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capableism · 1 year

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Where’s the upside in being a stereotypical burden?

The inspirational disabled character relies on able-bodied people being inspired by a person with a disability who perseveres through hardship and challenges, sporting a "can do" attitude despite their disability. This problematic stereotype reinforces the notion that people with disabilities are striving to be able-bodied. Every task accomplished represents progress toward that goal. The polar opposite disabled character stereotype is the self-pitying person that needs guidance from able-bodied characters to accept themselves. This stereotype emphasizes the burden a disabled person represents due to their special needs.

"Burdens can also morph into background characters, centering the focus on the caretaker and how noble they are for dealing with the disabled person.

An example is the film The Upside, where Kevin Hart's character is shown growing as a man, and the focus remains mostly on him. In the film, Kevin Hart plays an ex-convict looking for a job." (Campos, 43)

Philip Laccase, played by Bryan Cranston, is presented as a billionaire quadriplegic searching for a caretaker who focuses less on how inspirational he is for doing the basic necessities. Applicants are shown talking about how much they want to help Philip do more in his life by being his caretaker. They are focused on Philip's special needs instead of treating him like "everyone else." Hart's character is an attractive candidate because he doesn't care about Philip's disability but takes the job to pay child support and avoid jail time. Shortly after Hart's character Dell Scott is hired, Philip asks him:" Have you ever taken care of anyone?" Dell's response is, "yes, myself." For Dell's development, Philip must present a burden in need of "tough love" to learn how it feels to be treated like everyone else.

"The implication of the burden stereotype is that a disabled person is reliant on the charity of others to survive. Jay Dolmage asserts that 'much of the language of disability relies on a semiotics of pity: myths of powerlessness that demand to be answered with charity'" (Campos, 40).

This stereotype extends beyond feeling sorry for, or wanting to help the disabled, to a belief that disabled people are incapable of taking care of themselves regardless of the severity of their disability." (Campos, 41)

The Upside is based on a true story, and Philip's disability provides a visual cue for the audience to see Philip as a burden. As a quadriplegic, he has more need for others to take care of him than some other disabilities require.

"the ideal disabled person is someone who doesn't want or require any assistance or accommodation, particularly not social services, someone who does not want to be treated any differently than someone able-bodied." (Holtmier & Park-Primiano, 6) Philip doesn't want assistance, but he requires it. He also doesn't know that he needs Dell to show him the joys of everyday life.

Sources

Campos, B. (2021). Who Am I Now? The Value of Métis in the Construction of the Disabled Identity. Middle Tennessee State University, 1-212. https://jewlscholar.mtsu.edu/server/api/core/bitstreams/38942409-a101-426c-bc7e-63d0d5fa56e4/content

Holtmeier, Matthew, and Sueyoung Park-Primiano. "Ableism in Avatar: The Transhuman, Postcolonial Rapprochement to Bioregionalism." Studies in the Humanities, vol. 46, no. 1-2, Mar. 2020, pp. 135+. Gale Academic OneFile, link.gale.com/apps/doc/A673944097/AONE? u=nysl_oweb&sid=googleScholar&xid=036924f3. Accessed 17 July 2022.

#bryan cranston #kevin hart #the upside #disabled characters #Disabled community #physically disabled #quadriplegic #billionaire #ex-con #based on a true story #film analysis #idealminority #disabled stereotypes #burden #saviour #caregiver #melodrama #disabled character of the day

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writingwithcolor · 3 years

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Iam wanting to write a story about a girl who has asthma, a learning disability and is considered by society to be less than average. She is also a little over weight. When she has been given immortality other immortals shun her and want her dead. To escape from this she goes to a martial arts temple in China. She is also an American. I was wondering how I could incorporate both cultures in my story?

Overweight Chinese American girl with asthma & learning disability, martial arts, & China

Disclaimer: I’ve written this response assuming that the main character herself is Chinese or Chinese-American.

Some stuff I’d like to discuss point-by-point:

Being an Asthmatic

Asthmatics don’t exactly have the best representation in media, so I’m worried about a non-Asthmatic writing a story where the main conflict is centered around the MC’s method of coping with ableism.

Especially considering how we’re portrayed as stereotypical nerds/geeks for not being absolute athletes (haha maybe because pushing ourselves that far will literally result in an asthma attack-)

I have a feeling that in addition to the point where Chinese people are already stereotyped as nerds, having her be asthmatic as well does mean you’ll have to be more careful in how you present her. We already have the whole “model minority, East Asian = nerd” thing going for us.

Being “overweight”

America’s definition of “overweight” looks different for all kinds of people!

Someone who’s statistically considered “overweight” by American standards might pass as being “average” (in American standards once again) and vice-versa! The existence of the word actually insinuates the existence of an ideal weight-- pretty fatphobic.

If you mean to say that she’s fat, chubby, and/or plump, then do so. Don’t dance around the term just because it’s deemed ‘undesirable’ by our Eurocentric beauty standards.

(Additionally, being chubby is associated with the nerd trope as well. More to watch out when developing her character.)

Mod Rune mentions the specific way you’ve phrased how as a result of her being overweight and asthmatic, she’s “considered by society to be less than average” and she’s shunned/wanted dead specifically for these two reasons.

Being disabled =/= incompetency or being less than an abled person. Once again, an OwnVoices situation would make sense; However I would still worry about infantilizing Asthmatic/chubby people this way.

The plot… oof.

I’m worried that your method of combating the already-delicate conflict (that she’s looking for a way to cope with her feelings of inadequacy induced by ableism/fatphobia), is pretty insulting. You specifically word her trip to China as an “escape” which I feel could have a much better reason-- your excuse as is sounds to lead into a story of “refinding myself at the home of my birth culture” or something like that- especially with the fact that she’ll be doing this at a martial arts temple. A very cultural aspect of China.

Martial Arts?

That being said; Even though a Chinese martial artist does feel rather stereotypical, it does help with asthma (source: me and Taekwondo)

Specifically, according to this study from NCBI on the correlation between asthmatic children and Taichichuan, results have shown that “12 weeks of Tai-Chi-Chuan could improve the pulmonary function, decrease airway inflammation, and improve quality of life in children with mild asthma”.

However Northern Shaolin, Hung Ga, Wing Chun, and other Chinese forms of martial arts could work as well! Please do research on the specific techniques and differentiate between them. Appropriating Chinese martial arts on top of the fact that it’s already rather tropey- very bad.

A different plot?

Perhaps don’t send her off to China to quote, "escape from how other [immortals shun her and want her dead]".

I think a better motivation for this change in landscape would be “She wanted to train to get stronger and improve her health with how it was negatively impacted because of her asthma.”

The thing with a lot of disabled people is that-- we don’t want to have to “keep up” with abled people. We don’t want to need to take all these extra measures just to be able to function ‘normally’ (or at least the one defined by society). I feel that the motives in your original plot panders to that idea that she must get stronger or else she’ll never be accepted by the other immortals. A Chinese-American asthmatic myself, I’d much rather see her self-worth measured through her own growth as an individual than how well she ‘fits in’ with non-asthmatics.

Marika mentions that people also often do martial arts for culturally-relevant exercise-- so this could also be a way for her to reconnect with her birth culture.

Sophia also mentions that being overweight has little on one’s skills as a martial artist; So it shouldn’t be used as an argument as to why someone shouldn’t be taking on a certain expertise. (Seconded, as someone who did kendo: some of the better kendoka were overweight and had more precision than I did --Jess)

Incorporating TCK Culture:

Look for stuff written by actual Chinese-American third-culture kids!

Every little part of life- from the stories parents tell their kids before bed to the kind of food we eat daily- is 100% influenced by both our caregivers and the community we live in. For me personally, we’d have hotpot dinners with other Asian families during the Lunar New Year and I’d typically be sent to Chinese school on Sundays as well.

Mods Jess and Lesya touch up on some TCK elements in this ask as well! (Wanting to Learn More About Culture Because of Chinese Name) However your MC celebrates her cultures will also depend on how assimilated into America her family is.

Like I said earlier: look for materials that Chinese-American TCKs and immigrants have written! There’s no better way to learn about certain customs than getting them from the actual source.

My ending thoughts!

These are honestly traits that I’d love to see more, as an asthmatic Chinese-American myself who has done martial arts in the past, haha.

Be extra careful when a ton of your character’s traits are found in East Asian (Chinese) caricatures! Be sure to flesh her out as a three-dimensional character as this description that you’ve given us (regarding her conflict) makes me go >.>-- I don’t like it as is.

Give her motivations for herself that aren’t purely to conform to others (per the submissive Asian girl trope). Having a bullied Asian girl does feel like it plays into this, so please don’t have her measure her worth as an individual based off of the standards set by abled people!

Do tons of research on Chinese martial arts! Marika mentions huge points below that I want you to consider when giving her a specific speciality-- just saying “a martial arts temple” doesn’t cut it.

(As always, any reader feedback/additions would be appreciated!)

~ Mod Emme

These are my thoughts as someone who has practiced various styles of Chinese martial arts.

While the quality of the instructor and the student’s efforts are crucial, I think you need to be clear on the following:

The style of martial arts your character will be doing

Their physical limitations

The type of learning disability they have.

Different fighting styles suit the limitations of different body types in different ways

A person who is overweight may find styles with explosive movements that put weight on vulnerable joints like the knees to be painful. Styles that favor stable stances may be more feasible than those that emphasize movements with lots of air time, crouching and jumping.

A person who is inflexible will need a style that encourages them to keep limber to avoid getting hurt.

A person with diminished lung capacity will need a style that safely challenges their endurance.

Different learning disabilities might make certain styles more or less difficult to learn

ADHD may favor fast fighting styles with complex move sets and a wide variety of weapons.

Issues associated with memory retention may make styles that emphasize sparring easier than those that focus on memorizing forms

Make no mistake, the culture of a style will be as much of a consideration for your character as the Chinese and American cultural influences. Do your research, and inquire with practitioners as to what styles would work well for your characters.

The tumblr blog How to Fight Write would likely be a good resource on the physical logistics of different styles.

- Marika

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blindbeta · 3 years

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I just saw someone asked about making a character blind in their novel and you responded about ways to avoid it being portrayed poorly. I wanted to ask, could it also help if part of the arc is the character accepting becoming blind?

Like, even if it happens in some kind of accident, or like them becoming blinded as a sacrifice for the team, would it be a bad portrayal for part of the character's story to be realizing it's not the end of the world, that being disabled doesn't make them completely useless, etc?

Or is that sort of arc also ableist?

[Note: I used the words non-disabled and abled interchangeably here. Both refer to people with no disabilities. After a conversation with some of my followers, I decided to make an effort to be clearer about who I referred to when I used words like able-bodied, because able-bodied may, for some people, refer to people without physical disabilities or without any disabilities at all. There are times when the distinction matters, even when people said they can usually tell based on context whether or not able-bodied is meant to include them.]

Writing About A Character Accepting Being Blind After Going Blind - When You Aren’t Blind Yourself

An arc about a character accepting becoming blind doesn’t feel good to me and I’ll try to explain why.

I’d rather read a story about a character who happens to be blind, in whatever way that happened, than read a story where a writer who isn’t blind tries to write about a blind character accepting being blind. I just finished a similar book and it did not go well. There are some things that research cannot teach you. There are some stories that aren’t yours to tell.

I don’t want to read about a non-blind author, especially a non-disabled author, writing negative things about my disability.

A character starting out feeling overly negative toward their blindness already feels bad to me. Why? Because the author has to write negative, sometimes completely wrong things about being blind. When I read stories like this, I am bombarded with stereotypes or myths which are rarely corrected by the narrator, who is usually traumatized and somewhat isolated as they heal. Many of the things they think or say are not checked or revisited. Mean things other characters say or think about them are often internalized by the narrator. Things that, in real life, are said to blind and otherwise disabled people as truths. As tough-love. As part of the supposed -Real World-. As bullying. As ignorant, innocent questions. As rude comments.

All of these things are not even coming from a personal place. The author writing these things- while they probably don’t agree with them, of course- is still not blind at the end of the day.

