Spider-Man India, but... where from India?
A SUPER long post featuring talks of: cultural identity, characterisation, the caste system, and what makes Spider-Man Spider-Man.
I’m prefacing this by saying that I am a second-generation immigrant. I was born in Australia, but my cultural background is from South India. My experiences with what it means to be “Indian” is going to be very different from the experiences of those who are born and brought up in India.
If you, reader, want to add anything, please reblog and add your thoughts. This is meant to be a post open for discussion — the more interaction we get, the better we become aware of these nuances.
So I made this poll asking folks to pick a region of India where I would draw Pavitr Prabhakar in their cultural wear. This idea had been on my mind for a long while now, as I had been inspired by Annie Hazarika’s Northeastern Spidey artwork in the wake of ATSV’s release, but never got the time to actually do it until now. I wanted to get a little interactive and made the poll so I could have people choose which of the different regions — North, Northeast, Central, East, West, South — to do first.
The outcome was not what I expected. As you can see, out of 83 votes:
THE RESULTS
South India takes up almost half of all votes (44.6%), followed by Northeast and Central (both 14.5%) and then East (13.3%). In all my life growing up, support towards or even just the awareness of South India was pretty low. Despite this being a very contained poll, why would nearly half of all voters pick South India in favour of other popular choices like Central or North India?
Then I thought about the layout of the poll: Title, Options, Context.
Title: "Tell us who you want to see…"
Options: North, Northeast, Central, East, West, South
Context: I want to make art of the boy again
At first I thought: ah geez. this is my fault. I didn't make the poll clear enough. do they think I want them to figure out where Pavitr came from? That's not what I wanted, maybe I should have added the context before the options.
Then I thought: ah geez. is it my fault for people not reading the entire damn thing before clicking a button? That's pretty stupid.
But regardless, the thought did prompt a line of thinking I know many of us desi folk have been considering since Spider-Man India was first conceived — or, at least, since the announcement that he was going to appear in ATSV. Hell, even I thought of it:
Where did Spider-Man India come from?
FROM A CULTURALLY DIVERSE INDIA
As we know, India is so culturally diverse, and no doubt ATSV creators had to take that into account. Because the ORIGINAL Spider-Man India came from Mumbai — most likely because Mumbai and Manhattan both started with the same letter.
But going beyond that, it’s also because Mumbai is one of the most recognisable cities in India - it’s also known as Bombay. It’s where Bollywood films are shot. It’s where superstar Hindi actors and actresses show up. Mumbai is synonymous with India in that regard, because the easiest way Western countries can interact with Indian culture is through BOLLYWOOD, through HINDI FILMS, through MUMBAI. Suddenly, India is Mumbai, India is a Hindi-only country, India is just this isolated thing we see through an infinitely narrow lens.
We’ve gotten a little better in recent years, but boy I will tell you how uncomfortable I’ve gotten when people (yes, even desi people) come up to me and tell me, Oh, you’re Indian right? Can you speak Hindi? Why don’t you speak Hindi? You’re not Indian if you don’t speak Hindi, that’s India’s national language!
I have been — still am — so afraid of telling people that I don’t speak Hindi, that I’m Tamil, that I don’t care that Hindi is India’s “national” language (it’s an administrative language, Kavin, get your fucking facts right). It’s weird, it’s isolating, and it has made me feel like I wasn’t “Indian” enough to be accepted into the group of “Indian” people.
So I am thankful that ATSV went out of their way to integrate as much variety of Indian culture into the Mumbattan sequence. Maybe that way, the younger generation of desi folk won’t feel so isolated, and that younger Western people will be more open to learning about all these cultural differences within such a vast country.
BUT WHAT DOES THIS HAVE TO DO WITH SPIDER-MAN INDIA?
Everything, actually. There’s a thing called supremacy. You might have heard of it. We all engaged with it at some point, and if you are Indian, no matter where you live, it is inescapable.
It happens the moment you are born — who your family is, where you are born, the language you speak, the colour of your skin; these will be bound to you for life, and it is nigh impossible to break down the stereotypes associated with them.
