actual child predator who would show me his loli figures and foalcon posters every day and try to convince me to like them and showed me his dick multiple times...
I literally was smack dab in the middle of super ultra liberal activism and trans activism for over a goddamn decade, right down to blue hair half shaved off and calling myself Jynkx.
And I come back, snap out of it, and get cussed out and called transphobic and "the reason trans people are being killed" because I don't like the flowery 1-dimensional LGBT representation in World of Warcraft and have a 9 year running best friend I went to multiple conventions with decide instantly that I'm a Nazi racist communist because I didn't disown my mother when she voted for the orange guy, and because I called one of their friends "Insane" for identifying as fae/fie and thinking they're a goddamn gaelic woodland sprite. (Btw he was my most frequent commissioner for loli shit and used to jack off while I was drawing it for him.)
You see, people.
I've spent 13 years surrounding myself with and getting personally connected with the lives of my commissioners as a brony/furry artist who was deep into LGBT and Liberal activism.
And in those 13 years I've come to realize that I surrounded myself with the most fucking disgusting and evil people on earth, who no matter how much I would shill for them and do what they asked, I would still be the label-covered punching bag whose reputation is now so utterly in the trash that literally no matter what I draw, say, or do today, I still have people on shady Discord servers n' shit calling me a fucking lolcow and a pedo and a transphobe and a Nazi and a racist and a homophobe and an ass hole.
I have learned in 13 goddamn years that you can't appease these fucking lunatic psychopaths.
And so I don't anymore.
So who am I really?
I'm an incredibly easy to talk to artist, I'm a dude, I love roleplaying and drawing pictures for people, I like writing song lyrics, I love hearing about new inventions and innovations, I love goats, I love dogs, I think cats make bad pets but I don't mind cats, I'm making a video game about an elf girl, and I want you hateful people who I've lived rent-free in the heads of for over a goddamn decade to leave me and my fanbase the fuck alone.
Love you all.
~Jay
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oh the broadway world review of summer stock (a) loved it as much or more than anyone (b) has as much or more info than anyone and (c) generally has the most vivacity thus far
Summer Stock made its world premiere at The Goodspeed Opera House to a most deserving enthusiastic standing ovation. Based on the 1950 MGM film starring Hollywood legends Judy Garland and Gene Kelly, Summer Stock is a spectacular production with phenomenal dancing, feel-good music, and a sweet story, all modernized for today’s audiences.
Audiences will recognize and love hearing classic songs by Irving Berlin and from The Great American Songbook, including “Happy Days are Here Again”, “Accentuate the Positive”, “I’m Always Chasing Rainbows”, “It’s Only a Paper Moon”, “Me and My Shadow”, “Red Hot Mamma”, “’Til We Meet Again", and “You Wonderful You”.
Summer Stock’s writer, Cheri Steinkellner, takes the original film story to a whole new level that both contemporary and classic theater goers will absolutely adore. Steinkellner provides additional lyrics to upgrade the story to first class. It’s hard to believe that she “got the call” to write Summer Stock in October, completed the workshop draft by March, and had the rehearsal draft ready by June for a July opening. Steinkellner clearly works well under pressure - Summer Stock is a diamond.
In the Writer’s Notes, Steinkellner elaborates on the restrictions of bringing the film to stage (like how heavy farm machinery wouldn’t fit up on the Goodspeed stage) and how she tackled answering the many questions that the original film glossed over: “Why is a Shakespearean matinee idol starring in a musical in a barn? What happens when you make show-people wake up at sunrise to muck out the stalls?” and more. She repositioned and repurposed the film’s original songs like “Howdy Neighbor” and “Dig for Your Dinner”, so the classic elements that film fans are looking for are still there - only, frankly, much much better. Lastly, she addresses the challenge of “crafting a [contemporary] story to support a diverse cast of characters with intention, authenticity, and care.” Steinkellner rose to the challenge, knocked it out of the park, and created a great musical in record time.
The story is simple and sweet. Set just after World War II, we meet Jane Falbury (Danielle Wade), a doting daughter working the family farm with her father, Lt. Henry “Pop” Falbury (Stephen Lee Anderson). The Falbury Farm is in trouble thanks to the devious and ambitious Margaret Wingate (Veanne Cox), who has grand aims for a monopoly over the Connecticut River Valley. Scheming with her naive son, Orville (Will Roland), they will stop at nothing to own the farm. Meanwhile, Jane’s showgirl sister, Gloria (Arianna Rosario), has moved to The Big Apple to make it on Broadway. She wins a spot in the chorus line of Joe Ross’ (Corbin Bleu) brand new show. With his sidekick and music director, Phil Filmore (Gilbert L. Bailey II) in tow and a Shakespearean star, Montgomery Leach, ready to take center stage, they hit a snag when they lose their rehearsal space. Gloria suggests uprooting the show to rehearse in her family’s barn. Jane, who is fresh out of farm hands, reluctantly agrees to let the actors stay in exchange for earning their keep. The company’s tight harmonies might not charm Jane at first, but they certainly had us swooning. I won’t spoil the entire plot, but will say that hilarity ensues, hearts flutter, dreams are realized, and it’s wonderful.
