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writingwithcolor · 3 months

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What Makes an Ethnic Villain "Ethnic" or "Villainous?" How Do You Offset it?

anonymous asked:

Hello WWC! I have a question about the antagonist of my story. She is (currently) Japanese, and I want to make sure I’m writing her in a way that doesn’t associates [sic] her being Asian with being villainous. The story is set in modern day USA, this character is effectively immortal. She was a samurai who lost loved ones due to failure in combat, and this becomes her character[sic] motivation (portrayed sympathetically to the audience). This story explores many different time periods and how women have shown valor throughout history. The age of the samurai (and the real and legendary female warriors from it) have interested me the most, which is why I want her to be from this period. The outfit she wears while fighting is based on samurai armor, and she wears modern and traditional Japanese fashion depending on the occasion. She acts pretty similar to modern day people, though more cynical and obsessed with her loss. She’s been able to adapt with the times but still highly values and cherishes her past. She is the only Asian main character, but I plan to make a supportive Japanese side character. She’s a history teacher who knows about the villain and gives the protagonists information to help them, but isn’t involved in the main plot otherwise. Are the way I’m writing this villain and the inclusion of a non-antagonist Japanese character enough to prevent a harmful reading of the story, or is there more I should do?

Why Does Your Villain Exist?

This makes me feel old because David Anders plays a villain with this kind of backstory in the series Heroes starring Masi Oka.

I think you want to think about what you mean when you say:

Villainous (In what way? To whom? To what end?)

Harmful (What tropes, narratives and implications are present?)

I’m relatively infamous in the mod circle for not caring too much about dimensions of “harm”. The concept is relative and varies widely between people and cultures. I don’t see much value in framing motivations around “What is less harmful?” I think for me, what matters more is:

“What is more true?”

“Are characteristics viewed as intrinsic to background, or the product of experiences and personal autonomy?”

“Will your portrayal resonate with a large audience?”

“What will resonate with the members of the audience who share the backgrounds your characters have?”

This post offers additional questions you could ask yourself instead of “is this okay/not okay/harmful.”

You could write a story where your antagonist is sly, sadistic, violent and cold-blooded. It may not be an interpretation that will make many Japanese from combat backgrounds feel seen or heard, but it’s not without precedent. These tropes have been weaponized against people of Japanese descent (Like Nikkei Japanese interned during World War II), but Japan also brutalized a good chunk of Asia during World War II. See Herge’s Tintin and The Blue Lotus for an example of a comic that accurately showcases the brutality of Japan’s colonization of Manchuria, but also is racist in terms of how Japanese characters are portrayed (CW: genocide, war, imperialism, racism).

You could also write a story where your character’s grief gives way to despair, and fuels their combat such that they are seen as calculating, frigid and deeply driven by revenge/ violence. This might make sense. It’s also been done to death for Japanese female warriors, though (See “Lady Snowblood” by Kazuo Koike and Kazuo Kamimura here, CW: sexual assault, violence, murder and a host of other dark things you’d expect in a revenge story).

You could further write a story where your antagonist is not necessarily villainous, but the perceived harm comes from fetishizing/ exoticizing elements in how her appearance is presented or how she is sexualized, which is a common problem for Japanese female characters.

My vote always goes to the most interesting story or character. I don’t see any benefit to writing from a defensive position. This is where I'll point out that, culturally, I can't picture a Japanese character viewing immortality as anything other than a curse. Many cultures in Japan are largely defined by transience and the understanding that many things naturally decay, die, and change form.

There are a lot of ways you could conceivably cause harm, but I’d rather hear about what the point of this character is given the dilemma of their position.

What is her purpose for the plot?

How is she designed to make the reader feel?

What literary devices are relevant to her portrayal?

(Arbitrarily, you can always add more than 1 extra Japanese character. I think you might put less pressure on yourself with this character’s portrayal if you have more Japanese characters to practice with in general.)

- Marika.

When Off-Setting: Aim for Average

Seconding the above with regards to this villainess’s story and your motivations for this character, but regardless of her story I think it’s also important to look specifically at how the Japanese teacher character provides contrast.

I agree with the choice to make her a regular person and not a superhero. Otherwise, your one Asian character is aggressively Asian-themed in a stereotypical Cool Japan way (particularly if her villain suit is samurai-themed & she wears wafu clothing every so often). Adding a chill person who happens to be Japanese and doesn’t have some kind of ninja or kitsune motif will be a breath of fresh air (well, more like a sigh of relief) for Japanese readers.

A note on characterization—while our standard advice for “offset” characters is to give your offset character the opposite of the personality trait you’re trying to balance, in this case you might want to avoid opposites. You have a villainess who is a cold, tough “don’t need no man” type. Making the teacher mild-mannered, helpful, and accomodating would balance out the villainess’s traits, but you’ll end up swinging to the other side of the pendulum towards the Submissive Asian stereotype depending on execution. If avoiding stereotypes is a concern, I suggest picking something outside of that spectrum of gentleness to violence and making her really boring or really weird or really nerdy or a jock gym teacher or…something. You’re the author.

Similarly, while the villainess is very traditionally Japanese in her motifs and backstory, don’t make the teacher go aggressively in either direction—give her a nice balance of modern vs. traditional, Japanese vs. Western sensibilities as far as her looks, dress, interests, values, etc. Because at the end of the day, that’s most modern Japanese people.