Readers who aren’t blind may not understand the nuance of why some of the things they read were ableist if it isn’t called out in the narrative in some way, which can sometimes happen when the narrator says something negative about their new disability. This isn’t to say readers shouldn’t do their own research or examine the story more closely. This isn’t to say the author is at fault for the interpretations of readers who refuse to think beyond what is laid out for them. When I say this, I am being realistic. Not all readers are going to be proactive. Not all readers are going to approach a book about a person going blind from a good place.

Most of the time, this is just something the author needs to accept. It is impossible to anticipate the strange interpretations of every reader. However, this narrative can be dangerous to a reader who has never met a blind person. Keep in mind, most people aren’t doing what you all are doing. They just read what is given to them. And if what is given to them is a helpless or self-loathing blind person, they might believe in that image. That book may be the only expirience they have with a blind person and they may not read any other books with blind characters.

Another thing I thought of was that non-blind authors sometimes don’t understand how hobbies and skills translate to blind people. For example, in a story I read once, a character who was going blind practiced playing piano and typing on a keyboard blindfolded so they could learn how to do without sight. However, blind people can already play instruments even if they were born blind. Blind people can also easily type on regular keyboards and, technically, correct keyboard technique means typing without needing to look at the keyboard.

Authors who don’t understand what it is like to go blind often don’t get the nuances of what that person is losing and not losing. And it often shows. They also don’t often include the aspects of blindness that are actually challenging. Why focus your worry on typing on a keyboard when you can learn how to use assistive devices in the kitchen or learn to cope with anxiety you anticipate will get worse after losing vision? Why not try to find accessible copies of books you have or scan or Braille sentimental letters? Why not organize your closet so you can find things more easily?

Obviously this is related to characters who know they’re going blind, though.

It favors non-disabled readers, which is ableist.

Another reason this type of story bothers me is because it is so common. Or at least people expect it. This type of story is one abled / non-disabled people can swallow and feel inspired by. Showing the blind person accepting their blindness also favors non-disabled readers in ways I may not be able to articulate well.

Accepting disability is an arc non-disabled people are comfortable with. It is a feel-good type of story that usually doesn’t challenge people too much, other than to remind them not to bully people. Already, this story is not even for disabled people, or in this case, blind people. It exists to introduce people who aren’t blind to the idea of becoming blind, to blind technology, to inspirational ideas about how blind people actually can do things. Stories like this guide abled people along and prioritize their ideas about blindness. Because the narrator is almost always previously abled, the story is about adjusting to blindness in a way that caters to non-disabled people.

How does a story with this angle benefit blind readers? Even if a blind person has also recently gone blind and wants to see a character who on that journey with them, what can a writer who isn’t blind say that blind writer couldn’t say? Or say better? Or say with more power? With more nuancel? With more personal experience?

And it may seem like saying this arc is ableist is too much. Keep in mind, ableism isn’t just about being rude to or excluding disabled people. Ableism favors those who are able-bodied or neurotypical over those who are not. It favors those who are not disabled over those who are. This story is just another way of doing that. Often, people are ableist through what they consider kindnes. Authors are not exempt from that.

Disabled authors should tell their own stories

This is where I will get some pushback. (I already received some here if you think it will be helpful to know what this is like.)

There are a few parts to this.

First, I want everyone to know I am not telling you what not to write or that this type of story, at least with elements of this narrative, can never be done well. However, the more care you take when writing it and the more you know about why it can be ableist, the better you will be able to write it. I’m still not sure I would want to read a book that is dedicated to this topic of accepting blindness, but who knows?

I also might feel more open to this narrative from a writer who experienced becoming disabled in some other way and was open about it. While they would still need to research blindness, some of the issues I named here could be avoided through having prior personal experience that non-disabled people simply don’t have.

If, however, you find yourself upset or feeling excluded by this post, consider what I wrote again. Consider why you think you are the best person to tell such a story with this particular arc.

I am also not saying that non-disabled writers could never write this topic well. I just question, again, what they can add to the topic of accepting blindness that blind people can’t already add. This is also assuming they were able to avoid some of the issues I listed above that might come up. Which would be difficult on top of doing all the other research they need to do in order to write a book. Why make it harder for themselves?

Now that I’m done with the disclaimers, accepting blindness should be something mostly left up to blind writers. This narrative is so closely tied to the trauma-based / incident-based blindness that it can be hard to separate them, but I feel like the readers of the blog have thought hard to suggest ways to improve or subvert that trope and the problems that go with it. Maybe they can do the same here. Maybe not.

Anyway, the reason I think it should be left to blind writers is because of the personal experience I mentioned previously. Acceptance will come from a more authentic place. Anything that comes before the acceptance will also come from an authentic place and blind writers will know how to deal these issues a little better.

Blind writers will know how to write this topic well. They can center blind readers in a way that many arcs like this don’t.

As a side note, blind writers also need more recognition and attention. This arc is specifically about or mostly about accepting blindness, which blind writers are intimately familiar with. Their stories should be prioritized in this area, at the very least.

If a non-disabled writer decided to do this topic, I think it would help to read and public ally promote books and other works by blind people.

Thank you for asking this question.

This was a really great question and I want to thank the anon for asking. I really appreciate the chance to discuss this topic. If anyone wants to expand on this question or figure out ways to subvert this arc, feel free to ask. Also, remember that I am not authority on stories about blind people, but I feel this opinion in shared by many of us and it should be known so writers can be aware.

Suggestions for alternatives.

1. Include only brief instances of acceptance and / or make it only related to blindness instead of accepting blindness as a character arc.

It will depend on how you do it, but brief, less direct instances of acceptance could be done well. One thing I’m thinking of is Toph challenging her father in The Blind Bandit. This could be seen as a form of self-acceptance for Toph, one which is related to her blindness without being the entirety of her need to accept part of herself, which gives her the courage to disrupt the view her parents have of her. Toph doesn’t struggle with being blind. She struggles with something related to being blind, which her parents being over-protective, limiting her freedom and expression, and putting her a gender role box.

The rest of Toph’s story wasn’t completely about being blind either. The writers, who weren’t blind as far as I can gather, handled this part well, and so I wanted to include it as an example.

Obviously, this can also be done badly, but that’s what beta readers are for. I personally would prefer the acceptance arc only be tangentially related to blindness, especially when combined with the trope about going blind through trauma / incidents / accidents.

2. Start in a different place.

You could start the story or character arc in a different place, rather than starting directly after going blind. This could be years later. After they already adjusted to the bigger parts of being blind. This saves you the need to figure out how to get around it.

Some parts of this ask might help.

3. Focus mostly on the practical stuff rather than the emotional side.

Focus on things like cane skills, adjusting to using screen-readers or needing to increase font sizes to read. Focus on learning to cook. Make the arc less about emotional stuff and more achieving goals. While I can understand how this might bother some blind people, I think it can work if blind readers are consulted, especially readers who went blind later in life. I wanted to include this as an option just in case people are determined to include going blind in the story. I think, if the author is careful, it could go well. A few narrative justifications for not writing the typical acceptance arc include:

-the character was already blind in some way first

-the character has a blind sibling, parent, or friend they grew up with

-the character got counseling or the story mentions they are getting counseling

Alternatively, you could also focus emotional difficulties on the traumatic incident, if there is one, and not the resulting blindness.

4. Write different stories - expand what stories about blind characters look like.

Writers have so many opportunities! I don’t see why they would feel the need to write a story primarily about going blind and learning you aren’t useless now after all, when they could be writing about a blind mermaid challenging the Mer Queen and falling in love with her instead. When they could be writing about blind space pirates creating new technology for other blind people. When they could be writing about a blind witch reclaiming their sexuality and also learning to dance to make their coven less worried about their social life after going blind.

See this post for more ideas about expanding the typical stories.

If you are creative enough, none of my claims that certain topics being best left to blind writers should stop you. If you feel limited, you might be trapped in the idea that blind people only have one narrative: trauma, sadness, helplessness, and just maybe, acceptance. If you don’t feel limited, you are in a good place.

Blind readers want other types of stories, too.

I hope this helps some of my followers. Thanks for the interesting question, anon. If anyone has any questions or would like me to clarify something, feel free to ask. I wrote this at night when I was tired. I have missed some things.

-BlindBeta

P.S. The ideas I pitched at the end are free to use if you feel inspired by any of them.

#writing blind characters #blind characters #blind people #ask #anon #acceptance narrative #trauma narrative

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unwhitewashthebadbatch · 3 years

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Disney Email Draft 2

(going under a cut because it's much longer. Here is the Google Doc link for anyone who would like to comment directly)

Reminder that we are encouraging critiques and comments regarding this email!

To Bob Iger, Kathleen Kennedy, Dave Filoni, Jennifer Corbett, and the creative team of Star Wars: The Bad Batch:

We hope this email finds you all well. We are fans of color, disabled fans, neurodivergent fans, and Jewish fans writing out of concern for the portrayal of our communities in the Disney+ series Star Wars: The Bad Batch. For several months now, we have been campaigning on social media to spread awareness about these concerns through #UnwhitewashTBB, a movement we began to raise awareness about the ways in which the series has poorly represented several minoritized groups of people.

Just like the creators of Star Wars: The Bad Batch, all of the creators of #UnwhitewashTBB grew up with Star Wars as the backbones of their childhoods, and for many of us, Star Wars: The Clone Wars was crucial to our development as artists, writers, creators, and lifelong Star Wars fans. We are all firm believers in the phrase “Star Wars is for everyone”, and we would like to see Disney support that message by hearing our plea.

As fans of color, as disabled fans, as neurodivergent fans, and as Jewish fans, we’ve seen ourselves on screen in both good and bad ways, but recently it has been more the latter than the former. One such reason is Star Wars: The Bad Batch, a show whose premise piqued many fans’ interest, but whose main cast has left an increasingly sour taste in the mouths of those who watched.

The series follows an elite squad of clone troopers who have named themselves The Bad Batch, due in part to their series of mutations that gives them an edge over regular clones on the battlefield. These mutations drastically altered the appearance of each of the members to a generally lighter, more Caucasian appearance--one that is inconsistent with how the original Jango Fett actor Temuera Morisson looks. Fans take issue with the implications in the writing and design of The Bad Batch: that in order to be elite, special, and better than one’s contemporaries--in order to have a story worth telling--one must also be white or as close as possible.

Merriam-Webster defines whitewashing as “to alter (something) in a way that favors, features, or caters to white people: such as to alter (an original story) by casting a white performer in a role based on a nonwhite person or fictional character” The #UnwhitewashTBB movement comes with two carrds explaining the grievances of the fans. A summary for each character is given below:

Sergeant Hunter, the leader, closely resembles Sylvester Stallone’s Rambo character, despite being a clone of a man of color. The importance of his character, the fatherliness he has with Omega, and his centrality to both their Season 7 appearance in The Clone Wars and the series itself sends the message that important people look

Wrecker is the demolitions expert, and he’s the only member of The Bad Batch with features similar to that of a Maori man’s, like Temuera Morrison/Jango Fett. He’s large with broad features, brown skin, and is a stereotype of men of color. His personality as first introduced to the audience was that of a loud, aggressive, impatient, slow man who called frequently for violence/destruction. He falls into the “Loveable Brute” trope, an observation that is supported by statements from supervising director Brad Rau and voice actor Dee Bradely Baker that Wrecker is like a little boy and has a heart of gold.

Crosshair is the sniper on the team, and he’s the most derisive of the “regs”--the regular clone troopers. Taken in conjunction with his appearance (inspired by Clint Eastwood), the various messages being sent by the writing and appearance of the other team members, and his comment about the regular troopers--the he and the Batch are superior and thus should join the Empire--his character pushes forth a message that there is superiority inherent in whitened or fully white features.

Tech, the technology specialist, has incredibly light skin and hair compared to the regular clones. His mutation made him a genius, with an IQ that outpaces that of any other clone in the Republic. Fans of color are upset that Tech’s genius mutation apparently also affected his skin color, as now this creates a direct link between intelligence and appearance/race. Contrast Tech with Wrecker, who is the exact opposite in every way, and this harm becomes only more apparent. In addition to this, many Autistic fans of The Bad Batch have noted that Tech, being “on the spectrum” (according to Dee Bradley Baker) is a popular stereotype of Autistic people: a nerdy-looking white man with a formal way of speaking who’s a genius but dismissive of others’ feelings. Baker also plays Tech with a British accent, further cementing the harmful message that intelligence is in some way connected to ethnicity.

