Elowenp - It's Bullshit Central Baby

Head Archivist Sasha AU:

- You’ve heard of Sasha’s head archivist with Tim Martin and Jon as her assistants, but have you heard of Sasha’s head archivist, replacing Jon, with Tim and Martin as her assistants?

- Gertrude got killed ~4 years earlier than in canon. Elias gave Jon the job of head archivist almost as soon as he started working at the institute in a move which everyone, including Jon, found Very Weird.

- Elias thought it might be funky fresh to make Jon very isolated to make sure it would be easy for the lonely to get him in the future and hence gave him zero (0) assistants.

- Jon spends the next 4 years getting up to hijinks, becoming more and more isolated, gaining more trauma, and just Not having a good time.

- Jon stops being head archivist/disappears for reasons I am yet to decide on and Sasha gets promoted.

- Elias doesn’t have any particular plans to make Sasha The Archivist since he still reckons Jon is going to fulfill that roll and decides to give her some assistants when she starts running the archives. As a Treat™.

- Sasha is an excellent head archivist and her Martin and Tim are all Besties.

- One of them discovers a tape Jon made when he was Archivist. It implies some very spooky things about the institute as well as some of Jon’s fears about what Elias and the dread powers have planned for him.

- The gang collectively goes ‘oh shit’

- Shenanigans ensue.

Continuation of this and this

Pt. 3:

“Do you feel it too?” Adora asks Glimmer one day when she can’t hold it in any longer.

They’re eating dinner with Queen Angella and Bow. The table’s previous conversation, full of good humour and niceness, goes silent at her question.

“Feel what?” Glimmer asks carefully.

“Everything.” It’s not the right word for whatever it is but it’s the closest one she can think of. It makes Glimmer pause for a moment as she turns to look at Adora. Her gaze turns intense in a way that makes her look older, more like the Queen she might become one day.

“Only when I’m with you.” She says and Adora nods. It was sort of the answer she was expecting.

“Is it the same for the others?” Adora asks, because Glimmer isn’t the only person she knows who’s tied to the universe by chains of faith and stardust.

“Of course.”

A pause.

“I feel it all the time.” Adora says quietly.

Bow and Queen Angella exchange a look, half-knowing half-afraid. Glimmer just seems like she was expecting it though. Adora isn’t surprised by that, Glimmer is tied to the moonstone in a different way to her mother. Angella is connected to it in a way that’s full of magic and precision and order. Glimmer’s bonds with the moonstone are more hope and blood and chaos.

She-Ra is made of hope and blood and chaos. Adora might hate her for it if she hadn’t always been made of those things too.

~

link to Shana cause these lil drabbles are pretty much just me trying to copy her style

She looks out across a world in chaos and frowns.

“It was brash”

“It was bold”

“It was impetuous”

“It was inspired”

They grow silent. An acknowledgement that no agreement is to be found in this place.

~

She says that she should kill him. She says so often, without humour. She says so as a woman who has killed hundreds across her lifetime and will no doubt kill hundreds more.

“You know more of me than anyone else does.” he confesses.

She hums.

“I could say the same to you.”

He grins and she can’t help but pity him. Connection was never necessary for her, but to watch this child suffer without it must be a tragedy beyond measure.

~

She tells him that she put poison in his drink. He sighs, tired, and walks outside. She hears him throwing up in the ally behind the abandoned building they had chosen for their meetings.

He comes back in with clothes just as clean and hair just as neat as when he left. He frowns at her but is happy to continue their conversation as it was.

“I’m going to hurt you one day.” she informs him. He rolls his eyes.

“You hurt me constantly,” he gestures to some bruises for effect, “At least this way I might be tough enough to survive what’s to come.”

She nods. With the sorts of enemies the boy tends to make he has a point.

I tried to make the ‘oh no they can be birds how terrible’ thing make more sense and here it is:

At first it’s wonderful.