Sometimes, the most difficult representation of a character of color is making a character who is really average, typical, modern, and boring.

- Rina

#writeblr #Japanese #Japanese women #Villain #antagonist #tokenism #characterization #representation #stereotypes #immortality #superheroes #supervillains #asks

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lazymonth · 1 month

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Mysteleon be like:

New York. Night. Chameleon's luxurious penthouse. Dima, sitting on a chair outside on the balcony, playing the guitar (kosame no oka - David Mansfield from "Isle of dogs") Enjoying one of the few peaceful moments in his life (later he will suffer)

Quentin, dragging another chair and a bottle of wine: im not falling for this again-

(He's falling for this again)

(forgive me for my English)

Who wouldn’t fall for this, LOL

Also here’s the little doodle. Thank for giving me silly idea

#mysteleon

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zahri-melitor · 8 months

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Casspoll!

Okay I really had to think about this one and I quickly dipped into the runs I have not touched yet rather than just using their reputations:

Kelley Puckett – It’s Puckett. He created Cass. Some of her very best stories happened here – the first two Shiva fights, delivering a man’s final wishes, Nobody Dies Tonight, Thicker than Water. The absolute heart that Cass cannot allow people to be killed hits hard here. She’s still learning about what a society is.

Dylan Horrocks takes Cass and her growth and lets her mess up and brings Bruce and Barbara more into conflict over what Cass needs, but also allows Cass to be in conflict with them over what she wants. It has the Ivy twofer “The City is a Garden/The City is a Jungle” which I think is Horrocks’ best plot. It has Tough Love, where Bruce and Cass have their conversation over what the Bat means to Cass. It has Cooking the Books, where we see the abrasive side of Barbara’s personality come out and hurt her relationship with Cass. It has Cass taking her first steps into relationships, with her attraction to Tai’Darshan and Kon. It’s a messier, more complicated time.

Andersen Gabrynch has the best conversation of Fresh Blood with Tim over their life goals and their reflections on War Games. He has Destruction’s Daughter/Blood Matters and everything that comes with the culmination of that storyline. He gives Cass her first taste of civilian life. Gabrynch is the ‘how far will Cass go’ writer.

Adam Beechen: you’re all mean! Oh Beechen. He screwed up first time around, no question, but I continue to maintain he did useful things with Cass in Batgirl 2008. He brought in the chance to parallel Slade and Rose’s relationship with David and Cass’. He worked hard to find fixes for the mistakes he made. And if Fresh Blood set up the situation where we saw Tim and Cass become closer and start establishing a sibling-like relationship, then Beechen solidified it to the point that it was expected from that point onwards.

Joe Kelly: oh, Justice League Elite. You are certainly a story. I think the most important thing Kelly actually did in JLE was when Cass stabbed Kendra. It broke her. There is some beautiful writing in JLE surrounding Cass basically sobbing to Bruce over this incident, and Bruce promising her that she doesn’t have to stay undercover, he’ll pull her out, her happiness is more important to him than this mission, and Cass refusing to be extracted. And Ollie remaining there the whole time to keep an eye on Cass on Bruce’s behalf. It’s such a good paternal moment on both Bruce and Ollie’s parts, and they so very rarely get them in concert. It’s also a moment of growth in Cass that is rarely referenced, because as I must repeat, it happens in JUSTICE LEAGUE ELITE.

Bryan Hill: I have heard good things! And immediately on picking it up and going through the first three issues I saw the exact thing I’d enjoyed and wanted more of from Dixon’s 2008 BatO run – Tatsu working with and mentoring Cass – which is a solid recommendation in itself. Will 100% be coming back to this when I get up to this era in my reading.

Becky Cloonan and Michael Conrad: I dipped into #1 and #14. It suffers from the modern era problem of light and bright fluffy content without a solid base behind it. Also the fact that the writers didn’t initially realise that two of the characters they were assigned were ADULTS and were writing them that immaturely is certainly not reassuring. Um. I also know I’m not fully across modern era Cass yet, but #14 seems to miss something that’s basic to my understanding of Cass – talking can be hard but READING is harder. Cass not talking but having reading comprehension showing up constantly? It feels off. (Also I’m fascinated in how an issue like Batgirls #1 manages to be that off while still managing the Cass shower robe scene, which to my eye echoes and references the BatO 2008 Cass shower scene. Suspect they just got lucky and I’m reading too much in)

Mariko Tamaki: okay I have not yet read Shadows of the Bat: The Tower, but I have read Sounds, so I’m basing on that. Tamaki really seems to get Cass, her hand with the character work in Sounds hit some very fundamental parts of Cass’ character and struggles, and I really enjoyed it.

Overlooked: ALYSSA WONG. Wong’s work with Cass in Spirit World not only has been busy recanonising a bunch of things from Batgirl 2000, but is touching on some central aspects of Cass’s view of killing and death in beautiful resonance of things originally established by Puckett. Also it’s given Cass some narrative space back on her own, and while I think Cass’s relationship with Steph is important, I also think she’s more functional and useful to DC writers when she’s not assumed to be part of an automatic pair.

Plus a plug for Scott Snyder for Gates of Gotham and giving us proper insight into the Reborn era Cass relationships with her brothers.

#cassandra cain #writer comparisons

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dailyanarchistposts · 22 days

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