Omega is the newest member of The Bad Batch. Despite being a pure Jango clone, she’s come out looking nothing like Boba Fett--she has lighter skin than he does, as well as blonde hair. Fans are concerned about the connection between genetic purity and light skin/blonde hair, as this is directly harmful to the people of color who don’t sport those features.

Echo is the ARC Trooper of the team, but many fans--disabled fans especially--fear that his series of disabilities have reduced him to the “droid sidekick”. Echo does not have a prosthetic, instead sporting a scomp-arm attachment that allows him to plug into computers but would otherwise hinder him greatly in daily tasks. He rarely is the focus of an episode, and the series has not given him as much attention as it has given characters like Hunter and Omega. Disabled fans worry about the lack of attention given to his medical trauma, and fans of color note that his skin color goes beyond what a brown man who’s been without sunlight for a few months would look like.

The issues do not stop here. Asian fans noticed and were harmed by a Tiananmen Square parallel in 1x10, “Common Ground”--a recreation that was led by an Eastern Asian-coded woman. Jewish fans are hurt by the antisemitic stereotype in Cid the broker, a greedy lizard woman who speaks with an accent commonly associated with New York Jews--and who is played by Jewish actress Rhea Perlman. Black fans were harmed by the whitewashing in Saw Gererra and the one other Black character in The Bad Batch being a Black woman who works for the Empire and burns civilians alive.

The full analyses can be found in the official #UnwhitewashTBB carrd: unwhitewashthebadbatch.carrd.co. We respectfully ask that you read this carrd and give a public statement in response to these criticisms.

Our movement has only gained traction since its inception on March 30th, 2021. A few months later, we wrote and released an open letter on Change.org to be signed by supporters of #UnwhitewashTBB, and every day it gains new signatures and draws nearer to the next milestone. A survey we released over a month ago has received over 1,100 responses and also continues to climb. The latter displays a range of opinions regarding The Bad Batch, but one sentiment stands out: Hunter, Crosshair, Tech, Wrecker, Omega, and Echo are written in stereotypical and actively harmful ways. Respondents were shocked at outdated portrayals of Autism, sickened by antisemitic stereotypes, and confused at how, in this current social and political climate, a family-friendly corporation like Disney could greenlight a series that sends a message that is the complete opposite of “Star Wars is for Everyone”. Some sample responses are below:

“I would just like to elaborate on the ableism aspect. As a amputee myself, I don’t like how Echo’s trauma has been ignored. The whole reason he is with the BB is because of what he went through. Losing one limb, never mind multiple, it’s extremely difficult. They made it seem like just because his prosthetic can be of use on missions, that means he isn’t grieving the loss of his actual hand. There is no healing or evolution. It also feels wrong to only address the fact that echo uses prosthetics for the sake of hacking into machinery. Prosthetics are so personal and become a real part of who you are as a person.” - Respondent 130

“...I can't believe Star Wars is still doing this, and that an entire team of animators with a huge budget can't get skin tone right. I didn't even know the clones were supposed to have a NZ Māori accent until a friend told me. That's a big deal, since I live in NZ and hear it every day…” - Respondent 209

“As someone who is neurodivergent myself, Tech and Wrecker just. sting, you know? in a “is that really what you think of us” kind of way. I grew up in an environment where intersectional equality was heavily discussed, and I can still miss things. Having Jewish friends does not mean that Cid’s antisemitic implications can’t go right over my head until someone points them out (thank you).” - Respondent 87

“As a fan of color, its irritating and painful to watch and be brushed off as "lighting issues" and see justifications made by white fans and producers...It also feels very bad to me that TCW spent 7 seasons with several arcs emphasizing that the clones were all as individual as a 'normal' person, but then undo all that with TBB, which centers a group of "special" clones (who are suspiciously white) and have them treat the "regs" as a homogeneous group who are lesser than them, and then expect us to find it within ourselves to put that aside to enjoy the MCs. The way the treat "regs" is very offputting and it made me dislike them since their introduction...Star Wars is no stranger to racist and antisemitic media, but I must say, the blantancy of Sid, a greedy lizard who essentially financially enslaves the protaganists, being Jewish-coded and being protrayed by a Jewish voice actress is really next-level even for Star Wars. As a Jewish fan, it really grates on me.” - Respondent 40

“I’m disabled and autistic, and the ableism is appalling to watch. Watching Echo be treated as subhuman for needing machinery to survive makes me feel like having implants to keep my spine from breaking itself would have me be the pitied member of any group. I am disgusted by the blatant antisemitism, as a fair number of my friends are Jewish and it hurts me to think that people can so easily hate others based on internalized stereotypes. Me and my friends have also critically analyzed the fact that, despite being clones of a character portrayed by Temuera Morrison, for some reason the bad batch look nothing like him in any way. No resemblance in any way: just a bunch of someone’s badly worked characters fraught with disgusting writing decisions and design choices that make no sense. It makes me angry to think that the writers for this show, and to an extent any modern writer, would believe that using harmful tropes to make a story is acceptable and someone brings in profit. I tried to watch it out of fact that my family likes Star Wars and we all grew up watching it, but all of these unhealthy assumptions and terrible choices in terms of writing and design leave a bitter and nauseating feeling.” - Respondent 605

In the survey, various questions were asked about fans’ feelings about The Bad Batch. Before reading the carrd, 34.7% of fans answered that writing was their least favorite aspect of the series, with the next being the main characters. Elaborations in the following free write made clear that the whitewashing and stereotypical writing were huge factors of these opinions. One a 1 to 5 satisfaction scale, 68.1% of respondents rated their satisfaction at a 3 or lower--again, due to the whitewashing and other issues respondents perceived in The Bad Batch. When asked to analyze pre-post carrd-reading feelings regarding the above issues, every category saw a marked increase in awareness of the issue at hand. The perceived prominence of the whitewashing went from 81.3% to 91.4% in respondents. The awareness of ableism jumped almost 30%, from 52.6% to 84.4%. The majority of respondents (59%) were not aware of the antisemitism in the series, but after reading the carrd, that statistic flipped to 80.5%, a near 60% increase from the original 26.7%. Regarding the other racist issues, the respondents went from 63.1% to 83.7%.

Fans of color, neurodivergent fans, disabled fans, and Jewish fans have been waiting for the day where we can see ourselves on screen a level of attention and care that makes us feel even more at home in the Star Wars community . If Disney’s message is truly family-friendly, if Star Wars is for everyone, then Disney needs to support these views with not just words, but with actions. Resolve the racism in Star Wars: The Bad Batch, take out the antisemitism, and treat your nonwhite, disabled, and neurodivergent characters--and fans--with the respect and dignity they deserve.

This will not be a benefit solely to the fans who are asking to be represented properly. In today’s time, popular media is facing a reckoning; media that is inclusive of and respectful towards minoritized groups ends up with leagues more popularity, high ratings, and good reviews than those that don’t. A recent and prominent example is Shang-Chi and the Legend of the Ten Rings, a movie for which the inclusion of Asian-Americans at nearly all levels of production boosted its image and aided in its successful box office release. Black Panther is another prominent example--a movie spearheaded by Black people that completed its box office run at more than five times its initial budget in total revenue. The proper representation of people of color is a two-fold benefit.

Star Wars: The Bad Batch already has beautiful animation that reminds many longtime Star Wars: The Clone Wars fans of their childhood.

It is our hope that you will take our concerns as well as the concerns of others into account, and address the issues that we have outlined in order to better reflect the Walt Disney Company’s commitment to inclusive, diverse entertainment for audiences of all ages. Thank you for your attention to this issue.

Respectfully,

Fans of The Bad Batch

#mod CH #email #disney #star wars #the clone wars #the bad batch #unwhitewashtbb #swtbb #racism #antisemitism

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jlinthi1 · 3 years

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Final Reflection

This course helped me to get a unique understanding of the world around me in a way that no other class I have taken before has. Despite being one of the top members in my high school’s Model UN team and the fact that I have taken a number of classes on history and international relations, I feel that my experience in this course has provided me with a much greater understanding of some of the issues in society than I had before. I had been in all-guys schools for pretty much all my academic life before I came to High Point and therefore I had very little experience or knowledge of many of the issues that feminism attempts to confront. While my classes in the past had spent time discussing some of the issues in society, the issues they discussed were mainly about racism or religious morality and the only time sexism was ever really addressed was when discussing violent religious practices towards women.

The concept that stood out the most to me out of everything that we have covered in this course would have to be intersectionality. I found the study of how many of the issues in society build off each other to be an extremely interesting concept and one of the most memorable aspects of the course. Another reason that the concept of intersectionality stood out the most to me is because of Crenshaw’s article “Mapping the Margins” which we read early in the course. I found Crenshaw’s description of how many immigrant women find themselves in situations where they choose to “continue to suffer abuse under threats of deportation by their husbands” to be both the most sickening and the most powerful moment of the course as a whole (Crenshaw, 202). The idea that immigrant women find themselves trapped in an abusive situation due to their fear of being deported, was extremely disturbing to me. This situation reminded me of The Shining as these women found themselves feeling trapped in their lives with their abusive spouse, despite the fact that they had come to America for freedom. The idea that situations like this really occur made the concept of intersectionality extremely interesting in comparison to the other core concepts of this course and it is definitely a huge part of what I will take away from this course.

Because of how impactful this concept was to my experience in this course, I have focused my commonplace book on intersectionality, particularly the many issues in society that overlap and build off of each other to form barriers in many women’s lives as well as how to overcome these intersecting issues in society. One set of issues that I especially wanted to include in my commonplace book was the interconnectedness between immigrant women and domestic abuse that Crenshaw examined in “Mapping the Margins.” The Washington Post article I included in my commonplace book examines these situations and expands on them by interviewing women who have lived through these situations. One thing in particular that I appreciated about the article was that it also touches on the long-lasting effects that horrific domestic abuse has had on the women interviewed. Given that my commonplace book focuses on the many overlapping issues that affect the lives of many women, I found that the lasting effects of the extreme trauma and fear that these women endured was a great addition as it can become yet another obstacle in the lives of these marginalized women.

Another aspect of intersectionality that I wanted to include in my commonplace book was that its presence in cultures across the world contribute to sexual oppression in every nation. One example I used for this was a documentary I had watched last year in my International Relations course, which followed many of the negative effects that globalization was having on the nation of India as well as other third-world nations. While the documentary does not focus on issues facing exclusively women as much as it does issues facing the livelihoods of the people in these societies as a whole, it is still an excellent example and explanation of how many issues in a society such as tradition or industrialization can factor into much greater threats like poverty by intersecting with each other.

I also used my commonplace book to discuss how, in addition to learning about the intersecting of issues in societies throughout the world, I have learned to confront these issues and work towards ridding them from society. I discussed this through explaining the related concept of the difference between equality, where everyone is treated equally, and equity, where everyone is treated fairly. I felt that discussing the difference between equality and equity was a necessary inclusion to my commonplace book as it is a critical component of ridding the world of gender inequality. Why this concept is important to working towards a better and more fair future is that it explains why treating each individual in a society equally does not work as not everyone can benefit from the same opportunities. If a society truly wants to pursue fairness for each individual it should decide to pursue policies centered around equity. The idea of equity was very important to what I took away from this class because of how much I could relate to it.

Speaking as someone with severely delayed processing who needs extra time to be able to put out work that is reflective of my intelligence, the concept of equity is something that I truly believe is extremely important. Before this course, I had never thought of my extended time accommodations as a form of equity before this course and this realization has helped me to get a much better appreciation of the concept of equity. While I believe in working hard to achieve success, I also understand that simply working hard is not enough and that equity is necessary for each individual to be as successful as they possibly can be.