Everything’s just as it was before. Tai still flirts with Raven, Qrow still spends too much time on his scythe, Summer still rolls her eyes at them constantly, even if she’s smiling. The only thing that changes is that Raven and Qrow spend their nights spying on their enemies instead of sleeping with their team. Sometimes they change forms during the day and sky-dance for a while, cackling at their freedom with croaking voices.

Sometimes Ozpin will give Raven and Qrow these looks, like he’s already mourning them.

They don’t pay the looks any heed, their second mistake. Their first was taking his poisoned gift in the first place.

Things start to change when the pain begins. It’s a twinge at first, something both of them barely notice, but it gets worse with every transformation. After a few months it makes Qrow throw up for the first time. It’s flecked with blood and specks of something black that leaves an awful taste in the back of his throat.

“Gross.” Raven says in her human form next to him before walking away. She doesn’t tease him about it so Qrow is fairly nice to her when she throws up the next time they need to transform.

Ozpin doesn’t stop giving them those looks. All sad and regretful and grieving.

Tai and Summer start to notice that something’s going on pretty soon after that. They already knew about the extra missions, of course, but Qrow and Raven figured that their new power could be a Branwen Tribe secret. It should have been an easy secret to keep, but then Raven starts to distance herself and Qrow starts to snap and both of them hurt all the time and nothing’s ever easy any more.

“We’re worried about you guys.” Tai says, voice full of concern. Summer nods in agreement, far too earnest, and both Raven and Qrow feel it tear at them a little.

Neither of them have an answer and so they’re forced to find ways to cope. Raven starts talking to their family a little too much, visiting home a little too often. Qrow starts to drink.

It only works for a while.

“Humans are not quite whole,” Ozpin says when Qrow goes to him, begging for answers. “Maybe all it took was a brush with magic for your soul to remember its missing piece.”

The conversation makes Qrow feel worse so he drinks enough that he’s forgotten it by morning. He never fully remembers it, even if his soul always does.

Gwen would be characterised by anyone but herself as a prodigy with a sword. That would be, if she let anyone see what she can do.

She started beating Elyan when she was six. It took her far longer to beat her father for the first time but whenever she lost he would tell her that she just needed some time to get a little stronger. Some time to grow up.

Gwen beats her father for the first time when she’s fourteen. He smiles from where he’s lying on the floor with a knowing look.

“I told you so.” he manages, despite how winded he is.

She rolls her eyes and let’s the glow of pride set a fire in her chest.

~

Gwen is twenty-two years old and has been the Lady Morgana’s maid servant for a little under a year. She’s a prodigy at it and this time she does let people see. She spends all the time she has with Morgana and all the rest of it practicing with a sword in the forge’s yard.

It takes longer for anyone to notice than she thought it would.

She’s practising behind her father’s forge. Moving through the same jabs and cuts she’s repeated a thousand times before. It feels good, like it always does. It feels powerful.

“Well aren’t you full of surprises?” Lady Morgana calls wryly from the forge and Gwen almost drops her sword.

“You’re not supposed to be here.” she hisses, forgetting just about everything she’s ever learned about how to treat those of higher stations than hers. “Sorry.” she tags on the end, like that would stop a regular noble from having her beheaded for such words.

“Don’t be.” Morgana smiles slyly. “You could probably put Arthur on his arse with moves like those.”

Gwen is immensely lucky that Morgana isn’t a regular noble. “I’m sure that he would be a formidable opponent.” she says diplomatically.

Morgana grins, because she loves Arthur just like Gwen loves Elyan, but she isn’t meeting Gwen’s eyes and seems hesitant in a way that’s unlike her.

“Yes, milady?” Gwen prompts.

“I don’t suppose-“ Morgana’s eyes dart to the sword rack in the corner of the yard. “I don’t suppose you could teach me?”

Gwen smiles, relief flooding her. “Of course”

After all, it would hardly be proper for her to refuse a request from the Lady Morgana.

Behold: Cass, Jason, and a reference to a quote from Dr. Jekyll and Mr. Hyde.