When I first heard about Summer Stock, I cynically thought that it felt too familiar. The show is set on a Connecticut farm whose owners have fallen on hard times and risk losing their livelihood. They turn to their Broadway friends, who are amidst the usual uphill battle of making it big in show business, and agree to put on a brand new production in the barn to raise funds to save the farm. It’s based on the film of the same name, features music by Irving Berlin, and includes incredible tap numbers, and spotlights America’s sweetheart Corbin Bleu. Hearing that alone, I’d think this was a copy/paste of Tony Award-nominated Holiday Inn: The New Irving Berlin Musical, which opened at The Goodspeed in 2014 and went to Broadway in 2016.
We’ve seen a number of Irving Berlin musicals, including White Christmas, and the most recent Broadway production Nice Work if You Can Get It, starring Kelli O’Hara and Matthew Broderick. So, what more is there to add to this Broadway subgenre? If you’d asked me before, I would argue there’s “Nothing More to Say”. I was very wrong. Summer Stock raises the bar with phenomenal choreography, clever storytelling and humor, beautiful orchestrations, and unparalleled performers.
Speaking of unparalleled performers, the cast is perfection. There’s not a single throwaway line or character. They’re all exquisite gems and I’m running out of words to compliment them all. The “city mice” dancers and ensemble features Erika Amato, Hannah Balagot, DeShawn Bowens, Ronnie S. Bowman Jr., Emily Kelly, Francesca Mancuso, Tommy Martinez, Corinne Munsch, Gregory North, Kaylee Olson, Jack Sippel, and Cayel Tregeagle.
Danielle Wade sweetly croons just like Judy Garland and swept audiences off their feet. As I left the theater, I overheard two ladies praising Wade for her stupendous performance, saying it was perfect likeness of Garland, yet even more meaningful.
Arianna Rosario, as the sugary sweet sister, is absolutely delightful. Stephen Lee Anderson, as the veteran and father, tugs our heart strings. Gilbert L. Bailey II and Will Roland had the crowd roaring with laughter as the feisty music director and innocent corporate heir.
Veanne Cox, as the melodramatic mother and CEO of Wingate Agricultural Corporate, had the crowd roaring with laughter from the moment she spoke her first line. Not to be outdone, J. Anthony Crane, as the over-the-top Shakespearean star, brought down the house with his entrance alone. Together, Cox and Crane generate instant heat, which is especially appropriate since they rock the stage with Red Hot Mamma. The cheeky, interspersed Shakespearean innuendo is fast-paced, clever, and had the audience hooting and hollering. I would see the show again for this duo.
Last, but far from least, Corbin Bleu, as the show’s director, gives the performance of a lifetime. Bleu radiates pure joy and leads with heart, inviting his scene partners to shine with him. Audiences instantly fell in love with his gorgeous, velvety voice, and, understandably, swooned. Bleu previously won the Chita Rivera Award for Outstanding Male Dancing in a Broadway Show for his portrayal in Irving Berlin’s Holiday Inn, and his transcendent tapping in Summer Stock shows he’s not stopping there. Bleu’s dancing is out of this world! You can’t miss his charming and virtuosic spin on Gene Kelly’s iconic solo dance, featuring the world’s most unexpected dance partner. Corbin Bleu is a national treasure.
The 8-piece orchestra, lead by Goodspeed’s resident music director Adam Souza, performs the remarkable orchestrations, by Doug Besterman, beautifully. The score is demanding, but the musicians don’t let us see them sweat.
As much as I’m gushing, I would recommend shifting the show to one hour earlier and give it a little trim. Not a haircutter’s inch, but a discreet tidy-up. As it turns out, I was in slight agreement with the obnoxious subscribers behind me, who disrupted a precious moment to voice their complaints, “This is two hours and forty minutes? Way too long!” I nearly turned to fisticuffs in defense of this phenomenal cast, but chose to deliver an icy, yet effective, glare. I digress, but Goodspeed subscribers are truly spoiled with top-rate performers straight from the Broadway stage. In any case, we could use a couple more developmental scenes to fully flesh out the plot, and I’d be willing to sacrifice by shaving a bit off some of the longer dance numbers (“Everybody Step” and “Dig For Your Dinner”) and songs. (Not too much! Just an inch! And don’t dare recast any characters!)
That isn’t to say that the dance performances weren’t epic: Summer Stock has the best dancing I have ever seen, hands down. The virtuosic ensemble, lovingly called “city mice”, perfectly deliver wildly acrobatic displays all with impossibly high-energy and make it look easy.
Director and choreographer, Donna Feore, has made an unforgettable, magnificent Goodspeed debut. Feore makes use of every inch of the stage, making it feel larger than life, and her attention to detail is unsurpassed. The choreography is out of this world!