One essential aspect of pursuing equity that I particularly wanted to include was that the first step of pursuing fairness for each individual through equity is to acknowledge the issue in the first place. I think that this is an extremely important aspect of using equity to pursue a goal like ridding the world of gender inequality as sometimes seeing the issues in one’s own culture can be difficult. The concept of ethnocentrism, the idea that one’s own culture is always objectively right, was another idea from this course that really stuck out to me and it often prevents people from acknowledging or sometimes even seeing the issues in their own culture. Given that this course focused on study of the pursuit of gender equality from a global perspective, I felt that trying to avoid ethnocentrism was also a big part of what I learned from this course.

I also I felt that the story of Bibi Haldar was a great example of how the intersection of cultural issues such as sexism and ableism can work together to form extreme obstacles for some women. I included an article that examined how these issues overlapped in the story “The Treatment of Bibi Haldar.” The story itself is a great example of the unique challenges one woman was faced with simply because she was disabled and a woman. Another example of how intersectionality can create obstacles in one woman’s life that I wanted to include in my commonplace book was an article interviewing several Muslim men and women about their experiences with islamophobia in post-9/11 America. Their accounts do a fantastic job of placing the reader in their shoes as they recount how they have been treated as Muslims. The article really helps to illustrate the idea that we have covered in this course’s examination of intersectionality that there is no single experience among every woman as each individual is faced with their own unique intersecting issues in life. Another article I included in commonplace book was one I found just a few weeks ago for the class blog about the likability of fictional characters. I included the article in my commonplace book because it had an interesting section about how feminism interacts with the likability of female characters in fiction. In this section, it discussed how women are judged far more severely than men in real life as well as in fiction. This was yet another systemic issue in society that I felt was worth including in my commonplace book as it intersects with many other oppressive problems in society to make life even more difficult for women.

I believe that this course has helped to get a much greater understanding of the cultural issues around me that I had not thought about before. As someone who wants to run a successful business one day, I feel that understanding many of the cultural issues that affect the people I will work with will be critical to helping each person find success despite the intersecting obstacles they have and will continue to face. While intersectionality stood out the most to me, I honestly found pretty much every concept we studied in this course to be extremely interesting as I have never had a course that studied society in the way that this one did.

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thejakeformerlyknownasprince · 4 years

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Disability and Loren

@zarohk asked for my thoughts on a Disability Studies/Media Studies perspective on the disability depictions in Animorphs. Which was foolish, because I’m teaching an entire dang class on the subject of superheroes and mental health, so I have Many Thoughts. [PLEASE NOTE: I am nondisabled, so if I err, please tell me so.]

Loren’s role in #49: The Diversion does a lot of things right, and a lot of things wrong. She incurs a traumatic brain injury that results in memory loss and blindness a couple of years after Tobias is born, and lives with said injury for about ten years before Tobias finds her and gives her the ability to morph, which restores her sight but not her memory.

A few places where I commend the depiction of Loren:

It gets into the massive underemployment of disabled Americans. Loren is smart, canny, athletic, compassionate... and working a call center job in exchange for state benefits. Said state benefits do not afford her a decent standard of living; Tobias notes that she has few possessions and almost no time for leisure activities. Americans with disabilities are twice as likely to be unemployed as those without, and those who do have jobs are ten times more likely to be paid less than minimum wage, e.g. in sheltered workshops.

It shows how inaccessible a lot of systems are in the U.S. Tobias notes that Loren accidentally grabs an expired quart of milk — because nothing on the label is printed in Braille. Putting raised text and/or Braille on food packaging is a health and safety issue, one that the U.S. ignores even though it violates its own laws (e.g. the ADA) because companies tend to do what they want and “what they want” is usually not to spend more money on packaging. The call center and bus system are both marginally more accessible, especially when Loren has Champ to help, but they’re still clearly spaces set up for sighted people that don’t take blind users into account very well.

It shows some of the workarounds that help deal with accessibility problems. Loren’s house is set up so that there are clear paths to and from all of the relevant spaces. She’s doing that to allow herself to move around comfortably in that space, because she’s made it accessible for herself. She memorizes the layout of the local store, and uses that to get around as well. All of those details help show that she’s adjusted, and actively interacting with her own circumstances.

It drives home the difference between service dogs and pets. This distinction is extremely important, and it gets ignored all the time by entitled ableists who want to bring their pets into stores. Tobias and Marco both assume from the outside that it can’t be that hard to become a service animal — just do what Loren says to do, right? — but it takes Tobias 0.02 seconds to realize that it’s not that simple and that he cannot imitate Champ’s lifetime of training on the fly. He says that he manages to get his mom home in one piece, and that that’s about all that can be said for his sad performance as a guide. Champ has skills like ignoring interesting smells and applying exactly the right amount of pressure to the harness that most pets don’t have and also most pets can’t learn. Champ is not a pet, at least not while he’s in that harness; he’s a gainfully employed expert assistant.

It rounds Loren out as a character, and definitely does not just make her into a lesson or problem for Tobias. Loren is gently humorous, tolerating her coworkers’ teasing and Ax’s attempted juvenile delinquency with an eye-roll. She’s compassionate, listening to other people’s problems on the phone with genuine concern and not swatting flies if she doesn’t have to. She’s tough-minded and stupidly brave, chucking rocks at Visser Three’s head and flying at attack helicopters as a three-pound bird. She’s fallible, unable to support Tobias emotionally even when he asks her to do so and unwilling to check in on him after leaving him with her sister. She’s a fully rounded person, one whose personality is informed but not defined by her disability.

It talks about some of the unromatic aspects of a Traumatic Brain Injury. Too often in other works of fiction, we see a person get bonked over the head and wake up with no episodic memory but all other brain functions intact (*cough* Rachel in MM1 *cough*). Loren actually gets into the fact that she forgot huge chunks of language, forgot how to brush her teeth, forgot how to walk across a room. She obviously lost her sight as well, and she mentions lifelong balance and coordination problems. Even her amnesia isn’t absolute — she has some traces of recall, but can’t make anything coherent of her impressions. Her injury isn’t 100% realistic, but it’s more so than many TBIs we see in fiction.

It focuses on the intersection of disability and social class. Tobias notes that Loren is under a compounded threat because of her inability to move to a more secure neighborhood and her obvious vulnerability. He feels a lot of disgust with himself when he and Marco and Ax are harassing Loren, because it’s so clear that this isn’t the first time she’s been harassed. Tobias understands that his experience with poverty as a nondisabled male minor is different from Loren’s for those reasons.

A few places where Loren falls into the common traps of implied ableism creeping into fiction, as written about in Narrative Prosthesis:

She gets “cured.” Loren falls into the “kill or cure” dichotomy, like most of the other disabled characters in Animorphs. In her case, it’s that she gains the power to morph and in the process regains the ability to see. It isn’t a complete cure, true — she still has no memory — but it means that she’s no longer blind for the rest of the series. Having the occasional character no longer be disabled sometimes isn’t automatically problematic; having every disabled character get either “fixed” or killed off inherently treats the disabled body as a problem that needs to be solved, through sci fi nonsense if no other way is available.

She implies that she’d rather die than continue to be disabled. When injured by dracon burns, Loren initially refuses to morph out even though Tobias tells her she’ll die if she remains a bird, because (they both assume) to morph out is to return to her blind human body. This moment buys into the stereotype that it’s better to be dead than disabled, again inherently devaluing the lives of actual blind individuals.

There’s a certain amount of mystery around how she became disabled. It’s interesting that we never actually get a definitive answer on that one — Loren says she was told it was a car crash, but there’s also an implication that she was attacked by controllers, and we don’t know for sure. However, the fact of her disability is treated as an aberrant state that needs to be explained, the book inherently asking “why are you like this?” By contrast (for instance) she doesn’t ask Tobias “why are you in the body of a hawk?”

She views herself as a burden, and the narration doesn’t do enough to contradict her. Loren says that she couldn’t possibly be expected to raise a child while also blind and coping with a TBI. Real blind people raise kids all the time, however, including blind single parents, and it’d be nice to see some evidence in the story that Loren’s assumption is wrong. Loren also apparently assumes that she can’t begin to play a role in Tobias’s life even now that Tobias is more self-sufficient, again because she views herself as relatively helpless and non-contributing due to her disability. There are some hints that she’s wrong, but we don’t really see her either begin to contribute to the resistance or build a relationship with Tobias until after she’s become un-blind.

Tobias’s view of Loren is often pitying. As much as Loren doesn’t initially view herself as a potential maternal figure to Tobias, he doesn’t view her as a potential mentor either. He repeatedly expresses horror or sadness at her life circumstances, and assumes that her life must be barren due to the spartan nature of her home. (Of course, that begs the question of why the hell a blind woman living alone would ever bother hanging pictures on her walls or putting doilies on her coffee tables, but Tobias doesn’t consider that angle.) Again, Tobias is allowed to assume that her life must be meaningless if she’s disabled, but it’d be nice to see some contradictory evidence in the form of her having close friends or inane hobbies or some other proof that to lead a disabled life is not to automatically lead a lonely one.

Loren expresses bitterness and desperate desire to be nondisabled. Again, it’s fine for any character to say “I wish my life was different,” and it’s a common consensus among blind writers/bloggers that being blind is often a pain in the butt. However, views as extreme as “you need vision to have a fulfilling existence” or “vision is part of what makes us human” are ableist crocks of shit. Loren doesn’t go so far as to espouse those extreme views, but she also doesn’t seem to view herself as having a well-rounded life in spite of her disability. It’d be nice to see Loren talking about sight as handy or enjoyable or a thing that the designers of 99% U.S. environments assume everyone must have, rather than a necessary precondition for a minimum standard of life.

Loren’s disability is somewhat medicalized. Same caveat as above: disabilities are by definition medical things that some bodies do or have that other bodies do not. However, discussing disability primarily through “this is how your body is different from Implied Normal of Nondisabled Body” and focusing on doctor’s notes, diagnoses, physical differences, etc. can serve to disconnect the lived experience of the individual from their body. It also tends to focus on the ways that the body is “the problem” rather than focusing on the ways that environments and attitudes are problematic, which then prevents anyone from asking hard questions about the environments and attitudes. Loren’s doctor’s note, discussion of scarring and loss, and repeated physical descriptions are somewhat more medical than social. It’d be nice to see a little more emphasis on the social factors that make blindness a disability (e.g. improperly labeled milk), and less on “your eyes are different from those of Implied Normal Nondisabled Person.”

#animorphs #animorphs meta #long post #loren fangor #ableism #disability studies #disability representation #accessibility #social model of disability #animorphs criticism #blindness representation #49 #the diversion

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silvershears · 3 years

Photo

Alright, listen. This book honks. And I want to talk about why. No, I'm not getting into the book review scene, but please indulge me.

I never had any intention of reading this book. I'll be up front with that.

A new coworker is a newish fantasy reader who, upon discovering that I am a long-time fantasy reader who also writes and has some vague publishing background, asked, "Would you read this book and tell me what you think? I haven't read it yet, but I'm curious to hear your opinion."

Sure. Why not. I was only 50 pages into the book I was reading at the time, so why not put that on pause and give this a go? This became infinitely more complicated by the fact that my new coworker is acquaintances with his wife, and then add in that I've met this author, had a bad interaction, and decided I never wanted to read his books. Nevertheless, I was determined to give it a go anyway, and I wavered for a while on whether to even include that background here.

Wasn't I already predisposed to not like this book? Perhaps. But this book was an excellent learning opportunity, if not a good story, and I think it's important for us all to approach books we don't like this way: Each time I ran hard up against my own disgust, I paused to ask myself why I felt that way. What was it about the story, the writing, the character, the plot, the world that made me react this way, and how did that interact with the author's intent?

First of all, a disclaimer: This will have spoilers. If you intended to check this book out, perhaps don't continue further until you've read it yourself. Maybe then come back and compare your experience to mine.

> The worldbuilding is based on two-dimensional lore.

The world is comprised of what appears to be three human races split along religious lines. The three sibling gods each have their own race of followers with some individuals inheriting the magical power of their god. One is a magic associated with air and water with a father/older brother god figure; the next is a mother/middle sister associated with fire and light; the third is a little brother associated with... the hard labor of forging? It's unclear what he originally stood for, but by the time the immense lore dumps are complete, we see the little brother's transformation from a highly skilled craftsperson who takes immense pleasure in crafting gifts to his siblings into a petty, angry god bent on chaos and destruction of his siblings' domains.