(Explanation: Cass’s book references the quote “I incline to Cain’s heresy. I let my brother go to the devil in his own way,” but since she’s the personification of “that sign won’t stop me because I can’t read!” I don’t think the book made much of an impression.)

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New fic: Creation Is A Curse

Word count: 1,315

Summary: “I could stop.” Bruce whispers, voice cracking. “I could stop making soldiers and turn them back into children.”

Alfred sighs, the frown lines on his face deepening with grief. “They would never survive it.”

Bruce knows it’s true. First himself, then the Joker and now his children. An aptitude for creating monsters has always been Batman’s greatest curse.

~

Fic under the cut

“You know I still love you, right?” Dick says. It’s not what Bruce had been expecting. At Bruce’s apparent surprise Dick rushes to correct himself. “Don’t get me wrong, I hate you. Sometimes I hate you so much that I don’t understand how I can still love you at all. But I do still love you.”

Bruce looks at him. He’s never been an emotional man and he doubts he’ll ever understand how Dick manages to stay one in their line of work. “I don’t know how you can fit so many feelings about me inside you.” he says.

Dick lets out a sharp bark of laughter. “You created me. How could I not?”

He says it like it’s obvious.

The fact that Bruce understands him completely makes it too painful to look at Dick for a moment so he turns to Tim, utterly focused on his training in the centre of the cave. It makes him think of other, potentially more painful things. “You don’t think I should make another Robin. Do you?”

Dick joins Bruce in looking over to where Tim’s training. The set of his jaw is determined and there are still specks of blood on his face from patrol. “You already have.” he says, the bite of grief colouring his tone.

Bruce wishes that Dick had given a different answer. His disappointment must show on his face because Dick turns to him and smirks, something mean in his expression.

“Don’t look so glum. I might even forgive you one day.”

He says it jokingly. Bruce prays for a moment that it’s the truth.

~

Jason is back. Jason is back.

Jason is back and he’s the Red Hood and his new favourite hobby is trying to convince Bruce just how much he hates him. As if Bruce doesn’t already know.

Jason is holding a gun to a man’s head. It’s a bad man, a man who has caused grief and suffering and hurt people in ways beyond what Bruce finds acceptable. But Jason has a gun to the man’s head and for some twisted reason that means that Bruce thinks the man is deserving of his protection.

The moment Bruce has processed all that, the moment that Jason can see that he’s processed all that, the trigger is pulled and the man drops dead.

“You did that.” Jason says with utter conviction. “You killed that man. I pulled the trigger but I’m only a monster because it’s what you made me.”

Jason is either far more or far less the man he was shaping up to be before he died. Bruce can’t quite tell which.

“I know.” he says, instead of any of that, “I know.”

~

An assassin has a knife at Bruce’s throat and for a moment he thinks that he’s going to die. Then he feels the spray of blood that isn’t his and the body behind him drops to the floor.

He turns to see Cassandra plucking the knife from the hands of the corpse she just made.

“I thought you didn’t kill any more.” he says, voice hoarse.

She shrugs. “Sometimes it’s necessary.”

“Did the League teach you that?” Bruce asks, hating the way disapproval colours his tone.

Cass looks up from the corpse and Bruce sees the frown of confusion between her eyes. “No. You.”

She disappears into the night before Bruce can say anything else.

~

Dick is a more dangerous man than anyone comprehends. Jason’s body count is rising by the day. Cassandra is training in Hong Kong to turn herself into an even better weapon than the League could. Stephanie grows more driven every moment, more set on becoming every bit as dangerous as she has the potential to be. The people Tim loves keep dying and it’s put a darkness in his eyes.

“How do you love creatures so vicious?” Talia asks.

“I doubt I could love anything else these days.” Bruce replies.

Talia hums. The clever part of Bruce’s mind thinks that he might have given her the answer she was looking for.

It worries him more deeply than he would like to admit.

~

“Sometimes I wonder if I would be a better person now if I had never been Robin.”

