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Anonymous:
Hey so I saw the ask about representation in Blindsprings and whilst its nice that you explained the process of creating her, Street still ended up as a racist stereotype. I hope you do a bit better with other PoC characters in your comic in the future, because its really hard for white people sometimes to 'get it' but, as someone who is black, Street does offend in the finished material. It would have been nicer to see the black character as someone more like Imogen to avoid the stereotype.

endcomic:

mindctrlz:

endcomic:

blindsprings:

I hope I do too.

Thanks for letting me know about this— at least Street isn’t THE black character, she’s A black character.  We’ve already seen one of the other characters, back on this page.

 Doesn’t change how Street was introduced and I’m sorry that she’s offensive.  I really hate stereotypes and feel awful I walked right into this one.

Hey, I just want to pipe in here and say that I completely understand why this character might initially come off as a stereotype, but at the same time, I want to just throw some food for thought out here:

When you decide a character is racist or a stereotype when you’re watching a TV show or a movie, you’ll probably hold out until the end of the episode to make sure that it is a racist and harmful stereotype. Even if a comic updates three times a week, the pacing is glacial. Street has been on exactly 8 pages, and until today when it was revealed that Street runs a gang of urchins, no one seemed to have any problems with her portrayal.

I expect that a lot of the outrage has to do with the fact that the word ‘gangs’ was used. When I was reading the page the first, second and third time, I completely missed the use of the word because my brain parsed the entire sentence to mean ‘group of possibly homeless children who run round around the neighbourhood causing mischief, possibly with magic.’ It was only as I was writing the above paragraph that the word ‘gang’ stuck out to me, and I have to wonder if that is the actual source of outrage, and when you couple that with PoC character and the fact that her name is Street, yeah, I can see it. 

Because up until this point, Street has been nothing but well dressed, clearly educated, has money if she’s going to any place that requires uniforms to be worn—aside from being PoC, more stoic and less rambly, she’s exactly the same as her friend in all respects.

I’m not really excusing any of that, and I will completely understand if Kadi goes back and changes the word ‘gang’ to network or ‘group’ or ‘club’ or ‘pack’. But I do implore you wait until the end of the episode, as it were, before you start with the accusations and finger pointing. Blindsprings is a very involved comic with a lot of lore and world building, and one of the best part about comics from a writer’s point of view is utilizing tropes and subverting them. That’s what makes characters complex, that’s what makes characters interesting, that’s what gives them depth. “This character appears to be _______ but is ACTUALLY ___________”  is what makes comics exciting, especially when so much love is being put into them. As it stands, if this were a TV episode I’d peg this entire interaction between the three girls to be at roughly five minutes or less of actual footage, and that’s not enough time to subtly subvert anything, nevermind a stereotype that Kadi didn’t even realize that she’d used.

She’s obviously mortified that this slipped past her, and I see zero reasons to expect that this is going to happen with any other PoC in Blindsprings, because it wasn’t even intentional. Intent matters, and you can bet that she’s going to be hyper aware of this with every PoC character from here on out, just because this was brought to her attention. 

All this, I agree. Except for the bit about intention sort of, because I think a lot of people who are racist don’t realise they are racist and don’t mean to be, and might make a racist stereotype character because of unconscious associations, but anyway since this has been pointed out - with good reason or not - and the artist is clearly mortified, she’ll probably try to avoid it now specifically.

To clarify, when I say intention matters, I wasn’t saying that just because someone has good intentions everything they do is excusable. I *will* make a case for Kadi in this particular scenario because she didn’t have bad intentions OR good intentions—she had zero intentions because she wasn’t trying to make ANY statement about PoC.

I’m going to take her word here and believe her when she says that the character wasn’t even intended to be a PoC—she has posted older, whiter designs, and I definitely understand the scenario, since the character who has become the main focus of my own comic was a tall skinny white guy until the day I had to draw him for a page—I scrapped that design and made him a short muscular mixed race adolescent with a mohawk. It happens, designs change even if the character’s personality and purpose in the story doesn’t, and sometimes things like this that wouldn’t matter at all if you’d stuck with the original design suddenly DO matter. Things slip through the cracks, especially when you’re doing longform comics and need to keep track of a zillion plot points and timelines, etc.