Certain ethnic groups will be more favourable than others (Centrals, and thus their cultures, will always be favoured over than Souths, as an example) and the same can be said for social groups (Brahmins are more likely to secure influential roles in politics or other areas like priesthood, while the lowers castes, especially Dalits, aren’t even given the decency of respect). Don’t even get me started on colourism, where obviously those of fairer skin will win the lottery while those of darker skin aren’t given the time of day. It’s even worse when morality ties into it — “lighter skinned Indians, like Brahmins, embody good qualities like justice and wisdom”, “dark skinned Indians are cunning and poor, they are untrustworthy”. It’s fucking nuts.
This means, of course, you have a billion people trying to make themselves heard in a system that tries to crush everyone who is not privileged. It only makes sense that people want to elevate themselves and break free from a society that refuses to acknowledge them. These frustrations manifest outwardly, like in protests, but other times — most times — it goes unheard, quietly shaping your way of life, your way of thinking. It becomes a fundamental part of you, and it can go unacknowledged for generations.
So when you have a character like Pavitr Prabhakar enter the scene, people immediately latch onto him and start asking questions many Western audiences don’t even consider. Who is he? What food does he eat? What does he do on Fridays? What’s his family like, his community? All these questions pop up, because, amidst all this turmoil going on in the background, you want a mainstream popular character to be like you, who knows your way of life so intimately, that he may as well be a part of your community.
BUT THAT'S THE THING — HE'S FICTIONAL
I am guilty of this. In fact, I’ve flaunted in numerous posts how I think he’s the perfect Tamil boy, how he dances bharatanatyam, how he does all these Tamil things that no one will understand except myself. All these niche things that only I, and maybe a few others, will understand.
I’ve seen other people do it, too. I’ve seen people geek out over his dark brown skin, his kalari dhoti, how he fights so effortlessly in the kalaripayattu martial arts style. I’ve seen people write him as Malayali, as Hindi, as every kind of Indian person imaginable.
I’ve also seen him be written where he’s subjected to typical Indian and broader Asian stereotypes. You know the ones I’m so fond of calling out. The thing is, I’ve seen so much of Pavitr being presented in so many different ways, and I worry how the rest of the desi folk will take it.
You finally have a character who could be you, but now he’s someone else’s plaything. Your entire life is shaped by what you can and can’t do simply because you were born to an Indian family, and here’s the one person who could represent you now at the mercy of someone else’s whims. He’s off living a life that is so distant from yours, you can hardly recognise him.
It shouldn’t hurt as much as it does, yeah? But, again, you’re looking at it from that infinitely narrow lens Westerners use to look at India from Bollywood.
AND PAVITR PRABHAKAR DOESN'T LIVE IN INDIA
He lives in Mumbattan. He lives in a made-up, fictional world that doesn’t follow the way of life of our world. He lives in a city where Mumbai and Manhattan got fucking squashed together. There are so many memes about colonialism right there. Mumbattan isn’t real! Spider-Man India isn’t real!! He’s just a dude!! The logic of our world doesn’t apply to him!!!
“But his surname originates from ______” okay but does that matter?
“But he’s wearing a kalari dhoti so surely he’s ______” okay but does that matter?
“But his skin colour is darker so he must be ______” okay but does that matter?
“But he lives in Mumbai so he must be ______” okay but does that matter?
I sound insensitive and brash and annoying and it looks like I’m yapping just for the sake of riling you up, so direct that little burst of anger you got there at me, and keep reading.
Listen. I’m going to ask you a question that I’ve asked myself a million times over. I want you to answer honestly. I want you to ask this question to yourself and answer honestly:
Are you trying to convince me on who Pavitr Prabhakar should be?
...
but why shouldn't i?
I’ll tell you this again — I did the same thing. You’re not at fault for this, but I want you to just...have a little think over. Just a little moment of self-reflection, to think about why you are so intent on boxing this guy.