“I imagine that you would have spent that time with Barbara. So probably.”

Steph looks at him like she’s waiting for him to get angry. She should know better by now. For Bruce to get angry at his kids is an exercise in futility these days, it’s like getting angry at a concept.

She turns away and huffs. “I can’t believe I let you get your feelers in me. I saw how you changed Tim and I still didn’t realise that you can’t talk to a kid without twisting it into a weapon.” Bruce shoots a look at her and she shrugs, like her musings aren’t a dagger in his heart. “Welp. Guess that one’s on me.”

“Yeah.” Bruce lies. What else is he meant to say?

~

Bruce can’t stop looking at the scar on Tim’s neck. The one he got when a person Bruce created and still loves as fervently as ever decided that a grave would be a better home for him than the manor.

“Does it bother you,” he asks, “That I might be making you into him?”

Tim thinks for a moment. “Only when I’m mourning him.”

“And when’s that?”

He smiles, sad. “All the time, of course. Isn’t it the same for you?”

“Of course.” They grow silent for a moment before Bruce plucks up the courage to ask the question he really wants the answer to. “Does it scare you? That one day you might be someone’s monster.”

Bruce didn’t expect Tim to start laughing, but he does. Deep and whole and uncommon from him these days. Like Bruce just told a joke and hasn’t realised it yet. “Don’t you get it Bruce?” he asks once the laughter’s died down and become a little more manageable. Something about Tim’s expression is inherently wrong and Bruce feels his guard go up but Tim is too amused to notice. “I already am. I’m your monster. We’re all your monsters. You’re Doctor Frankenstein and, instead of sewing together bits of corpses, you’ve found children full of holes and stitched pieces of yourself to them rather than letting them grow.”

“What-” Bruce croaks. Something in his expression must look utterly horrified because Tim’s eyes widen and the good humour drains from his face.

“I didn’t mean it in a bad way!” he says, as if Bruce could possibly have taken that any other way. “I just- Don’t we scare you?”

“No! Of course not.”

“Wait, really?” Tim looks shocked, like Bruce just upended one of his most basic understandings in life.

Bruce worries that he has.

They don’t talk much for the rest of patrol. Both of them have too much to think about.

~

Bruce has a son.

There’s a boy who Bruce has never touched but is made from his flesh and bone and apparently that’s enough because he’s already as deadly as any of Bruce’s other children. It makes him feel sick so he leaps onto the idea that this is the League’s fault, that for once it isn’t on Bruce that a child has been broken and the remains have too many sharp edges.

“I didn’t make you. The League made you.” he says, clinging to a fantasy.

Damian huffs out a breath of annoyance. “Unmake me then.” he scoffs, “Tear me apart and shape me into something more like them.”

Make me into another of your monsters, he doesn’t say.

The ‘no’ is in Bruce’s mouth. He can taste the word, feel his tongue curling around the shape of it. But Bruce has done this far too many times to stop now and making monsters is all he knows.

“Okay.” he says instead.

The cycle continues.

small doodle

Hi there! If you feel up to it, would you be willing to expand a bit more on the idea of white creators creating poc characters who are ‘internally white’, especially in a post-racialized or racism-free setting & how to avoid it? It’s something I’m very concerned about but I haven’t encountered a lot of info about it outside of stories set in real world settings. Thanks & have a good day!

Hey, thanks for asking, anon!  It’s a pretty nuanced topic, and different people will have different takes on it.  I’ll share my thoughts on it, but do keep in mind that other people of colour may have different thoughts on the matter, and this is by no means definitive!  These are things I’ve observed through research, trial and error, my own experiences, or just learning from other writers.

