white people’s reactions to that post criticising Lucy makes me so fucking angry. More than that, it makes me trust them a little bit less.
fuck that whole “yes it’s problematic but I’m still excited!” because it is so much bullshit. Yeah, who cares about POC getting slaughtered and the violent linguistic imperialism BECAUSE ~STRONG WHITE FEMALE CHARACTER~. Apparently, POC’s deaths are less rage-inducing and less meaningful to white allies if a white woman is killing them instead of a white man.
To us, it’s still same white violence we see impeached everyday.
A white woman literally shoots a man in the head for not speaking English. Never mind the danger and oppression non-native English speakers face in the West, this took place in his home country. White expats are given so much fucking priority in Taiwan and China, with the way they’re catered to and coddled.
The kind of neo-imperialistic violence that this film is couching as ~female empowerment~ is really, really fucking harmful. White people have privilege in non-Western countries as well (the shit I’ve seen expats and exchange students get away with in China is astounding), to the extent that we aren’t even safe from harm in our own countries; this film not only ignores it, it glorifies it.
don’t you ever fucking forget that, because we can’t.
Part of having privilege means being able to watch and enjoy media that is harmful to marginalised minorities and still be critical of it, but when this dehumanisation is shoved in our faces, white people need to remember that this is so, so personal.
I’m making a 12-page short fantasy comic starring queer ladies and trans characters, no magic, no prophecies, probably no other species unless there is a demand for it, plot already sort of decided. Any of my wonderful followers, or other people, got anything specific they want to see from such a story?
2. What’s better: a movie adapted into a TV series or a TV series turned movie? Definitely the former. I’m on a TV buzz the last while and I like the medium for its ability to tackle difficult subjects with nuance while still divided into easily digestible chunks. Plus, film is not doing great at the moment.
3. How much do you love yourself? A lot. I’m self critical and my anxiety issues are generally focused inward as much as not, which can make it difficult, but I look after and love myself regardless because I’ve come too far and lived through too much not to.
4. What fictional character best fits your personality? Adora Belle Dearheart from Discworld (cynical, trust issues, slightly man-hating, well dressed, kinky, dominating, wears heels and is clever), Mr. Darcy from Pride and Prejudice (starts out proud, rude, spoilt, clueless, shy and self absorbed, works hard with the aid of his true love to learn social skills, humility and openness and succeeds at least partially) and Jane Eyre from Jane Eyre (incredibly romantic but moral, hard working and ambitious, combines an awareness of her own insignificance bordering on self hate with a resolve as tough as steel, painfully perceptive of the flaws of her loved ones)
5. If you have watched Sailor Moon who’s your favorite character? Probably Usagi to be honest, because she has the most character development and she’s very relatable. I like her relationship with Mamoru, especially in the manga. They’re a sweet couple.
6. Is it “couldn’t care less” or “could care less”? It’s “couldn’t”. If you “could”, you do care at least a little bit.
7. What was one thing you regret doing? I don’t have one big thing I regret, I don’t think. I only regret being careless and ignorant towards other people.
8. On a scale of 1-10, how cool do you think you are? I have an embarrassingly high and badly hidden opinion of myself in that regard and being aware of it has done nothing to stop it. U_U
9. Coke or Pepsi? Can’t stand sodas! Other than Red Bull which deserves some sort of shrine.
10. Paper or plastic? Paper? You can draw on it and it’s better for the environment.
11. Random Fact? The other day, I forgot what a name is. I was wondering why there was no way to get the attention of one specific individual short of describing them out loud.
tag 5 people to answer these q’s: Leni, stardust-rain, jessidork, barefeetarecheating, bornbymidnight
The Comics Workshop: As I become more accustomed to the workflow of planning an illustration (research sketching/idea generation, then thumbnails for composition, then value comps and color comps, etc), I realize that I don’t know how to do the same with writing. I know everyone probably has a distinct process, but is there like a “general good way to structure the work” process out there that I just haven’t heard of before?
My Sjögren Blücher (sixteentons): For comix?
TCW: I guess so, yes. Comics is how I want to apply writing. In the sense of “where do I even begin building this whole freaking world then choosing the moments, beats, dialogue exchanges, motifs, etc.” I have done it, but only in a really scattered, unorganized way. If there is some organizational method (or several) out there, I would love to know, haha.
MSB: Well, when I write it’s usually very time effective. I have a few tricks for that, but I developed them myself and don’t know how good they work for anyone else. It seems to be very similar to how my colleagues work.
TCW: That’s wonderful. I would love to learn about your process either way, if only as a starting idea of something that may or may not work for me.
MSB: Well I can tell you if you like!
TCW: I would love that!
MSB: I start out with a synopsis of one sentence, then I write basically everything that happens, keeping it free of dialogue and details unless the details are important (such as Chekov’s guns, etc) to see if the structure works.
MSB: It doesn’t need to be emotional, just “and then this happens, and then this happens,” then I write what every scene consists of under two headings that I call POINT and PLOT.
MSB: So for instance: Scene number three. POINT: “to show how insecure the protag is, to establish protag’s main source of income.” PLOT: “protag picks on one of their workers in such and such way.” This is to remember the emotional core of a scene but keep it separate from dialogues and actions. It helps me stay on track, but also helps me to not make things too obvious or preachy.
MSB: Then I show these things to someone to get feedback on the structure, which is nice to get before writing anything more. Then I write the actual scenes without thinking about quality AT ALL. I always put in little jokes and snarks for myself while I do this to remind myself not to take this stage seriously because it’s usually the stage when people cramp up!