What brings on this transformation? The gift of a song.

He is so enraged that his siblings gave him a song instead of a physical item like he gave them that he goes into a rage, evicts himself from the metaphorical house, and goes to live in the bowels of the world where he can forge in peace. He goes on to create all the various fantasy creature races in the world like dragons, fae, constructs, shadow demons, etc.

And his name? Keos. He's the chaos god and his name is Keos. I can forgive a poor name here an there—perhaps he never said them out loud—but add in that the sister's light/fire magic is called lumen—y'know, like what lightbulbs are measured in—and I have concerns.

Naming problems aside, the entire world's history and the racial relations all stem from a god's immensely childish reaction to a gift. I am well aware that many deity lore can be goofy or based on overblown reactions to things, but it feels so thin and flimsy that to prop the whole world and its cultures on top of it could not stand.

> Ableism is pervasive in the culture.

The story starts off with a prologue, which, as a concept, is not inherently a problem, but it was my first clue that this was not the story for me. In this world, being disfigured in any way physically marks you as an agent of the chaos god. Either these agents are killed or ostracized in order to better mitigate any mischief and evil they may commit or bring to their community. We are immediately thrust into this intensely ableist world with the birth of a child missing a hand and part of a forearm. The parents are killed and the baby taken to the woods to die.

I hate it already.

The author, being the sort of person to review their own book, states in his lengthy review: "Whatever you do, don't think for a moment that I'm blind to the tropes I've chosen to use. They serve a purpose and are conscious choices."

If this is the case—that he's aware of his tropes and they are purposeful—he must also be aware of the statement he's making by having all disabled and disfigured be labeled as evil ne'er-do-wells. Because this story takes place almost entirely within the small town of Chaenbalu where these beliefs are rampant, we're lead to believe that this is the way the whole world works. We get one glimpse of the outside world where it mentions a larger prevalence of disabled and disfigured individuals, but it's so brief and not at all explored that our understanding of the world goes mostly unchanged.

Is this part of Call's subversion of tropes? Perhaps Chaenbalu is indeed a backwards town, holding on to old traditions that the rest of the world has left behind, but the characters are so isolated they wouldn't know—and therefore we don't know whether that's the case. Bad news: It's so distasteful that I'm not interested in reading more to find out if it's just Chaenbalu that's the issue. I'm so put off by the whole concept.

> Every female character is cardboard, and they all die.

Centered in Chaenbalu is the Academy, a school with two gendered factions: the witwomen and the Master Avatars. (You'll notice that the sexism starts right off the bat with the fact that Masters get capitalized but witwoman does not.) The witwomen are trained midwives and kidnappers, sent out into the world to collect children and bring them back to the Academy as a "reap" or class of new students. The students are told that their parents submitted them to the Academy's care in a boarding-school-type thing, but that's spoiled in the prologue as being untrue.

Unfortunately, we don’t get a chance to really explore what it is the witwomen are up to, or what any of the women are like. There is only one female character with any amount of on-screen time, and even that is negligible. She acts as nothing more than a plot device, which I’ll talk about later, functioning only as an object for the main character to lust after. Anytime she is described, it is with delicate detail paid to her soft, plump, pink lips, the breasts, the hips. At every turn, she’s sexualized—and perhaps that’s due to the main character’s gaze being the narration we receive, but even in the epilogue scene when our main character is not present, the author continues to describe her this way, so perhaps it’s not a function of the main character at all. She receives no further development than who her father is, what her body is like, and how much she dislikes those marked by Keos, aka, the disabled and disfigured.

The other witapprentices and witwomen appear for two scenes, and by the end of the book, they are all dead in the midst of an attack on the Academy that serves only to move the main character's story forward. Without this attack, he would never have a story worth telling in a book. Without their deaths, the attack would not have happened. And even the romantic interest is faux-killed in order to provoke a specific emotional reaction in the main character to move the character's development forward.

> The characters are shallow.

While I can't guarantee that this problem is due to the two-dimensional worldbuilding, I personally feel they're probably related. There are a couple of friend characters around and a mentor that are all lacking in development, but let me focus on the main character.

The male students train at the Academy with the goal of becoming avatars, and then later, Master Avatars. As avatars, they are expected to go out on secret missions to retrieve magical artifacts and, if the artifact is a "dark artifact,"—that is, if it's built to do harm to another person, and by lore belongs to Keos—murder its owner.

The main character is one such student, testing to become an avatar, and worse yet, if he doesn't pass his test this go-around, he'll never be able to become an avatar and he'll instead be relegated to steward status, taking care of the upkeep of the Academy. And of course, no one wants to be a steward! You'd be a servant to everyone, and where's the action-packed fun in that?

But our main character has a motivation even more powerful than the dread of being a steward: a girl. Not just any girl. The headmaster's daughter.

To be fair, this book is not advertised as a romance. Which is good, because it's not a romance. The main character has a deadly crush. He even has a promise ring forged, ready to give it to her when he passes his test and becomes an avatar. His love for this girl is so powerful for him that it's quite literally all he thinks about, but because she's the headmaster's daughter and is also a witapprentice, he hardly ever sees her, and the times we do get them in the same scene, it's plain this relationship will literally never work out.

She may not know about his missing half an arm thanks to a magical prosthetic, but it's clear she holds on to the old ableist traditions with positive glee and with the same strength as a hippo's jaw. While our main character pines after her and even eventually when they are engaged, we are telegraphed again and again that it will never last, that she is a horrible person, and that she will never accept him with his missing hand. We know this and we watch the main character acknowledge this so many times that it is a failing of the plot that there is even a chance for her to betray him.

Which she does, of course.

This goes back to the author's assertion that he's aware of his tropes and to trust him in his plan. He sets up a male lead and throws the only female character at him, establishing the possibility for a romance—a common trope—and molds that romance into the core motivation for the male lead. She is his reason for wanting to succeed, and he waxes poetical about how terrible it would be if A) someone else got her first, or B) he didn't pass the test and he couldn't be with her. They must fall in love, yes? The author also tries to convince us that she is a likeable person, a person worthy of his devotion, all the while foreshadowing with a heavy hand that she's, frankly, ableist, racist, and a terrible person who is not at all worthy of his devotion. Ah-hah, a subversion! They are not at all meant to be together!

The problem is that she repeatedly shows her hand as a garbage human in front of him an innumerable amount. We the audience dislike her so intensely that to have her as the main character’s sole motivation is laughable. Perfectly inconceivable. A true weakness in the foundation of the plot that’s so profound that if the story struggled to stand on its weak worldbuilding, it almost certainly cannot stand on this. Her betrayal is so blatantly obvious and inevitable that his surprise is outrageous, and his hurt comes not with sympathy from us but absolute incredulity.

> The author’s prejudices taint the writing, and the writing needs editing.

I won’t talk too much in depth about a scene in which the romantic interest is stunned and the main character performs a grossly sexualized search of her body, but I will point out that later, the author writes, “he relived the seconds they had shared in the shadows...” There was no sharing of moments. She was stunned. There was nothing romantic about it.

Later, the main character is sent out on an assassination mission. The author writes, “He wondered what kind of a man he was about to kill - good or evil, father or bachelor - and whether the man would struggle.” Ah yes, an unmarried man. The opposite of having children. Of course, how silly of me to consider that being unmarried precludes me from having children, or that being married means I must have children.

At another time, a character who is well known to wear an eyepatch is described as “winking at him with his one eye.” I’m sorry, author, but that’s just blinking. I could have given him the benefit of the doubt that perhaps he’d forgotten this character is missing an eye and wears an eyepatch if not for the “with his one eye.” The author knew what he was doing.

These moments aside, many scenes dwell in the melodramatic, letting emotion set the scenes awash in a horribly garish light that fails to give the scenes their weight. The point of view was pretty tight to the main character, but with odd moments where it split away to document events that happened outside of that character’s view, even within scenes where the main character is present. It felt a bit sloppy. Passive voice is rampant, with sentences and whole scenes in dire need of better editing. “Myjun was walking in step with her father...” “His flyssa was caught by Annev’s flamberge...” It made the writing dull—hobbled by too many words that meant too little, and too specific of words amidst their plain neighbors that made it dissonant.

> The plot is overstretched.

This book is 576 pages. At page 250, something occurred that made me think that perhaps I’d just witnessed the inciting incident and that now the plot would begin. At page 330, I thought the same thing. At page 400, I thought the same thing. At page 525, I realized with a jolt that I was witnessing what this book would consider the climax, and I could put what happened at page 400 the inciting incident. Until that point, there was no clear indication of what the plot actually was, and there were at least 300 pages of unnecessary story.

I understand from a bit of research that this is intended to be the first of a four part series. Realizing that puts the entire plot of this book into perspective. This climax is the point of no return for the series, with a 500-page lead up. With a bit better editing and a cleaner line, this book could have been immensely less frustrating. Perhaps all these things that bother me are the point of the book—perhaps the next books in the series will overthrow some of these expectations as the main character ventures outside Chaenbalu and sees what the rest of the world is really like. Perhaps.

Do I trust that the author will do that? No.

Am I interested enough to continue reading this series to see if it gets better? No. Do I hope it does? Sincerely. I may not like the author, and I may not have liked this book, but there are people who do and I respect that. I hope it meets their satisfaction. It’s not for me.

Do I regret reading this over the last month instead of the book I was reading and will go back to reading? Surprisingly, no. I hated it, don’t get me wrong, but I also learned a lot about why I hate it—what made it not work—and I think there’s value there, too.

#master of sorrows #books #i didn't want to put this on goodreads because i do know the guy but i also wanted to document my exploration into hating this book

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to-many-towered-camelot · 3 years

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yet more on disability in Malory’s Le Morte d’Arthur

for anyone who is interested in the topic, this posts continues to summarise Sitting on the Sidelines: Disability in Malory by Kristina Hildebrand - same as always, cw for both in-text and out-of-text ableism, and also a note that i’m disabled and the views expressed in this article don’t necessarily align with mine ⚔️ 🏰

previous posts can be found here:

introduction

Sir Urre

Part 3 - King Pellam (and the Grail Quest as a story of disability)

in every Arthurian romance, the basic plotline of the Grail Quest involves the Grail King (often called the Fisher King) being wounded and then healed many years later by the Grail Knight (either Galahad or Percival)

this Grail Quest in Le Morte d’Arthur can be seen as a story of disability - from its first appearance, the Holy Grail renders the Round Table “mute” and causes a certain sort of “blindness” (they cannot see the Grail clearly). This “blindness” motivates the quest (they desire to be “cured” and see the Grail):

The Grail... is always already linked to the disabled body. When the Grail appears before the Round Table knights for the first time, disability marks its arrival in two ways. First, the knights are struck mute just prior to its appearance. Moreover, the knights suffer a kind of blindness in its presence; no one is able to clearly view the Grail, and it is this inability that inaugurates the Grail Quest: they vow not to return until they have ‘sene hit more opynly'. Disability thus serves as the Quest’s motive and objective: to see what cannot be seen, or, in effect, to cure impaired vision.

Malory repeatedly associates the Grail Quest with the disabled body through the Grail King(s) (and other kings/knights encountered during the quest). His text has a lot of repetition and alteration in this context, with two ‘maimed kings’ (and a separate Fisher King) and three ‘dolorous strokes’ (“maiming” attacks) - this isn’t a case of similar names and themes popping up again, but rather previous asides/plot points being bought back with noticeable differences.

Maimed king (1)/Dolorous stroke (1) - Pellam is introduced early on*. He is wounded by Sir Balin and his lands waste as a result (common Grail King narrative), which is why the blow Balin dealt is referred to as a ‘dolorous stroke’. In this way, disability is spread from a ruler to the land he rules. The text explicitly states that he remains wounded until he is healed by Galahad during his quest for the Grail (foreshadowing for later)

* (this story also links to one medieval conceptualisation of disability (among several), which is ‘impairment’ as judgement for sin. Pellam appears later as the Grail guardian, a positive spiritual figure, so it is unlikely that it is his sin that is being punished. Instead, it may be a punishment for Balin’s sins, albeit visited on the wrong body)

Dolorous stroke (2) - The dolorous stroke is brought up again in the Grail story, when King Hurlaine kills King Labor. This act leads to both of their realms becoming wastelands.