It took me a while to reorganise my thinking and how to best approach a character like Pavitr, so I will give you all the time you need as well as a little springboard to focus your thoughts on.
SPIDER-MAN (INDIA) IS JUST A MASK
“What I like about the costume is that anybody reading Spider-Man in any part of the world can imagine that they themselves are under the costume. And that’s a good thing.”
Stan Lee said that. Remember how he was so intent on making sure that everybody got the idea that Spider-Man as an entity is fundamentally broken without Peter Parker there to put on the suit and save the day? That ultimately it was the person beneath the mask, no matter who they were, that mattered most?
Spider-Man India is no less different. You can argue with me that Peter Parker!Spidey is supposed to represent working class struggles in the face of leering corporate entities who endanger the regular folk like us, and so Pavitr Prabhakar should also function the same way. Pavitr should also be a working class guy of this specific social standing fighting people of this other social standing.
But that takes away the authenticity of Spider-Man India. Looking at him through the Peter Parker lens forces you to look at him through the Western lens, and it significantly lessens what you can do with the character — suddenly, it’s a fight to be heard, to be seen, to be recognised. It’s yelling over each other that Pavitr Prabhakar is this ethnicity, is that caste, this or that, this or that, this or that.
There’s a reason why he’s called Spider-Man India, infuriatingly vague as it is. And that’s the point — the vagueness of his identity fulfils Lee’s purpose for a character that could theoretically be embodied by anyone. If he had been called “Spider-Man Mumbai”, you cut out a majority of the population (and in capitalist terms, you cut out a good chunk of the market).
And in the case of Spider-Man India? Whew — you’ve got about a billion people imagining a billion different versions of him.
Whoever you are, whatever you see in Pavitr, that is what is personal to you, and there is nothing wrong with that, and I will not fault you for it. I will not fault you for saying Pavitr is from Central due to the origins of his last name. I also will not fault you for saying Pavitr is from South due to him practising kalaripayattu. I also will not fault you for saying he is not Hindu. I also will not fault you for saying he is a particular ethnicity without any proof.
What I will fault you for is trying to convince me and the others around you that Pavitr Prabhakar should be this particular ethnicity/have this cultural background because of some specific reason. I literally don’t care and it is fundamentally going against his character, going against the “anyone can wear the mask” sentiment of Spider-Man. By doing this, you are strengthening the walls that first divided us. You’re feeding the stratification and segmentation of our cultures — something that is actually not present in the fictional world of Mumbattan.
Like I said before: Mumbattan isn’t real, so the divides between ethnicities and cultural backgrounds are practically nonexistent. The best thing is that it is visually there for all to see. My favourite piece of evidence is this:
It’s a marquee for a cinema in the Mumbattan sequence, in the “Quick tour: this is where the traffic is” section. It has four titles; the first three are written in Hindi. The fourth title is written in Tamil. You go to Mumbai and you won’t see a single shred of Tamil there, much less any other South Indian language. Seeing this for the first time, you know what went through my head?
Wow, the numerous cultures of India are so intermingled here in Mumbattan! Everyone and everything is welcome!
I was happy, not just because of Tamil representation, but because of the fact that the plethora of Indian cultures are showcased coexisting in such a short sequence. This is India embracing all the little parts that make up its grander identity. This scene literally opened my eyes seeing such beauty in all the diverse cultures thriving together. In a place where language and cultural backgrounds blend so easily, each one complementing one another.
It is so easy to believe that, from this colourful palette of a setting, Pavitr Prabhakar truly is Spider-Man India, no matter where he comes from.
It’s easy to believe that Pavitr can come from any part of India, and I won’t call you out if the origin you have for him is different from the origin I have. You don’t need to stake out territory and stand your ground — you’re entitled to that opinion, and I respect it. In fact, I encourage it!!!
Because there’s only so much you can show in a ten minute segment of a film about a country that has such a vast history and even greater number of cultures. I want to see all of it — I want him to be a Malayali boy, a Hindi boy, a Bengali boy, a Telugu boy, an Urdu boy, whatever!! I want you to write him or draw him immersed in your culture, so that I can see the beauty of your background, the wonderful little things that make your culture unique and different from mine!