MSB: When the whole first draft of the chapter/scene/comic is done, I usually leave it for a week and come back to write a better draft when it’s had time to brew on its own. Then it’s another round of feedback, rewrites, and calming down time, and then hopefully it’s all done.
MSB: The structure seems very similar to how the pros I know work - they’ve actually given me advice that happened to be what I do already, so it must be at least a little bit sound.
MSB: It’s very methodical, which I like, and makes the whole process a bit mechanical. That means it’s going to move forward independent of inspiration or self doubt.
MSB: But I always break away from it when I do get a flash of inspiration about dialogue or mood. The things I write during those flashes are usually SO pretentious and extravagant, though, so I don’t care much for inspiration, haha.
TCW: Could you back up a bit and go more in depth regarding the “just write down what happens” part? That’s the part that I find the most strenuous. How do you begin deciding what happens, out of all the things that could possibly happen, ever? Is there a sub-process you’ve found that works for that?
MSB: Well that stage, when I work, has 1st and probably 7th drafts, too, if it’s a long story. My long comic has been in development plot-wise for over a year, and the first draft of the plot was a mess. I just make sure to put everything in there and to really get deep into what the moral and emotional core of the comic is to make sure that all characters have their own interpretation of the same conundrum.
MSB: In my comic, the core is empathy and the “problem” is family. Family is what all the characters want but go to different extremes and interpretations of to get. So I build the drama, however extravagant or unrealistic, around something which is incredibly basic because with that in mind, a lot of the plot writes itself.
MSB: There can only be so many outcomes that make sense within the point I want to make, outcomes that won’t violate the reasons for telling the story.
TCW: I usually get “stuck” when I’m writing what happens up until a certain point and then am unsure about what should happen next. Do you think it helps to get away from trying to choose the exact right thing that should happen the first time around, and just HAVE SOMETHING HAPPEN and change that thing in version 2 or 3 or 10 of the summary of it’s just not working? Also, to be sure I’m understanding, what you just said is that narrowing down the goal of the story into a message or theme, etc, helps narrow down the options to only events that would send that message?
MSB: Well, most people say to start with the ending for a reason, but I think as long as you’re writing things in general you’re doing something very right and staying loose, which is the main part.
MSB: Having a simple emotional “point” DOES also help in making the writing more streamlined, for sure. It means there’s only so many ways the plot can twist and turn.
MSB: It depends a lot on the story you’re telling how neat things have to be, but stories are so much in every fiber of our being that as long as we keep writing and keep being open, they will generally lead us into SOME sort of useful track.
MSB: I usually have massive seshes with my IRL comic buds where we just come up with as many things as possible. It’s much easier to tidy out bad things later than to make things right from the start. Making things right from the start is impossible, and just like when thumbnailing an illustration, it doesn’t pay to be satisfied with the first option.
MSB: Regarding emotional core: this is not just a tool for tidiness, it’s actually the no.1 most important thing to do.
MSB: ESPECIALLY when writing extravagant things, “out there” things. I mean I love escapism, the more the merrier, but the stories that work for me always have a very clear and rather simple emotional core or problem. Usually it’s a problem I love to see solved over and over because it’s something I’m insecure about. It’s like BDSM in that way!
TCW: Wow! That all makes a ton of sense, thank you! Do you mind if I quote you on Tumblr for thecomicsworkshop?
MSB: No, I would be honored!!!!
TCW is me. My is incredible, and I’m so lucky to have her as a friend and colleague!
BLUSHING FOREVER okay I will actually read it now U_U
What (moment, character, AU etc) from Engelsforstrilogin would you most like to see as fan art?
Oooh good question! I love seeing action sequences being made into pictures, so I would probably choose - MAJOR SPOILER WARNING FOR THE KEY - Vanessa and Olivia falling out the window, or Anna-Karin shoving Alexander across the field by the motorway. Also, I’d love to see some fan art of Viktor and/or Felix.
“I am simply, in my original state … a cold, hard, ambitious man. Natural affection only, of all the sentiments, has permanent power over me.
Reason, and not feeling, is my guide; my ambition is unlimited: my desire to rise higher, to do more than others, insatiable.
I honour endurance, perseverance, industry, talent; because these are the means by which men achieve great ends and mount to lofty eminence.”—St. John, Jane Eyre by Charlotte Brontë
Next week school is back on, my wife is coming back from Dublin, I’m both starting and hopefully finishing a new comix starring Jolene in her reply to the classic Dolly Parton song, I’m going to try to make some money, start starting my own company, update my webcomic and see my friends again. Work is great, holidays have been great but they’re over and that’s greater still!
I feel like a parrot. But it’s true, my macbook was stolen from my school while I was on my lunch break. I have no idea yet what this might mean for my mental health, for my work and for my economy, I just hope they wipe it clean, try to sell it on even though it’s faulty so that I don’t have to deal with stalking and threats again. I’m going to probably have to put my webcomic on hold for a while and not do any of whatever else I said I’d do. I’ll probably also go on an unfollow binge and cut out everything that might trigger me - I can’t get tumblr savior to work, but I’ll remember all my favorite blogs when I’m in my happy place again. All I want right now is to eat chocolates in a great big room where the world is a different place.
Ahh I finally found someone who read Monstrous Regiment! People keep telling me it's boring. :( Anyway your blog is cool and comics are definitely cool, I'll check it out soon (after school stops being so crazy) :):)
Thank you! ^^ I think Monstrous Regiment is very good in some respects, esp. for its inclusion of queer and trans* characters! I don’t know how good a job Pterry does of the language and of understanding these issues himself, but I’m glad the characters are there in my favorite book series all the same. It’s actually been my dream for a while to turn the book into a comic, I’ll have to make a proposal and see what the man says :D !