black licorice isn’t a candy it’s a punishment
Saw the post about you being Twilight and, I don’t know, I thought you may like want to see pink pony being pink pony, and mountain dew.
Deihiru, this is one of the nicest surprises I’ve gotten in quite some time. Thank you very much for drawing this, and thank you for cheering me up. <3
*whines and tries to reach into the screen to grab her*
They have an extra hand holding the mask? How does this keep getting better and better?
My sounds were sounds that were not human sounds.
I wanted my first-year film students to understand what happens to a story when actual human beings inhabit your characters, and the way they can inspire storytelling. And I wanted to teach them how to look at headshots and what you might be able to tell from a headshot. So for the past few years I’ve done a small experiment with them.
It works like this: I bring in my giant file of head shots, which include actors of all races, sizes, shapes, ages, and experience levels. Each student picks a head shot from the stack and gets a few minutes to sit with the person’s face and then make up a little story about them.
Namely, for white men, they have no trouble coming up with an entire history, job, role, genre, time, place, and costume. They will often identify him without prompting as “the main character.” The only exception? “He would play the gay guy.” For white women, they mostly do not come up with a job (even though it was specifically asked for), and they will identify her by her relationships. “She would play the mom/wife/love interest/best friend.” I’ve heard “She would play the slut” or “She would play the hot girl.” A lot more than once.
For nonwhite men, it can be equally depressing. “He’s in a buddy cop movie, but he’s not the main guy, he’s the partner.” “He’d play a terrorist.” “He’d play a drug dealer.” “A thug.” “A hustler.” “Homeless guy.” One Asian actor was promoted to “villain.”
For nonwhite women (grab onto something sturdy, like a big glass of strong liquor), sometimes they are “lucky” enough to be classified as the girlfriend/love interest/mom, but I have also heard things like “Well, she’d be in a romantic comedy, but as the friend, you know?” “Maid.” “Prostitute.” “Drug addict.”
I should point out that the responses are similar whether the group is all or mostly-white or extremely racially mixed, and all the groups I’ve tried this with have been about equally balanced between men and women, though individual responses vary. Women do a little better with women, and people of color do a little better with people of color, but female students sometimes forget to come up with a job for female actors and black male students sometimes tell the class that their black male actor wouldn’t be the main guy.
Once the students have made their pitches, we interrogate their opinions. “You seem really sure that he’s not the main character – why? What made you automatically say that?” “You said she was a mom. Was she born a mom, or did she maybe do something else with her life before her magic womb opened up and gave her an identity? Who is she as a person?” In the case of the “thug“, it turns out that the student was just reading off his film resume. This brilliant African American actor who regularly brings houses down doing Shakespeare on the stage and more than once made me weep at the beauty and subtlety of his performances, had a list of film credits that just said “Thug #4.” “Gang member.” “Muscle.” Because that’s the film work he can get. Because it puts food on his table.
So, the first time I did this exercise, I didn’t know that it would turn into a lesson on racism, sexism, and every other kind of -ism. I thought it was just about casting. But now I know that casting is never just about casting, and this day is a real teachable opportunity. Because if we do this right, we get to the really awkward silence, where the (now mortified) students try to sink into their chairs. Because, hey, most of them are proud Obama voters! They have been raised by feminist moms! They don’t want to be or see themselves as being racist or sexist. But their own racism and sexism is running amok in the room, and it’s awkward.
This for every time someone criticizes how characters of color and female characters of color especially are treated in text and by subsequent fandoms. It’s never “just a television/movie/book”. It’s never been ”just”.
… I’m just going to asume Sailor Moon has this powerful influence in people’s minds that prevents us from simultaneously not making associations with it at the most random times.
That is a very clever theory and I’ll agree to it.
But srsly, the thing about Sailor Moon is that the FANDOM as well as the source material are so character-driven and I’m just here like “YES, YES, OF COURSE, THIS IS ALL VERY INTERESTING, CAN WE GO BACK TO HOW SAILOR MOON BECAME NEO QUEEN SERENITY? ARE YOU GUYS EVER GOING TO EXPLAIN THAT?”
I mean, Chibi-Usa being Usagi’s daughter was the plot-twist of the century for my tiny mind. I felt so clever for having suspected it beforehand. So really what I loved about it (aside from the ultra-cute transformation sequences and pretty music) was the whole TIME TRAVEL! PLOT! MYSTERIES! vibe, except that’s not the focus of the series at all. Siiigh.
Can’t know about the anime because my attention span gets all moody when I watch a series for the first time, so I haven’t gotten very far in it (still trapped in episode 33).
As for the manga, my reactions went to all sort of places. From “YOU JUST GOT A SECOND SET OF MEMORIES, WHY ISN’T THAT FREAKING YOU OUT EVEN A LITTLE?” and “I don’t feel your friendship, guys. There wasn’t that much build-up for it”. To, “how did queen serenity get the sylver chrystal? how come the senshi were there before serenity was born but didn’t look older than 8? did queen serenity stole babies from different planets (or used her power to make the rulers of the other planets give the baby-senshi “voluntarily”)?” WHY AREN’T YOU EXAPLAINING THIS, MANGA?!
Oh, and NQS. How did that happen? What kind of ruler is she? to which extent have the previous life memories changed her and the senshi? Does she only rule over Tokyo or that’s just the “central base”? How does the time-travel thing work? does it follow that theory that the possible changes that happen in a period of time cannot affect the future but rather create a different one?
I want to know the answer to those questions.
YES YOU MAY.
[I am assuming that you are talking about the Purbeck brothers. And if you are not, sad times, that’s what you’re getting.]
Also, this exploded into A Thing. So this is the first unified chunk of it, and it’s possible this will be expanded into a bonus volume of TLIA.
Trigger warnings: violence, murder, rape. There’s not detail to any of it but you will know it’s happening.
Julian is the youngest and has dreams of being a knight. A real, proper knight, the kind who goes on quests and rescues fair maidens and has squires and pages and horses. Proud warhorses, not the tired old nag who’s older than dirt and maybe even older than Papa. He listens with rapt attention to the Storyteller’s tales of honor and chivalry and glorious battle and he dreams and dreams and dreams.
Andre is the middle son and the older son. He is practical and observant and over-emotional and quiet. He follows in their father’s footsteps with pride, takes his role in the workshop seriously. Of all the apprentices Papa has tried and rejected, Andre takes the most care with the lasts, attends to every detail of waxing thread and softening leather. Every time his father looks at him from across a stretch of wood and leather with a proud smile, he feels himself grow taller.
Claude is their half brother; his mother died in the Four Years Plague. Mama says he’s her son, same as Andre and Julian. People don’t believe her because he is fair like his father and Mama is dark like the richest of dyes. Sometimes he doesn’t believe her, like on mornings when she sends him for water from the well and it is snowing or raining and cold and they all know damn well he’s grown out of his coat. But then at the end of the week, when all of his resentment has gathered up in a tiny cylindrical core in his ribs, Mama gives Andre his coat and gives Julian Andre’s coat and gives Claude a brand new, double-lined wool coat that she’d worked on in secret for a month. Andre is jealous and Julian whines about proper knight’s gear but Claude burrows into the wool—dyed grey in ash but still soft soft soft—and smiles.
For years afterwards, Julian thinks he ruined their lives.
OMG! Can’t believe I missed this.