And, as many friends have said, it’s so common for Indian folks to be migrating around within our own country. A person with a Maharashtrian surname might end up living in Punjab, and no one really minds that. I’m actually from Karnataka, my family speaks Kannada, but somewhere down the line my ancestors moved to Tamil Nadu and settled down and lived very fulfilling lives. So I don’t actually have the “pure Tamil” upbringing, contrary to popular belief; I’ve gotten a mix of both Kannada and Tamil lifestyles, and it’s made my life that much richer.
So it’s common for people to “not” look like their surname, if that’s what you’re really afraid about. In fact, it just adds to that layer of nuance, that even despite these rigid identities between ethnicities we as Indian people still intermingle with one another, bringing slivers of our cultures to share with others. Pavitr could just as well have been born in one state and moved around the country, and he happens to live in Mumbattan now. It’s entirely possible and there’s nothing to disprove that.
We don’t need to clamber over one another declaring that only one ethnicity is the “right” ethnicity, because, again, you will be looking at Pavitr and the rest of India in that narrow Western lens — a country with such rich cultural variety reduced to a homogenous restrictive way of life.
THE POLL: REINTERPRETED
This whole thing started because I was wondering why my little poll was so skewed — I thought people assumed I was asking them where he came from, then paired his physical appearance with the most logical options available. I thought it was my fault, that I had somehow influenced this outcome without knowing.
Truth is, I will never really know. But I will be thankful for it, because it gave me the opportunity to finally broach this topic, something that many of us desi folk are hesitant to talk about. I hope you have learned something from this, whether you are desi or a casual Spider-Man fan or someone who just so happened to stumble upon this.
So just…be a little more open. Recognise that India, like many many countries and nations, is made up of a plethora of smaller cultures. And remember, if you’re trying to convince Pavitr that he’s a particular ethnicity, he’s going to wave his hand at you and say, “Ha, me? No, I’m one of the people that live here in the best Indian city! I’m Spider-Man India, dost!”
(Regardless, he still considers you a friend, because to him, the people matter more to him than you trying to box him into something he’s not.)
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Okay, so long long ramble under the cut about the nature of Ratgrinder Discourse™, I'll preface by saying that I don't want any of this to get hostile with anyone, because I think that's frankly silly to do over a webshow.
That said I am also open to critical discussion so if anything I say doesn't make sense, or doesn't track I'm open to critique on it!
Obviously spoilers up to Episode 19 of Fantasy High Junior Year underneath. Also it is a VERY long post, several pages, so don't click read more if that'll be overwhelming/too much at once. I just had to get my thoughts into words.
So, this will be long but I'll try to break it up. For clarity I want to establish my main point and give a quick TL;DR here, so here's the short version, long version even further below.
My main points are as follows:
1: It is okay to not be happy with how a narrative is going in a show/story you enjoy. Critique is not hate, if anything it's a form of praise in a way. People wouldn't be having such long and frequent discourse about D20 and it's current season if they didn't feel strongly.
2: Similarly, we as an audience have a very different perspective of the entire story unfolding compared to the Intrepid Heroes/Cast. I think a lot of people jump to assumptions about the cast's thought process when that really isn't something we can gauge beyond what they say in episode and on Adventuring Party.
3: For me at least, even if I am left unsatisfied by an ending it doesn't ruin the fun I had in a work.
Now if you just wanted my bullet point thoughts without elaboration, there they are! The rest of this is going to be an insanely long ramble (seriously, exit now if you aren't up for that, it's pages long) that I don't expect anyone to read, but I like to get my thoughts outta my brain.
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So, in regards to the Ratgrinders dying in the fashion they have, there's been a lot of discussion on literally every place there is to discuss Dimension 20, Twitter, Tumblr, Reddit, I'm sure other places as well. Really it all comes back to one thing, Dungeons and Dragons is a game, but Dimension 20 is a show.