Anyhow, intention matters, for sure. But there’s a difference between telling someone who meant well (or meant nothing at all) why something they did was problematic and insisting that they’re a racist even after they explain their intent and apologize at length. Yeah, PoC have to put up with bullshit all of the time, but this wasn’t intentional and all repeatedly calling Kadi a racist does is make her feel really bad about something she loves, and that’s kiiiind of a dick move since she’s spending massive amounts of time to bring you all a very beautiful comic that you read for free.

tldr; definitely call out problematic things. If someone concedes that they made a mistake and are visibly horrified that they made it even if it was just an oversight, refusing to believe that they are not a racist is BAFFLING.   


Anonymous:
Why do people keep claiming all of Moffat's female characters are the same? Even at face value, an idiot could see it's not true. Are they that desperate?

tillthenexttimedoctor:

I think people have problems gaining access to these characters.

Particularly coming out of the RTD era, there exist some hurdles to this, because Russell T Davies was very methodical in making his characters as overtly relatable as possible, by weaving in shared experiences very early on: oh look, Rose is unhappy with her job etc. This is really clear when you look at The Writer’s Tale and see him planning a new companion that we never got, because Donna ended up returning. One of the first things he comes up with is her boyfriend having cheated on her in order to make people identify with her. When it works, this kind of approach is incredibly effective. To this date, even though I don’t see myself in Rose and Donna at all, Martha most definitely is the companion I relate to most.

And in comes Moffat and he just doesn’t do that. He doesn’t spend a lot of time drawing parallels between the audience and the companions. He doesn’t have the same preference for contrasting the Doctor with domesticity that Davies had. In some ways he is more interested in portraying someone different than he is in portraying someone expressedly “normal”. Moffat is a lot less careful with laying out his characterisations in clear, organised ways in the manner which Davies was a master at.

Now, that doesn’t mean at all that his characters are less relatable or less complex or that they have less depth. But they are often going to appeal to different people and a different approach is necessary. You go from “oh, Rose isn’t happy with her job” to “Amy Pond is a Scottish Girl in an English village and she has been talking about her imaginary friend for years with others not believing her”. The latter has plenty of identification material - feeling different and alienated, not fitting in, finding joy in imagination and storytelling, struggling with other people’s lack of understanding etc. But it is not right there on the surface.

So why do I talk about relatability here? Because like I first said, this is about access to these characters. And if you are lacking access, it will be incredibly hard to gain an understanding of these characters - and with a lack of understanding, you really can’t help but notice the similarities. You look at Amy and go “well, she’s beautiful and flirty and often cracks one-liners… ugh, I don’t get her at all” and then you look at Clara and you will see exactly the same thing - and then you will complain that all of Moffat’s characters are the same (and that he sucks as a writer because of this).

And in some ways, this is correct - but in others this is most definitely wrong. To somebody who possesses a better access to these characters, it will quite frankly sound like bullshit. We see Amy struggling to hold on to “Doctor life” while slowing building herself some sort of “real life” as well and can’t understand how people could mistake her difficulties in committing to something with Clara’s determination to only travel with the Doctor one day per week. It is obvious to us how different they are around children - one caring and responsible, the other more like a rebellious sister. We see that Amy is a lot more brash and we notice Clara is a lot more scared in the situations that she comes across in her travels with the Doctor. And we notice how Amy grows more trusting and able to express her emotions, while Clara becomes more naturally confident.

We notice their back stories and the little moments and all the information we receive about them and we understand. And sometimes we relate - often even, because seeing yourself in the particles that make up their character is surprisingly easy.


tobecomeaprince:

look i wanna be straight up w/ you guys if you ever wanna just come to my askbox and headcanon-jam or talk about characters or something idk like you should just do it we dont already have to be friends or anything

(Source: princesseto, via aimlessglee)


avawatson:

This may be an unpopular opinion I’m going to put forth, so I hope it doesn’t ruin anyone’s day. I just haven’t seen this opinion out there, and I thought I could put in my 2 cents, though you are most definitely free to round that down.