Maimed king (2)/Dolorous stroke (3) + Fisher King - the maimed king returns with a name change (Pelles instead of Pellam). Here he is King of Corbenic (Carbonek), Elaine of Corbenic’s father, and consequently Galahad’s grandfather. This family link is important to note, as earlier King Pelles of Corbenic appears in the text, unwounded and unmaimed. The way in which he is wounded also changes from Pellam’s story, instead involving the sword used to kill King Labor and a spear. Furthermore, when Galahad arrives at Arthur’s court, he mentions his grandfather Pelles and the Fisher King as two separate people living at Corbenic.

several other characters exist that participate in the thematic function of the maimed Fisher King:

King Evelake (400 years old, encountered by Percival, healed by Galahad)

King Mordrayns (blind, restored to youth as he is healed by Galahad, promptly dies in his arms)

the ‘Maymed Kyng’ (sick, lives at castle Corbenic but is not King Pelles, healed with blood from the spear that accompanied the Grail - might be the Fisher King already said to be living there with Pelles)

old man in Sarras (needs crutches, healed by Galahad)

interesting to note that King Pelles is never healed on the page - and may not have been healed at all. When the Grail knights leave Corbenic, it is still referred to as the place of the ‘Maymed Kyng’ (whether this is the unnamed Maymed Kyng or King Pelles is unclear). Because all of these disabled kings share the Fisher King’s thematic function, Pelles doesn’t have to fulfil that function by being healed.

these sort-of Fisher Kings share two characteristics associated with disability and the Middle Ages: liminality of the impaired and the potentially positive outcome of impairment

1) the potentially positive outcome of impairment - if not brought about by sin, illness/impairment could be seen as a form of cleansing and spiritual healing. Some of the maimed kings (e.g. Evelake) are injured due to sin, but many of them can still be seen as examples of “purification through suffering impairment”. They are all close to the Grail, are seen praying, and await healing by Galahad (who they know is coming):

Disability in Malory can be caused by evil magic, by sin, or by too presumptuous a desire for the Grail, but it also consistently represents penance, purification, and the grace of God.

2) liminality of the impaired - the maimed kings inhabit liminal space; unlike with Sir Urre, they often don’t leave liminal space to become part of the community after being healed, but die instead. They also exist in this liminal space for more reasons than disability...

the Grail quest is different from the other quests and adventures in Malory’s text. The rules are different in this liminal world, where only virtuous living can bring the knights success, not chivalry or prowess. It is a space where God can be seen (e.g. at Mass the Eucharist turns into a child and then back into bread), and it is a space for leaving - only the Grail guardians and servants can remain, while the knights either die or exit the space:

It is also a liminal space in that it has to be left: the knights cannot remain within it. Some return to Camelot, some are killed, and some die peacefully and enter heaven, but the liminal space can only be temporarily inhabited by all except the Grail's guardians and servants—many of whom also exhibit the liminality of disability.

like Sir Urre, the disabled Grail guardians cannot participate in the chivalric community - but unlike in Urre’s story, the chivalric community here is broken. Knights fail to recognise each other and end up killing one another - the chivalric community can’t exist in this liminal space. They are transformed in this liminal space, just as disabled bodies are sites of transformation:

The knights' bodily ability, which has defined them before and will again in the story of Sir Urré, here avails them nothing. Their bodies are moving through a liminal landscape, where some will be transformed by holy orders or by death. The guardians of this Grail landscape are thus permanent inhabitants of the liminal, and their disabilities may be seen as representing a place where bodies are in constant transformation, moving towards death, sacredness, or bliss.

The inconsistency/confusion in the Grail narrative may be due to the discomfort Malory and his audience feel regarding disability and disabling injuries, and the threat they pose to their membership in knightly society and to their able-bodied image:

The confusion surrounding a character, like the Grail king - traditionally portrayed as, and even defined by, his disability - indicates a deep discomfort with the subject. I would claim that the invisibility and confusion surrounding disability in Malory's text is due to its being non-normative, and thus marginalized to the point of invisibility in the text, and that this, in its turn, is due to its being a site of anxiety for the intended audience.

Conclusion

Disability slips through the text, away from the reader's attention, and is seen only at the moment of restoration. The focus remains on the restorer, not on the disabled character, who cannot occupy a central place in the text. When the character moves nearer the center, like Pelles does in the Grail story, the disability cannot co-exist with centrality, and thus becomes invisible. Existing in liminal space, forced out of the chivalric community, the disabled knights can no longer partake in the pursuits that define them as knights. They sit on the sidelines as the story inexorably moves away, retaining the able-bodied at its center.

#Arthuriana #disability #arthurian literature #Le Morte d'Arthur #sir thomas malory #the holy grail #grail quest #grail knight #King Pellam #The Fisher King #*#ableism #medieval literature #resources #knights #Corbenic #Galahad

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writtenbyhappynerds · 4 years

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Fanfic 102: Unit 3, Diversity

Hello! Welcome back. This week we’re going to talk about Diversity. Beyond how to insert diversity into your writing, the nuances, and the ways you can create a believable character. The Editor and I understand how sensitive of a subject this is, and wanted to take the time to make sure the information we are doling out is inclusive and well-written and quality. There is often a lack of diversity in media and books, and often when it is included it’s shoe-horned in for brownie points. We understand that, and we want the up-and-coming writers to be better than those before them. The two most important things to remember are the following: no diversity beats terribly-done diversity, and, the way that the character is diverse is not and should never be their whole personality. We will be discussing LGBT, ableism, and race.

The LGBT community is a vibrant community with members of all shapes and sizes. The most important part when writing a character who is gay or trans is that this aspect is part of their identity but it is not their whole identity. When we discussed characterization in Fanfiction 101, we talked about not reducing side characters or members of the cast to one-note aspects of their personality. The same applies here, and a character’s sexuality or gender expression should not be at the forefront of every conversation. You shouldn’t create these characters with their sexual or gender identity being at the forefront of your mind, because you wouldn’t do that for a straight or cis character. You wouldn’t sit down to make a character with your first thought being ‘ok but they have to be cis,’ so it’s silly to do the same to a gay or trans or nonbinary character. Make them like you would any other character. What changes would be aspects of their identity, or values they hold near and dear to their heart or motivations. Those may be different than a straight character or a cis-gender character.

If you’re straight or cis and writing a gay or trans character, you need to do your research to accurately portray the character in a realistic and believable way. An example we love is Todd Chavez in Bojack Horseman, who portrayed an asexual character, and Todd’s journey as he came into his own. Bojack Horseman also portrayed polyamory with Hollyhock, who was the adopted daughter of 8 dads. What we enjoyed was that Todd’s sexuality added dimension to his character. It didn’t reduce him to being the token LGBT representative, and it didn’t force him into a box where he could only focus on LGBT issues. Todd was and is so much more than that, and his sexuality is a part of his story, but it’s not the sole story.

Rick Riordan is a master of writing experiences that are not his own, and he cheated the system by basing his characters off of people he knew. This is a method that you can use. You can base your characters off of friends, public figures, etc. If you decide to not do that, googling what transgender men and women have to experience or what top surgery is isn’t enough. I would suggest looking to Youtube, where many transgender and LGBT influencers have talked about their experiences. I would suggest looking to forums, Reddit being one of them. Yahoo Answers is also a really good source. What you want is as many experiences as you can get: ones that are similar, and ones that contrast. The goal is to combine them and make your own character in a melting pot of other experiences. You owe it to not only those who read your story but yourself to do the research. You want your characters to represent the communities you do, and the ones you don’t as best you can.

Let’s move on to people of color (POC). The same rules we’ve discussed prior apply: A poorly written POC is worse than no POC (Looking at you Baljeet). In addition, that POC’s ethnicity should not be their entire personality, and if you are creating a character just to say that you have made a POC, then you have already failed. There are many issues we see when we find people of color in fanfiction. Among them are language barriers, naming, and a misinterpretation of cultural values and experiences.

Putting words in a foreign language in the middle of fanfic is very, very common. You see it everywhere. In Avengers fanfic it’s Russian or Norse. In Batman fanfic, it’s any of the languages that the Batkids speak. The writers put in these conversations that sometimes go on for pages in another language, and then add an author’s note at the bottom with the translation. This is awkward, and when you read books, this is something you never see. If you want your character to speak another language, you don’t need to actually write the other language. Putting a few sentences through Google translate doesn’t make you a better or more dedicated writer than someone who adds the tag: “she was screaming now, all her words coming out in rapid French.” Tags can be used to dictate a change in language, and I encourage you to use them. Now, there are of course exceptions to this rule, and those exceptions usually lie in food, names, and things. Calling someone a name that is in another language is fine. Describing food in another language is fine, and things are generally ok. But that’s just for you. Your characters also have to speak the language.

No one worth their salt or heritage is going to go through a moment where they start out speaking in their fluent tongue and then “forget” to switch back and forth between English and their native language. It is so incredibly unrealistic and awful and it lets the reader know someone who is not actually bilingual wrote this piece of work. When you learn two languages, here’s what really happens: you forget words. You have to stumble through words in your own language before you get to the one you need. You call things, “that thing.” You point. You sometimes say “what’s that called?” you find aspects of the second language, or even your own language stupid and you don’t want to do it. You get words mixed up and you make mistakes. That’s all okay, and that all happens, and should be written as such. One of my teachers never forgot the French word for spider because she got the shit scared out of her by one and didn’t know what to call it when she needed someone to kill it. My aunt took 3 years to learn Turkish by immersion and now can speak it fluently. You don’t even need to be fluent in every language, and many people only know a handful of words in one or a few sentences in another. That’s totally okay! If anything that’s more realistic because it’s super hard to learn a new language and speak it fluently. Don’t force your characters into a box like that. Let them make mistakes.

Culture is a huge thing when writing POC. You have to keep in mind that culture shifts, and what may have been culturally huge for one set of characters won’t be as significant for others. You want your characters to interact with their culture in a way that is realistic, and not reductive. Kelly from the Office is a great example, as she invites the office to celebrate Diwali with her. Lara Jean from To All the Boys I’ve Loved Before is another example. We see her eat Korean food at home, and in the books, she still celebrates Korean holidays. Where the shift comes into play can be seen in Never Have I Ever where Devi is not as Indian as her parents, and we see her struggle with the culture. She still goes to Hindu association things, Ganesh puja, and she wears Indian clothes. However, she’s still a normal teenager out chasing boys and worrying about colleges. In Superstore the Muslim character prays 5 times a day, and still works at the grocery giant. The big takeaway is that these people have lives that include, but aren’t limited to their cultures. They aren’t reduced to stereotypes.

Naming characters is already rough. However, naming characters from a different background than you are even tougher. The Editor has a lot of anger towards Panju Weasley, from Harry Potter and the Cursed Child. Her exact words, as they were texted to me:

>Like Cursed Child where Ron and Padma has a kid named Panju.

>What the fuck is a Panju?

>That’s literally the dumbest name in the world

>All she had to google was Indian names.

>There are so many fucking lists.

>I dont even think it’s an actual name. Like it might be a nickname for some people but I dont think people have actually named their child panju.

As usual, the Editor is very correct. There is a simple solution to getting around what we’ll call the Panju Dilemma- a phrase which we’ll use to describe terrible naming choices of POC. In Fanfiction 101 we had an entire unit centered around naming. Nameberry.com exists, and if they don’t have it all you need to do is Google the country of origin and the sex of the OC. Sometimes you can add in the year the OC was born, to really get a feel for the time period, but that doesn’t always work. For example, in one of our stories we have a cluster of kids from Syria. When it came time to name said kids, we Googled: popular Syrian names 2003. That’s how we got our OCs: Reem, Nour, Nizar, Jano, and Stella. Naming is very important, and you owe it to your readers and your characters to do them justice, and not saddle them with a terrible name.