We as viewers have some level of narrative expectation, now for everyone that's different. Some folks have specific hopes for plot and character arcs. Others just want a general vibe, but the cast are players. Sure they are performers, but they are players in a game in equal measure.
I've alluded to this before but a lot of the sincere vitriol to antagonists thus far (and especially the Ratgrinders) comes from the fact that the players have been fully immersed in a world and as characters where the Ratgrinders have been a constant thorn in their side for tens of hours of play time. Obviously one can still not like how they've engaged with them (I'm still not sure how exactly I feel about it,) but a lot of it is coming from that distinct perspective.
When Fig took Ruben out, she specifically was frustrated because she 'wasted her season' on him. There's a meta level of Fig being angry with Ruben as a character who shares a world with him, versus Emily being frustrated as a player that a lot of her in-game actions did not hash out. That's actually totally natural, by the way. The interesting way that DnD serves both as a narrative of the characters in the setting, but also of the players rolling dice is part of what makes actual play like Dimension 20 so interesting.
It's why I think SOME of the disappointment with Brennan and the Intrepid Heroes comes from a strange place, we literally cannot experience the story the same way the cast have. We get a week between chunks of story, they film the episodes in batches. We can think for as long as we want about our critical thoughts, they have to improv on the fly. We get to watch the Ratgrinders as antagonists in a story, the IH are actively hindered in their gameplay by the Ratgrinders as enemies.
That said I would be lying if I said I wasn't worried about some aspects of Protagonist Centric Morality™ in this. Oisin having a mildly flirty conversation with Adaine once when he had ulterior motives is a deeply awful manipulation, but Fig catfishing Ruben the better part of an entire year is her trying to reach out and understand him (?). Kipperlilly threatening to desecrate Eugenia's grave is deeply fucked up, but Riz openly advocating mutilating Oisin's body for tactical reasons, and Fabian loudly declaring he intends to do the same to Ivy for literally just his own self-satisfaction are 'fun unhinged moments'.
Before I go on, obviously the Ratgrinders are the bad guys. They're taking part in an evil plan, they've done villainous things throughout the season, especially very recently, etc. This isn't some argument that the Bad Kids are secretly the real monsters or something, obviously not.
I just think it's odd that people read into the Bad Kids' actions in the best possible light at all times and the inverse for the Ratgrinders. This protagonist centric morality also comes down to the true reason behind any and all of Fantasy High's villain redemption.
Ragh gets redeemed because the player characters think he's possibly useful and/or endearing. Aelwyn gets redeemed because she personally helps Adaine. The only one that Brennan really pushed forward on his own was Zayn, who they barely engaged with.
People compare the Ratgrinders to Penelope and Dayne a lot, and understandably so. However I think this is sort of the complication and in my opinion, the silver bullet to understanding what's actually happening with the Ratgrinder's narrative place, Dayne more specifically.
He does very little evil on screen. I mean, he injures Fabian and is most likely the one who killed Zayn, but comparatively to Aelwyn, he does almost nothing. He gets killed without so much as a thought, and in a fun (?) parallel to current Ratgrinder discourse, does actually have his body desecrated after death by Fabian. Because he hurt Fabian personally.
Aelwyn gets forgiven of doing a lot of terrible shit (and this isn't Aelwyn hate, she's like my favorite NPC.) because it didn't directly affect any of the Bad Kids besides Adaine, and even the bad stuff that did affect Adaine can be sort of off-loaded onto their parents.
So it's why I say this discourse is tough, people inevitably say "Well, the Ratgrinders are villains, of course they'll get killed." And this isn't inherently a wrong statement, they look at the bad things the group is doing and understand they must be stopped, why are people upset clearly bad guys get beat and/or killed in DnD games?
Because they aren't actually getting killed in such brutal ways because they're bad guys, it's because they personally annoyed or hurt the Bad Kids.
This is also why Ratgrinder fans often feel both frustrated and vindicated at once (I speculate, but I feel it's a safe assumption,) because on a meta level Kipperlilly is literally right. Her friends and likely herself are getting ripped to shreds because they crossed the special protagonists, because they started to really frustrate the Intrepid Heroes. The Bad Kids have forgiven atrocities before, but the Intrepid Heroes are really quick to dismiss and kill people they find annoying.
