People go like “you can’t force diversity” as if the racial hegemony and absolute heterosexuality in media happened naturally and wasn’t carefully constructed and heavily forced by a white supremacist agenda and society’s obsession with hetero normativity
hey-ho!! so me and some friends decided to act on a year old joke of a highschool au dating sim. you heard that right. but the thing is that we have A LOT of character sprites needed and there are only 4 of us so!! we would like to extend out to people within the fandom who would like to help!! no matter what level of art you can sign up to help it would be so so appreciated.
to b a part of this possible mess, just shoot me an ask w the character you’d like to sprite and i can give you some more details on how it should go appearance wise (tho tbh it is mostly up to you, you just need the basic gist).
anyway, the list of characters and who already is taken is below:
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.
if i had to write a ten commandments for writing disabled characters they would probably be:
don’t reduce them solely to their disability, but also don’t act like their disability is separate from who they are (if you have multiple disabled characters though, it’s fine for them to feel like this is true for them personally). develop them as a person with likes, dislikes, etc.
don’t use them to ‘inspire’ people because they’re disabled and are able to ‘overcome’ it.
don’t cure their disability in the story. please, please, please.
don’t pull a JK Rowling. explicitly state that they are disabled within the story proper. otherwise it’s not really representation at all.
don’t rely heavily on things that people who are not part of the group have written about disabled people, if possible. if you do, you may end up regurgitating some really gross ideas. (avoid Autism Speaks resources like the plague.)
don’t have other characters describe the character as ‘trapped in their own body/world’ or better off dead, unless you will have someone else confront that character about what they said.
don’t act like the only obstacles they face are from their disability. show how the social and legal stigmas against disability affects their lives too.
So now that the Strex arc is completed and I’ve had some time to chew on it a bit, I wanted to try and look back over it as a whole and give some more collective thoughts on what it did and how well it did/didn’t do it. There were obviously a lot of things I enjoyed in the arc; anyone who follows me here will have noticed that. But I mean, all the fannish shrieking aside, it’s taken me a while to put my actual thoughts together.
The Strex arc was a pretty ambitious thing. Up until that, WTNV was almost completely episodic. Even after it started with Yellow Helicopters, it remained pretty episodic for a while- remember when people got frustrated it didn’t pick back up on that thread for a while? I really respect the guts that went into making such a big shakeup and all the stuff the writers tried out over the course of the arc. Kudos to them.
Both my enjoyment and that fact aside, though, I’ve found that I actually do have some big problems with how the Strex arc works as a unified whole.
Does anybody know of a good web resource for Native American mythology?
"Native American" is an incredibly wide umbrella. Brazil alone could swallow Europe whole, and even the United States alone is one and a half times the area we usually fill with Norse and Greek and Celtic myths, so of course there’s a lot of variation.
Here’s some stuff on Inuit and Navajo mythology, not to mention Hawaiian. Here’s an introduction to the culture of the Ojibwe, and oddly enough the Wikipedia page of Anishinaabe traditional beliefs is a surprisingly good starting point for more research. Here is an introduction to Aztec myth, here is the Popol Vuh of the Maya, and here’s an overview of Incan mythology. I don’t know how you’re defining Native American so I’ll stop there, but feel free to ask if you want to know more (I couldn’t find my resources on the SECC, but they’re a fascinating subject: did you know that what is now Florida and its surroundings had a cultural and mythological complex rivaling the Aztecs in size and intricacy? Now you do).
i know op is looking for web sources, but if you can possibly get to a library then john bierhorst’s trilogy (Mythology of North America, Mythology of South America, Mythology of Mexico and Central America) breaks the continents down into mythogroups that are more comparable to the norse/greek/celtic/etc and can give a) a good primer of things to look for with b) a better awareness of exactly how large the americas are and how varied the cultures are.
it’s not perfect, because it is by necessity a bit vague and because it is a white dude writing from other people’s writings, but he’s used primary sources as much as possible and he is head-and-shoulders above most sources i’ve found in terms of his respect for the peoples and the subject matter, so.