The first thing I guess I want to clarify is that I personally am not opposed to a society without racism in fiction.  It’s exhausting and frankly boring when the only stories that characters of colour get are about racism!  So it’s a relief sometimes to just get to see characters of colour exist in a story without dealing with racism.  That being said, I feel like a lot of the time when creators establish their settings as “post-racial,” they avoid racism but they also avoid race altogether.  Not aesthetically -they may have a few or even many characters with dark skin- but the way the characters act and talk and relate to the world are “race-less” (which tends to end up as default white American/British or whatever place the creator comes from).  Which I have complicated thoughts on, but the most obvious thing that springs to mind is how such an approach implies (deliberately or not) that racism is all there is to the way POC navigate the world.  It’s definitely a significant factor, particularly for POC in Western countries, but it’s not the only thing!  There’s so much more to our experiences than just racial discrimination, and it’s a shame that a lot of “post-racial” or “racism-free” settings seem to overlook that in their eagerness to not have racism (or race) in their stories.

A quick go-to question I ask when I look at characters of colour written/played by white creators is: if this was a story or transcript I was reading, with no art or actors or what have you, would I be able to tell that this character is a character of colour?  How does the creator signal to the audience that this is a character of colour?  A lot of the time, this signal stops after the physical description - “X has dark skin” and then that’s all!  (We will not discuss the issue of racial stereotypes in depth, but it should be clear that those are absolutely the wrong way to indicate a character of colour).

This expands to a wider issue of using dark skin as a be-all-end-all indication of diversity, which is what I mean by “aesthetic” characters of colour (I used the term “internally white” originally but upon further reflection, it has some very loaded implications, many of which I’m personally familiar with, so I apologize for the usage).  Yes, the character may not “look” white, but how do they interact with the world?  Where do they come from?  What is their background, their family?  A note: this can be challenging with diaspora stories in the real world and people being disconnected (forcibly or otherwise) from their heritage (in which case, those are definitely stories that outsiders should not tell).  So let’s look at fantasy.  Even the most original writer in the world bases their world building off existing things in the real world.  So what cultures are you basing your races off of?  If you have a dark skinned character in your fantasy story, what are the real world inspirations and equivalents that you drew from, and how do you acknowledge that in a respectful, non-stereotyped way?

(Gonna quickly digress here and say that there are already so many stories about characters of colour disconnected from their heritage because ‘They didn’t grow up around other people from that culture’ or ‘They moved somewhere else and grew up in that dominant culture’ or ‘It just wasn’t important to them growing up’ and so on.  These are valid stories, and important to many people!  But when told by (usually) white creators, they’re also used, intentionally or not, as a sort of cop-out to avoid having to research or think about the character’s ethnicity and how that influences who they are.  So another point of advice: avoid always situating characters outside of their heritage.  Once or twice explored with enough nuance and it can be an interesting narrative, all the time and it starts being a problem)

Another thing I want to clarify at this point is that it’s a contentious issue about whether creators should tell stories that aren’t theirs, and different people will have different opinions.  For me personally, I definitely don’t think it’s inherently bad for creators to have diverse characters in their work, and no creator can live every experience there is.  That being said, there are caveats for how such characters are handled.  For me personally, I follow a few rules of thumb which are:

Is this story one that is appropriate for this creator to tell?  Some experiences are unique and lived with a meaningful or complex history and context behind them and the people to whom those experiences belong do not want outsiders to tell those stories.

To what extent is the creator telling this story?  Is it something mentioned as part of the narrative but not significantly explored or developed upon?  Does it form a core part of the story or character?  There are some stories that translate across cultures and it’s (tentatively) ok to explore more in depth, like immigration or intergenerational differences.  There are some stories that don’t, and shouldn’t be explored in detail (or even at all) by people outside those cultures.

How is the creator approaching this story and the people who live it?  To what extent have they done their research?  What discussions have they had with sensitivity consultants/readers?  What kind of respect are they bringing to their work?  Do they default to stereotypes and folk knowledge when they reach the limits of their research?  How do they respond to feedback or criticism when audiences point things that they will inevitably get wrong?