The ultimate example I feel of this, is Mary Ann. Ruben gets blasted into hell because his actions personally annoyed the players, Ivy gets stabbed to death while being repeatedly insulted and threatened with mutilation because her actions personally annoyed the players.
But Mary Ann is the one they all think they can redeem or save, because her personality is more cute and endearing to the players. That kind of says it all better than I ever could.
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Just saw a tiktok of a straight girl complaining that she wasn’t turned on during saltburn and that it disappointed her? Why is media literacy dead on that app?
Rant incoming
IMO, part of the point of the bath scene (her main complaint) is that it’s supposed to make you a bit comfortable, it’s supposed to completely break a boundary.
Viewers are already on edge, given that Oliver watches Felix through a door, at an angle that appeared INCREDIBLY exposed, almost as if Felix could turn around at any second and catch Oliver. That scene gets you in a vulnerable position already (on edge) and then instead of doing the two expected things- moving on and getting Oliver to go to his own room, or Felix noticing and reacting to him- he isn’t caught.
He doesn’t go to bed.
He goes FURTHER. He pushes FURTHER.
So, it’s normal however you react. Thats the beauty of being human, some people like that stuff, but it’s just as normal to feel disgusted or strangely empty after that scene.
Now, I’m a lesbian, so I don’t take in media in the same way as she does, I imagine. From her perspective, I imagine she went in expecting two (or more) attractive men being seductive, and was disappointed by the fact that Oliver’s sexuality was very deranged and obsessive, that Felix’s sexuality was very much in the dark, given Oliver’s perspective of the women he slept with. I can imagine that it’s disappointing and I can’t fully understand that, but it’s unfair to judge the film on whether or not you find it personally hot.
I think people are forgetting the actual point of the film and are just seeing it as ‘I didn’t find it hot so bad rating’. I think the unconventional love, sexuality and attraction is the WHOLE POINT of the film. It makes it. I think you should find Oliver cringe, even if you like his character or plot etc. I think he kind of takes parts of people that are relatable or attractive and then twists it. So by completely disregarding the entire thing because you didn’t find it personally attractive, you miss out on the point.
Main point because I went off track a bit there…
Essentially, I think you’re supposed to be unsettled by the bath scene particularly, to some level.
The whole film follows Felix in tiny moments, washing six months of homoerotic friendship with a romantic filter, idealising his and Oliver’s relationship as the most important, beautiful thing to ever be born from Oxford.
And I think you forget for a minute that these moments are SMALL. In Oliver’s head, they’re not, so to us, they also appear big and cute, but they’re barely even present if you really think about it (in a romantic/sexual way, not platonic). Then suddenly Oliver is watching him masturbate, drinking the water, licking the drain. It’s all suddenly *too* much, overwhelmingly obsessive, completely reminding the viewers that Oliver is the narrator, the protagonist, the one painting this beautiful image. Reminding the audience that this relationship is nowhere near this point yet is the reason for that scene to some level; it physically forces you to reconsider who is the ‘good guy’, if Oliver should do this, if he is anywhere close to being able to get away with this. I think you suddenly look back and think ??? Felix would think this is crazy ???
It’s crazy, because I argue the bath scene isn’t even the moment this theme is introduced. The film sets this up SO EARLY. DID YOU MISS THE SCENE WHERE FELIX IS UNDRESSING WITH A GIRL AND OLIVER STANDS OUTSIDE OF HIS WINDOW WATCHING HIM??? That’s foreshadowing: he doesn’t understand the boundary here, he’s incredibly jealous of Felix’s sexual life without him so he places himself in his life, even if Felix doesn’t know. Thats the point. It’s just shoved in the middle of a montage of these perfect moments between the two so you see it and think OLIVER STOP BEING WEIRD!!!
Anyways. TikTok please engage in critical thinking before posting challenge xoxo
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