The final note of diversity we want to talk about is actual ability. Ableism is often overlooked in movies, shows, or books. It is something that is shoehorned in as an extra adversary for the OC or the cast, only *gasp* This time the biggest adversary is themselves. I hate that. I want to eliminate that because as someone with a disability and someone who has worked with kids with disabilities, you can absolutely write and code characters like that in so long as, and say it with me now, it is not their entire personality.

You can totes write a character with anxiety and/or depression, so long as you don’t snub these very real mental disorders that millions face on a daily basis. You also have a duty, especially with anxiety and depression, to not glorify, glamorize, or romanticize either. Do not romanticize self-harm. Do not romanticize anxiety. Do not romanticize depression. They are not cruel tricks of life that befall beautiful intelligent women. It is not “tragically beautiful.” Depression and anxiety and self-harm are not a paragraph for you to lament on while the OC gazes longingly out the window at her lover. Anxiety keeps some people from talking on the phone they’re so nervous. It gives girls panic attacks in mall food courts because they don’t know what’s going on anymore. Depression isn’t your OC watching the rain in a hoodie and sweats, it’s not showering for days on end because you can’t find the motivation to. It’s having insomnia because you can’t sleep. Self-harm is not an OC’s love interest holding their wrists and telling them to stop. It is deep pain and numbness and hurting yourself to try and feel something. It is rubbing Neosporin on your cuts and hoping they go away. It is forcing your friends to keep it a secret because you don’t want anyone to know because what if they take it away from you. These mental disorders are not yours to romanticize. They are yours to show the growth and power and strength of your characters. They are yours to use to show how trauma has affected your character and can represent normality behind mental health and emotion and talking about things like this. Even more so than girls, writing a male OC with anxiety or depression is more empowering because you are allowing a character to talk about their feelings when that isn’t seen as acceptable by their sex. If you feel you are able to take that plunge, and you can do the adequate research to represent the disorder well, go for it.

In addition to mental health, physical disabilities are often overlooked. I have a chronic illness. I have never seen in a book, movie, TV show, or fanfiction anyone with a chronic illness, let alone my chronic illness. That in of itself is a broad term, and I’ll let chronic illness mean anything from lupus and POTS to asthma and anemia. These disabilities make a character have to work harder, but hey, look at Captain America. The boy had every disability under the sun and he got out alright. No one is going to make changes for you. You have to be the change you want to see. If I want OCs with chronic illnesses, I have to write them and do them justice by not only my community but the communities that I don’t represent. Jeremy Scott’s The Ables is a great example of writing disability and using it as part of, but not a character’s entire identity. The main characters all have superpowers but are put in a class that doesn’t allow them to use said powers. This is because they are all disabled. The main character is blind and telekinetic, another can read minds but is in a wheelchair, another is a genius but has cerebral palsy. Their disabilities are a minor obstacle, but not the big bad, and that is a great way to write disability. People who live with physical disabilities or chronic illnesses have to deal with said limitations every day. To us, as time goes on it becomes less of the monster at the end of the story and more of an everyday beast. It becomes normal, and there are bigger things for us to worry about than just our disease. This speaks for every aspect of diversity we have covered in this chapter: The people with said note have to live with it every day. It is a common enemy, not the final boss. To treat it as such is to say that it is our biggest concern in life. I wish my chronic illness was my biggest concern, but I have other fish to fry.

What we have done here is not an all-inclusive list of diversity. This chapter took 2 weeks to write because the Editor and I wanted to do right by our community. Not just the communities we proudly represent but the communities we don’t. There are many more nuances and aspects to diversity that are out there, and what we have presented is our best. Yet it is still incomplete. If there is something important that you feel we have left out, we sincerely apologize. We acknowledge that what we have written here is not all-encompassing for diversity. We wanted to talk about issues that are common occurrences. However, what we have covered is not the end-all of what’s out there. We apologize for the delay, and to make up for it, our next unit Writing Children will be published at the same time as this one. We sincerely apologize for the delay.

Xoxo, Gossip Girl

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streamworthytv · 4 years

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“Ableism as Plot Device” in Netflix’s “Locke & Key”

So...as noted, I have a beef with Locke & Key, and the way certain characters were handled in the show (remember, this has nothing to do with the comic, which I haven’t seen...I have no idea if it’s fraught with the same problems).

I first watched the show as part of my Streamworthy TV venture (currently set up & being fleshed out on FB/IG/Twitter/Tumblr & Snapchat, with YouTube in progress...give me a follow, if you care to help someone AWESOME, that can’t work a traditional job...even part time). I myself am on the spectrum, and have mobility issues that require a chair often, due to EDS. So just putting it out there that people without these issues may not immediately have noticed the problems that I’ll be mentioning...but if you’ve seen the show, you’ll know what I’m talking about (you can also see my other, previous post on general crappiness, as well as LGBTQ issues, that are present in the show).

But this post will focus on ableism, and misrepresentation of neurodiversity and disability. (Please know that this is a PURPOSEFUL separation, as I don’t see my OWN Aspieness as a “disability,” but rather, an advantage. **I know that not all people may feel that way;** however, those of us that benefit from/appreciate the autistic aspects of ourselves ALSO have the right to not see autism as a “disability.” Autism is different for everyone, and thus it shouldn’t be forced into the box of “disability.” (Example: my hyperlexia from a young age served me VERY well with reading, writing papers, and test taking, for many, many years. But back to Locke & Key.)

The reason I brought up the above point was because, through the first season, L&K uses the “autism as disability only” angle, which many of us in the ASD community are used to seeing (and being annoyed by). And despite ZERO character development over the course of the series, I’ve seen “AUTISM AS PLOT DEVICE” employed THREE times, at LEAST. I was dragging through the show, annoyed at the portrayal and usage of the character, as well as a different character, who is wheelchair-using, and nonverbal. But suddenly the “realization of ableism” bolt hit me about the larger problems with the portrayals and usage of ASD here - and I got PISSED.

Maybe we have interests that may SEEM to others to “not be age appropriate” (...when, give me a break, how many NT adults/older teens love stories or movies from comics, or collect Funkos, or went hunting for Pokémon...? It’s NOT just us, y’all). Also, older kids CAN INDEED hang out with younger kids in a mentor-type way, without it being a situation of “welp, ASD = emotionally stunted, so character only hangs out with young child.” But those tropes aren’t enough.

We DON’T innocently extrapolate situations outside our head (in front of others!), ESPECIALLY if it breaks a safety rule we were told, i.e., “well, my mom said I’m not supposed to say if I’m home alone...but you’re a friend, so...no, she’s not here.” Before you tell me otherwise, keep this point in mind - if we have the ability to be home alone, SAFELY taking care of ourselves...then we wouldn’t slip like that. NOPE. If we DID, it wouldn’t BE safe for us to be home by ourselves.

As well, if we REALLY care about an item, we don’t let it go missing (the ASD character doesn’t, but someone else uses said character’s autism to blame for “needing to go looking for the toys he left behind, then got ‘upset’ about,” - also inferring a “meltdown” - every time she needs to go to someone’s else’s house). **If something is related to one of our SpIns (special interests), we DON’T MISPLACE THOSE ITEMS HAPHAZARDLY!!** I’ve been that way since I was a kid. Ugh!!! You also see someone destroy one of his treasured items, just to be cruel. This shows us how important the items are to the character...so he WOULDN’T be forgetting them.

So, we see a mother using tropes of her son’s autism, to manipulate herself into certain important areas/situations, more than once. That, and the fact that the character with ASD is able to let someone know they were home alone when a crime occurred (thus making the person that lives with them a suspect), because of their completely unrealistic, verbalized musing of “the ASD thought process”...mix it all in with the total lack of character development, and you come to the final conclusion:

“This character is only here as a plot device. They’ve been given zero character development, and have been shown JUST enough to ESTABLISH THAT THEY ARE NEURODIVERSE, and then are thereafter ONLY in ways that FURTHER THE PLOT...in ways that would only occur BECAUSE the character is neurodiverse.”

So yeah. This is lazy writing of the worst degree, and I’m more than a little annoyed. I’m sick and tired of “DISABILITY AS PROP OR PLOT DEVICE” (whether that disability is a assumed or not), as well as disabled or neurodiverse characters ONLY being shown as tropes. This does a disservice to not only the ASD community, but to society as a whole; people will expect us to act a certain way, and not be understanding of those that are “higher functioning” - for lack of a better term - than those that are portrayed on television. As well, it’s part of the reason why females with autism are still VASTLY under-diagnosed (as they can have VASTLY different presentation). Not only do people get used to seeing a particular suite of “symptoms,” which they equate to ALL people on the spectrum...but those shown in media are almost NEVER female.

I’m not sure if the comic is set up this way as well, and it’s just poorly executed on TV...but I’m peeved AF😡 There is also the poor acting/treatment of the wheelchair-using, institutionalized character, & how her being non-verbal is ALSO used to further the plot (yikes, my hands are shot...but I’ll get out what I can, here).

I’ve worked with MANY non-verbal children (it was actually my specialty, before physical & mental health issues of my own)...and I’ve also had my OWN bouts of being non-verbal, due to trauma/illness. On BOTH sides, I have always found a way to communicate. Even when my Dad was on a ventilator and life support (mostly for breathing/kidney function, due to sepsis...we sadly lost him a few weeks later), I was able to communicate with him...because, with my background, I saw that he was able to respond with the wiggling of a toe, or squeezing of a hand.

So the use of a non-verbal character that “can’t tell her important secrets,” as another necessary part of the plot, is just MORE lazy, insulting, ableist scriptwriting. The character is NOT catatonic, and is aware of what’s going on all around them; so, by what you see in all interactions with her, it makes you wonder what’s happening to her when she doesn’t have visitors. Is she just rolled into a back room, or off to the side, where no one gives her ANY adaptive equipment?

Any research would show that one with speech issues can build sentences with an eye-gaze machine, or even eye-gaze itself, with symbols. I’d like to think that in real life, a CENTER for those that are disabled, of all places(!!!), would have at least ONE of those machines, or some other means of communication, available.

This is another point that is sad for society at large to view, as it makes people think that they “shouldn’t bother with” people that are non-verbal, as there’s “no way” to let them be part of communication, besides the method used in the show (which I have used as well, but you would think this poor character would be getting SOME type help/services/etc!) It was just CRINGEWORTHY AF...I’m SO sick of shows/movies where someone needs to address someone thrown in the back of an institution alone, to rot (off the top of my head, I remember this from “Dark” on Netflix, as well as on “Orphan Black,” amongst others).

So...yea. I just wanted to post this, for if anyone asks for a link, or anyone stumbles across this, and themselves saw these issues, and got upset. Trust me - it wasn’t just you. This is a comic that was supposedly quite successful...the television adaptation of this could’ve been MUCH better. If there were tropes of other marginalized groups in the comic, you can be SURE that those would be righted for TV. But the ableist train keeping chugging right along, as more people than EVER claim to be “woke”🙄 YIKES.

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tshepiso-reads-books · 4 years

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Prepare For a Rant | Lair of Dreams by Libba Bray

Started: February 10th, 2020

Finished: February 14th, 2020

I have a lot of thoughts about Lair of Dreams [Goodreads] and most of them are negative. It took me what felt like several lightyears to finish this book and the reading experience sapped the joy of reading out of me for a while. This is going to be a long one folks, so buckle in. Before we jump into things I’d like to warn that this is going to be a spoilerific review so heed my warning before you jump in.

Lair of Dreams takes place shortly after the events of the first book in this series The Diviners. The city is on the cusp of an all-out outbreak as more and more cases of Sleeping Sickness, a mysterious illness that causes the afflicted to fall asleep and never wake up again, are cropping up in Chinatown. While the gang goes on wildly different adventures in this book they all ultimately come together to solve the mystery of the sleeping sickness.

On Character

My biggest problem with this book is the characters. They’re selfish, self-centered, naïve and don’t understand that actions hurt others. This is most evident in Evie, but every character in the book has moments of this scattered throughout the novel. However, I feel uncomfortable throwing this fact as a criticism of the book because all of these characteristics are fundamental character traits of teenagers and I find it obtuse to criticize a young adult novel for accurately writing teenaged protagonists. But I can’t divorce this understanding from how absolutely infuriating I found so many moments in this book.