Going back to the “race-less” point, I think that creators need to be careful that they’re (respectfully) portraying characters of colour as obvious persons of colour.  With a very definite ‘no’ on stereotyping, of course, so that’s where the research comes in (which should comprise of more than a ten minute Google search).  If your setting is in the real world, what is the background your character comes from and how might that influence the way they act or talk or see the world?  If your setting is in a fantasy world, same question!  Obviously, avoid depicting things which are closed/exclusive to that culture (such as religious beliefs, practices, etc) and again, avoid stereotyping (which I cannot stress enough), but think about how characters might live their lives and experience the world differently based on the culture or the background they come from.

As an example of a POC character written/played well by a white person, I personally like Jackson Wei and Cindy Wong from Dimension 20’s The Unsleeping City, an urban fantasy D&D campaign.  Jackson and Cindy are NPCs played by the DM, Brennan Lee Mulligan, who did a good job acknowledging their ethnicity without resorting to stereotypes and while giving them their own unique characters and personalities.  The first time he acted as Cindy, I leapt up from my chair because she was exactly like so many old Chinese aunties and grandmothers I’ve met.  The way Jackson and Cindy speak and act and think is very Chinese (without being stereotyped), but at the same time, there’s more to their characters than being Chinese, they have unique and important roles in the story that have nothing to do with their ethnicity.  So it’s obvious that they’re people of colour, that they’re Chinese, but at the same time, the DM isn’t overstepping and trying to tell stories that aren’t his to tell.  All while not having the characters face any racism, as so many “post-racialized” settings aim for, because there are quite enough stories about that!

There a couple factors that contribute to the positive example I gave above.  The DM is particularly conscientious about representation and doing his research (not to say that he never messes up, but he puts in a lot more effort than the average creator), and the show also works with a lot of sensitivity consultants.  Which takes me to the next point - the best way to portray characters of colour in your story is to interact with people from that community.  Make some new friends, reach out to people!  Consume media by creators of colour!  In my experience so far, the most authentic Chinese characters have almost universally been created/written/played by Chinese creators.  Read books, listen to podcasts, watch shows created by people of colour.  Apart from supporting marginalized creators, you also start to pick up how people from that culture or heritage see themselves and the world, what kind of stories they have to tell, and just as importantly, what kind of stories they want being told or shared.  In other words, the best way to portray an authentic character of colour that is more than just the colour of their skin is to learn from actual people of colour (without, of course, treating them just as a resource and, of course, with proper credit and acknowledgement).

Most importantly, this isn’t easy, and you will absolutely make mistakes.  I think the most important thing to keep in mind is that you will mess up.  No matter how well researched you are, how much respect you have for other cultures, how earnestly you want to do this right, you will at some point do something that makes your POC audience uncomfortable or even offends them.  Then, your responsibility comes with your response.  Yes, you’ve done something wrong.  How do you respond to the people who are hurt or disappointed?  Do you ignore them, or double down on your words, or try to defend yourself?  Just as importantly, what are you planning to do about it in the future?  If you have a second chance, what are you going to do differently?  You will make mistakes at some point.  So what are you going to do about them?  That, I think, is an even more important question than “How can I do this right?”  You may or may not portray something accurately, but when you get something wrong, how are you going to respond?

Essentially, it all comes down to your responsibility as a creator.  As a creator, you have a responsibility to do your due diligence in research, to remain respectful to your work and to your audience, and to be careful and conscientious about how you choose to create things.  It’s not about getting things absolutely perfect or being the most socially conscious creator out there, it’s about recognizing your responsibilities as a creator with a platform, no matter how big or small, and taking responsibility for your work. 

In summary:

Research, research, research

Avoid the obvious no-no’s (stereotypes, tokenization, fetishization, straight up stealing from other cultures, etc) and think critically about what creative choices you’re making and why

Do what you’re doing now, and reach out to people (who have put themselves out there as a resource).  There are tons of resources out there by people of colour, reach out when you’re not sure about something or would like some advice!

Responsibility, responsibility, responsibility

Thank you for reaching out!  Good luck with your work!

Watched Batman ninja and what an absolute fucking masterpiece would highly recommend