Wilson Chin, scenic designer, set the stage beautifully. The Technicolor New England farm-turned-theater is framed with classic red-sided barn, delicate florals climbing the walls, and hurricane lanterns lovingly displayed as accent pieces.
Summer Stock is Goodspeed’s best original production ever. The 12, which opens next, has very big shoes to fill.
Summer Stock has its eyes set on Broadway. Does Summer Stock deserve a Broadway run? Absolutely. In this critic’s opinion, it couldn’t get there soon enough. Perhaps my favorite aspect of the production were the many comedic theater flourishes. Broadway audiences will cry with laughter when they watch the city mice (actors) learn how to play the part of farmhands: “What is the farmer’s motivation?” “E-I, E-I!” Frankly, I want an original cast album yesterday. Finally, when it opens on Broadway, you’ll wish you had seen it at The Goodspeed first.
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Lesson 1: "White Man Painted Black"?
Okay, I recognize that this is a strong foot to step off on! But! If you learn nothing else from this series, if you decide for whatever reason to forsake me: this is the ONE perspective I'd like you to take away!
You may have heard this quote before, when Black fans deride a character design as 'a white man with the brown bucket tool'. On its face, it means exactly what was said. But specifically, what it means is that we recognize that whomever designed the character drew the way they normally draw for a 'default' character in their mind- default usually meaning White/Eurocentric features- and they added a shade of brown within the line art to make that character now 'Black'.
Now if you're feeling defensive, wait just a moment! This discomfort is not inherently a bad thing!
I'm going to use both a 'real world' example first, to show you what your Black fans and peers are seeing, and perhaps you will also understand our discomfort!
(if anyone was curious, my folder for this lesson is titled 'brad' lmao and you'll see why)
(I'll have y'all know that I actually worked very hard to make Blackface Brad look mildly presentable lmao I'm sorry, I'm wheezing, I can hardly breathe looking at him 🤣)
You see how, despite knowing where this was going, and using one of the darkest shades of brown in my Skin Tones arsenal, you still know that that's Brad Pitt? That nothing about his hair texture, his lips, his nose, or really anything other than the palette change... changed? And you can still see that?
It's incredibly hurtful to be told that that's supposed to be you. You know it's not, you know why it's not, but rather than hearing how it makes you feel unseen and what they could do to be better (since they wanted to draw a Black character!), the artist lashes out at you.
And as an artist, you might have worked VERY HARD to do this! That might be a real handsome guy you drew!! But... is he really Black? Did you walk into it with the intention, that you were drawing a Black Character, or did you draw a character that just happened to be Black? It seems like a silly thing, but it matters!
Okay. I just finished laughing over Brad. Now let's get into some more perspective changes:
Now, imagine you drew a character. You want to make her Black, so you change the hair and skin colors. All right! You have your Black character... right?
Changed ONE feature about her? (You should obviously change more than one feature, but let's just go with the simplified example.)
What if, instead of just changing her palette, we changed her:
Hair?
There isn't nearly enough time in the world, let alone in this little scribble and blurb, for me to describe the IMPORTANCE of Black hair in Black character design. There are so many ways to do curls, afros, braids, twists, locs, SO MANY HAIRSTYLES!! Get used to searching in the 3C-4C hair textures!!!! I plan on doing an entire lesson or two on hair alone, but suffice it to say, Hair Texture is thee BIGGEST giveaway that you 'painted a white person Black'- from cartoon styles to realistic! It reveals itself in your writing as well- just based on how your character takes care of their hair, how your describe the texture, how other people might perceive it... it lets me know just how much research was done. Because we can have straight hair! But again, that's a conversation for a whole 'nother lesson so- come back later 👀?
Lips?
I love our lips, I really do. There's a long history of shaming Black women in particular for the way our lips look. So when I see them done in all their glory, it makes me very happy. Two-toned lips vary in shade and intensity, so make sure you're using references if you want to be 'realistic', but it doesn't have to be that hard. Even a little subtle shift like this in the design/story description lets me know that a creator was thinking about me.
Nose?
One thing I've noticed ever since I starting drawing is that... people in a lot of mangas/manhwas barely have noses! I admit, out of all the features on the face, the nose isn't the most important. I think they should be, especially when you want to emphasize that your characters look different! People have different types of noses! I especially want to gear this towards those with a goal of drawing realistic portraits and the like- there, the nose is ANOTHER dead giveaway. There are Black people with aquiline and straight noses- we aren't a monolith- but is that why you drew it? Consider why you went for that nose specifically. That's part of the intent, in all this!
Now, you might be looking at me and going "Ice... this is just character design". To which my answer is: Yes! It is! It feels so basic, and yet if you ask your Black friends/peers how often they've come across this feeling of not being properly drawn/written, from fanart to professionally produced works, it's unfortunately common despite how simple of a concept it is.
I hope that you can walk away from my first lil lesson with new eyes. Remember, it's the thought that counts, but the action that delivers!
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