I don’t think this is a misogynist line actually. Mary chose the name Mary Morstan — at least, she presumably chose the stillborn child she stole the identity from. And then she chose John. John chose her, and she chose him back; she didn’t need to get married to help out her cover identity. If anything, I’d think it might have jeopardized her stolen life: putting on a wedding under Sherlock’s watchful gaze, taking her forged papers to court for a wedding license, a name change. And John’s name: she chose to take his name. Certainly not everyone needs to do that (Sue Vertue didn’t; Gatiss and Hallard didn’t exchange or append or hyphenate names). It’s largely customary in the western world, but it’s far from necessary. But, beyond that, John asks the question, “Is Mary Watson good enough for you?” Mary Watson is who he knows this woman as, not A.G.R.A., the identity she was actively trying to leave behind. He wants to know if it’s still the identity she would choose if she could — he lets he know she still can choose — and she chooses yes. “Oh my god, yes.” And it’s good enough for John. He phrases it — carefully chooses the phrasing of it — “the problems of your future are my privilege.” He’s choosing a future with Mary Watson if she’ll have him back. He doesn’t need to background check A.G.R.A., needn’t dig, needn’t pass judgment, needn’t ask her if she prefers she go by whatever name she purposefully abandoned. To him, she’s Mary Watson, his wife. She’s Mrs. Watson and they’ve chosen each other. In this scene, they’re choosing each other again. That, to me, is what this line is about. 

If anything, I see this scene as one of the only times in the entire episode where Mary got a choice. She’s being blackmailed by CAM, which drives her to kill him to get out from under his threat. “Understand, there is nothing in this world I wouldn’t do to stop” John from finding out, but it’s too late by then; she was tricked into outing her identity to John because Sherlock didn’t give her the choice in the matter. Even the “Watsons’ domestic” at 221B is shockingly absent of Mary’s words, Mary’s actions; Mary doesn’t even react when John knocks down the chair. It’s 100% all John raging against Sherlock until Sherlock convinces him to sit Mary down as a client — “that’s all you are now, Mary, a client” and “this is where we decide whether we want you or not.” The story is dragged out of her, and she is as good as being blackmailed by them as by CAM at that point because she’s already facing a ruined life and a ruined marriage and she has nothing left to lose. The only other choice I can see that Mary made in this story is that she gave the USB thumb drive to John, but she literally put that in his hands to do with what he pleased. And it’s a mercy to her for him to simply not read it in front of her. She didn’t ask him to not read it at all, just not to read it in her presence, because it would break her heart to be present as John Watson, the man she’s chosen in her new life, in the moment that he stops being her John Watson. The fact that John decided not to read it: it’s his decision. This is her privacy, her dossier, her life, and John is giving her the chance to keep it to herself. She isn’t unknown/unnamed, she’s allowed to keep her secrets and be loved regardless.

I would even venture to say that her shooting Sherlock exactly where she shot him wasn’t entirely within her control. It’s completely mixed signals — shooting him in the liver? He literally died and the doctors gave up, moved completely away from his body, no longer trying to resuscitate him, and Sherlock bloody Holmes brought himself back to life because of his devotion to John, and how could she have anticipated that? The doctors gave up. The obvious kill shot isn’t the liver; the obvious incapacitating shot isn’t the liver, no matter what Sherlock says. I daresay she made a split second decision and reacted the way a conflicted, emotionally compromised marksman well might — she wavered. And that she didn’t commit another murder as Mary Watson, potentially dirtying up her new life very permanently because John probably couldn’t forgive that, is entirely due to the fact that Sherlock Holmes is a miracle.

(Source: kittyriley, via headlightsheartbreak)


Anonymous:
do you think it's "treat her character badly" that they make molly say she moved on, but clearly showing she haven't?

areyoumarriedriver:

No. Not even a little bit. I think Molly probably thought she had moved on. You have to remember Sherlock was gone - with no word - for two years. That’s a long time. Certainly long enough to convince yourself that he’s a thing of the past. I think it was easier for Molly to tell herself that with him out of sight, honestly.

His return is undoubtedly bringing back feelings, but she’s trying her best. The thing is, Molly has always been portrayed as an unrequited love - she has absolutely no reason to believe that Sherlock will ever be capable of a functioning romantic relationship. At some point - you have to force yourself to move on. She’s trying. And she’s protecting herself, and becoming more confident around him, so she actually is moving on in a sense. She is not letting him manipulate her any longer, and Sherlock telling her she matters is giving her confidence in dealing with him.

Just because we the audience are judging her for being with Tom when she obviously still has feelings for Sherlock doesn’t mean the writers are treating her badly. This is what happens in real life. Sometimes loving someone isn’t enough and you have to force yourself to move past a person. Molly has been handling herself admirably as far as I’m concerned - she’s trying to move her relationship with Sherlock into a different area. Transfer that unresolved crush into a deep friendship. I don’t think it will work necessarily, but it’s her prerogative to make the attempt. And she’s not wrong to, at all.