I will say just because our protagonists, and especially Evie, were annoying doesn’t mean they didn’t have depth. Libba Bray is a good writer and fully fleshed out every character in this book mellowing some of my frustrations with them. The perfect example of this is Sam Lloyd. The bad boy character archetype has been done to death in YA, but Sam stands apart from the crowd of tousled haired edge-lords by having a tragic backstory with legitimate weight to it. His search for his mother never felt like an afterthought or quirk. I genuinely felt his deep desire to find the truth and it made him well rounded. The same could be said about all the other characters in the story.

Evie was the only character I truly hated while reading this book. I understand the reason why Evie is the way she is and how her past influenced her bad behavior. But understanding that her PTSD and trauma are the cause of her actions was never enough to get me to sympathize with her. Every single character in this book has been through just as much if not more than she has and they never went as far as to abandon and betray their friends as consistently as Evie did. I could never get behind Evie, her selfishness went above and beyond teenaged immaturity and her inability to own up to her mistakes and change angered me.

Now on to Jericho Jones, my second least favorite character in this book. I genuinely liked Jericho in The Diviners, but his behavior in this book was appalling. I will admit he had the misfortune of falling into one of my least favorite tropes out there: “The Monster Inside Me“ [TV Tropes]. However, his particular brand of self-loathing went further than that. At the end of The Diviners Jericho was rejected by Evie causing a cycle of self-pity that verged on incel behavior. His constant monologuing about how “girls just don’t like guys him” was eye-roll inducing and his hurry to lash out at others because a girl he liked rejected him was gross. His actions depict a man who sees Evie as a prize rather than a human being.

Another problem I had with this book is how central protagonists from The Diviners were sidelined in the novel. It’s almost impossible in a reasonably sized book to follow eight different characters and give them all their due. The characters I feel most negatively effected by Bray’s shift in focus to new POVs were Memphis, Theta and Mabel. It would take over 500 more words to deep dive into my specific thoughts on each of their character arcs so in summation: these three were barely given anything to do and their character arcs didn’t move forward in any significant way. Mabel was given the harshest treatment of all because she had literally nothing to do in this book but pine after a guy who didn’t like her. No other character conflict she had from the previous book in this series was even mentioned or explored.

On Romance

Possibly my least favorite element in this book was its romantic subplot. So much page time was dedicated to it that it could reasonably be dubbed the main plot So here’s the rundown:

Mabel likes Jericho, but Jericho likes Evie.

Evie thinks she likes Jericho but doesn’t want to date him because of girl code.

Evie fake dates Sam and they both start catching feelings.

Jericho goes out with Mabel even though he knows that Mabel likes him and he still has feelings for Evie.

This is the kind of conflict I hate in books. This love triangle was so convoluted and contrived. It did nothing but make me hate Evie and Jericho, and I found none of the romantic tension exciting because the dynamics explored were built on a foundation of miscommunication and lies of omission.

On Representation

While I was pleasantly surprised by the anti-racism in The Diviners I was uncomfortable by the way some of the themes of diversity were explored in this book. In Lair of Dreams, we are introduced to Ling Chang a half Chinese girl with a recent case of infantile paralysis causing her to wear leg braces. She has a lot of self-hatred in regard to her disability. This trope while cliche wasn’t my problem, my problem was how this internal conflict is resolved. Another one of our protagonists, Henry, finds out about her disability and all her self loathing is resolved by him telling her she should love herself. This interaction is that it places Ling’s self-worth in the hands of an able-bodied person rather than focusing this her arc on self-acceptance. As an able-bodied person, I don’t want to cry ableism without shouting out actual disabled people’s voices on the matter so I would highly encourage you to seek out these voices. I’ve yet to encounter an ownvoices reviewer’s thought on Ling’s arc (believe me I looked) and this observation should in no way take away anything from disabled people who appreciated Bray’s writing.

There is so much that Bray does right when it comes to diversity and representation. I find her honest depictions of America’s ugly history timely and relevant and I admire her willingness to starkly show anti-semitism, homophobia, xenophobia, police brutality of the time. She clearly parallels America’s history with America’s present reminding you not so subtly that these toxic ideas still exist. I will warn readers that Bray graphically depicts racist imagery and I found the descriptive scenes of lynch mobs and the like very upsetting so be prepared for that.

One aspect of Bray’s depiction of American society I really liked was her pointed observation of the link between Evangelical Christianity and racism and xenophobia. I also liked how she depicted the ways people use American Exceptionalism (the idea that Americans are inherently superior to all others and that their position as a dominant world power is a God-given right rather than luck and historic subjugation) as a justification for bigotry and all detractors of this ideology is consistently labeled as anti-American by the people who benefit from bigotry.

On Everything Else

I will say Lair of Dreams was fairly well-plotted. Though the mystery element of this book very much felt like a subplot with the character conflicts taking center stage. While I didn’t find the sleeping sickness as outright terrifying as Naughty John in the first book Bray is good at building tension and suspense and the final climactic scene did get my heart racing. Bray’s ability to capture a creepy gothic atmosphere shines in this book and I loved her interlude chapters that showed brief snippets of our characters and the city itself.

Stars 🌟🌟🌟

I don’t know where I stand with this series. I found so much of the reading experience frustrating, but I am still invested in so many of the characters in the series and I would like to see how the final mystery unfolds. We’ll see if I continue on with the series because right now I don’t know.

#So... I had feelings #Libba Bray #The Diviners #Lair of Dreams #long post #remember when I reviewed the DIviners and I said Jericho was my favourite #things change

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reading-while-queer · 7 years

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Proxy, Alex London

Rating: Great Read/Mixed Review Genre: Science Fiction Representation: -Gay main character -Bi? supporting character -Main character is POC (unspecified) Note: This book does not contain any sexual content Trigger Warnings: Blood, death, suicide, homophobia, outing without consent, graphic torture, torture of children, recreational drug use, antisemitism, ableism (more details in review)

Proxy is a vision of Detroit in the far future. Most of the United States is toxic wasteland or desert. Detroit is the only place left, but capitalism has run its course and transformed society into a culture of extreme debt and extreme wealth. The poor are born with debt, while the ultra-wealthy buy that debt in order to execute complete control over the indebted. One such indebted person is the main character, Syd. His debt was purchased so that he would serve as the whipping boy (or, according to the book’s terminology, a “proxy”) for another child the same age. When this wealthy child breaks the rules, Syd is punished for it with torture or hard labor, which the wealthy child is forced to watch as their punishment.

Syd’s story begins when his patron, Knox, accidentally kills a girl. The punishment to Syd is so great that Syd decides it is worth it to try to escape, even though the world outside of the city is treacherous and unknown. Syd and Knox work together through their baggage as victims of a crooked system as they search for the “Rebooters,” a group of revolutionaries who want to bring about the Jubilee, the erasure of all debts.

I was captivated by London’s world. The descriptions of poverty and extreme wealth were familiar, yet well adapted to a world with new technology. Medicine, cars, drugs, school—London gives every area of life his consideration, and the world he presents is believable. His point isn’t that humanity has gone too far with new, scary technology—the problem isn’t self-driving cars or “patches” that can cure any disease. The problem is who is in control of how data is collected and used: technology serves the purposes of the ultra-wealthy by tracking people who skip out on their debts. Every person is injected at birth with bio-programming that makes them trackable. Web browsing data is collected as well, which is a familiar issue today. London takes targeted advertising just one step further: in Proxy, smart billboards communicate with people’s networked devices and change their ads accordingly. I found this vision of technology and its dangers to be completely riveting and actually scary. Unlike many science fiction stories about the dangers of advanced technology, London focuses on the systemic issues. His approach is new and reflects real concerns.

As for the plot, I was kept engaged in this novel. It’s a fast read; Syd and Knox are knocked from the frying pan into the fire quickly. There is no room to be bored while Syd and Knox are being pursued, fighting for their lives, and sneaking around in a world designed around surveillance. Proxy is a page-turner full of suspense. While this made it thrilling to read, I do think that Proxy is a little too action-oriented. It feels as if London doesn’t trust the reader to stay interested in his characters unless they are in imminent danger. There is little time, what with all the fighting for their lives, for the characters to build relationships with one another, and as a result, their intimacy by the end of the book doesn’t quite seem earned. Proxy would have benefited from slowing down the pace and really dwelling in Syd and Knox’s down time when they have it. Because of the lack of time spent on their relationship, I was somewhat let down by the ending, which relies on Syd and Knox having a strong bond. I just didn’t get to see that bond being developed.

On the whole, Proxy is an original, engaging story. I was also impressed by how London handled the Rebooters. The Rebooters’ beliefs originate in Jewish history, and I wish London had explored the Jewishness of the Jubilee and the Rebooters even further. It was a well executed concept that happily was not divorced from its religious roots. I cannot go into more detail without spoiling the plot, but I would be interested in hearing what others have to say about the spiritual angle of the Jubilee, especially considering the role tattoos play in the novel.

There were areas where Proxy was lacking, however. I wanted a little more information about the race and gender politics of the world. Classism is London’s focus, and Syd is very thoughtful about the workings of class. He understands that the cards are stacked against him, and others like him, from birth. He understands injustice. But as a person of color, we don’t really see how race exists, if it exists at all, in Proxy. Syd’s skin is dark and his hair curly; his adopted father Mr. Baram claims Syd is, like him, from the Middle East. It is not clear in context, however, whether Mr. Baram means that Syd has a spiritual quality that Mr. Baram recognizes as “old world,” or whether Mr. Baram means that Syd is literally Jewish and Middle Eastern. Racial/ethnic difference seems to be recognized: Mr. Baram is disparagingly called a Jew by other characters. Yet Syd doesn’t consider himself in a context of race. He was an orphan and doesn’t know his parentage, but presumably the city would assign him a race, and presumably he would consider himself in reaction to how he is perceived by others. London leaves a lot of questions.

Gender and sexuality also could have been explored more deeply. We know that being gay (or “Chapter 11” in the book’s terms) is looked down on, and we are given to assume that homophobia exists more or less as it does in our world. Yet we don’t see much of Syd’s perspective on his experiences. I will say that this is probably a blessing. If Syd’s world is just like ours re: homophobia, we can connect the dots. Gender is another question, however. Almost all of the characters are men, and the only female main character is the emotional bleeding heart of the team, a “Causegirl” who believes in the Jubilee. The team dynamic was boring and even frustrating as the male characters mostly just degraded her for being a privileged activist—their own worldviews being more cynical and self-centered. Outside of being a “Causegirl” we know nothing about her. She lacks personality where Knox and Syd are both developed and rounded characters. This lack of attention to the “Causegirl” friend is representative of the lack of attention played to gender in the book as a whole. How does sexism work in this world? How has gender changed with medical technology that can do just about anything? What are beauty standards like? Reproductive health? What does a nuclear family look like now? What about transgender people? Where do they fit in when there is no real way to start fresh in Proxy? While I don’t expect a book predominantly about class to stop the presses and explain every detail of gendered existence, I did feel that Proxy was unfair to its female characters.

Above all else, though, I was disappointed that the characters’ vision of the “Jubilee” explicitly excluded disabled people. Without giving too much away, the main characters recognize that erasing all debts will have the side consequence of denying life-saving care to unknown numbers of disabled residents of the city. Syd and Knox bring this up in protest—perhaps the only time I’ve ever seen disability given the time of day in a science fiction narrative—only to finally acquiesce that the disabled must be sacrificed for the greater good. This eugenic attitude comes out of nowhere at the end of the book. London engages with an important and often forgotten concern about anarchy movements only to turn and use his characters as mouthpieces to dismiss disabled people as necessary sacrifices.

I would say Proxy treads the line between good and mediocre. While it was fun to read, there were areas where I was disappointed, and for some readers, that disappointment might outweigh the fast-paced and suspenseful plot. What I liked most was the well actualized science fiction setting, but whether or not you like this book will depend on what you want out of it and what you are willing to tolerate.

For more from Alex London, visit his website here.

#alex london #proxy #gay #protagonist of color #science fiction #great read #mediocre #reviews only #ya only #mixed review

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