Here’s a very important thing…

phenomenallymad:

Mary wants Sherlock and John to still be best buddies.  (Way different from how John’s previous girlfriends have reacted to his very committed friendship with Sherlock) She wants them to feel free to show affection, even encourages more affection.  She WANTS them to go solve murders. (And she’ll even join sometimes because solving murders is fun, but not everytime because she knows they need their own adventures and time to just be boys)

And Sherlock makes an effort to be nice to her. And more importantly, he actually LIKES her!  She’s smart and useful and loves John just as much as he does.

And John acknowleged that they have bothed saved him and just loves the shit out of both of them because he’s a warm, cuddly, loyal, open hearted little soldier boy.

THIS is what it looks like when there’s a pair of best friends, and one gets in a relationship, and it doesn’t automatically ruin everything! They believe in their friendship and she believes in their friendship and creates her own friendship and everything is good!!

BEST FRIENDS CAN HAVE LEGITIMATE RELATIONSHIPS THAT DON’T RUIN THE EXISTING FRIENDSHIP.

SO IMPORTANT.

And not ofen enough represented in the media!

(This is disregarding the end.  Which in my opinion, was more caused by the new baby, which changes all the relationships in a whole new way.

And as far as Johnlock goes, there’s still no tension.  If you do see a romantic relationship there, I’m convinced they just ADDED Mary to their love nest.  Still not endangering the original relationship.  Bam.)

(via flourhurricane)


nowwhereshallwego:

unitedkingdom-orgy:

pansexualpagan:

silentdimension:

The name’s Mickey. Mickey Smith. Defending the earth.

And that’s what I call character development.

WHY DON’T MORE PEOPLE TALK ABOUT MICKEY FUCKING SMITH.

Mickey is horribly under rated cause i mean his girlfriend kinda got swept away by a time traveling alien and he fucking deals with that and stays home to live his life and occasionally helps save the fucking earth and he just goes from being the protected to the protector and he ends up with another horribly under rated character, martha, and they’re just so perfect and i’m so happy they end up together like i cried so hard when i saw them in that last scene. like rory kinda goes through the same thing but i’m always gonna love mickey more because he’s fucking awesome and he doesn’t get the credit he deserves

(via clearbrightlight)


Eleven’s Regeneration (& The Issues some people had)

mistresslanyanox:

I’ve heard some complaints about the Eleventh Doctor’s regeneration. Fans suggest that it was too quick and not a proper send off. Others say that it wasn’t as poingt as it should’ve been. That there was a better way of doing it. Or that it wasn’t hardly as sad and emotional as Nine’s or Ten’s.

I’m going to have to disagree. And here’s why:

(Posted under a Read More to avoid spoilers… So, SPOILERS ahead. You’ve been warned)

Read More


harryvincenzo:

There’s a Crack in the skin of the Universe on Trenzalore. The Time Lords use this Crack to push a message into the Universe (“Doctor Who?”), waiting for a response (the Doctor’s name) which will lead them home.
If the Doctor says his name, the Time Lords come back and the Time War recommences. If he leaves, the planet will be slaughtered. So he stays but doesn’t say his name. The Church of the Papal Mainframe becomes the Church of the Silence - devoted to keeping the planet protected, so that the Doctor’s hand is never forced.
But the Kovarian Faction takes a more extreme view. They decide to alter history so that the Doctor can never reach Trenzalore at all. They travel back and their first plan is to destroy the TARDIS - unwittingly creating the Cracks in the first place with the resulting explosion.
The Doctor calls this the Destiny Trap. Kovarian travelled back to prevent the Doctor reaching the Crack, but the Crack only exists because Kovarian travelled back.
(X)

The most succinct explanation of the crack paradox I’ve heard thus far. 

harryvincenzo:

There’s a Crack in the skin of the Universe on Trenzalore. The Time Lords use this Crack to push a message into the Universe (“Doctor Who?”), waiting for a response (the Doctor’s name) which will lead them home.

If the Doctor says his name, the Time Lords come back and the Time War recommences. If he leaves, the planet will be slaughtered. So he stays but doesn’t say his name. The Church of the Papal Mainframe becomes the Church of the Silence - devoted to keeping the planet protected, so that the Doctor’s hand is never forced.

But the Kovarian Faction takes a more extreme view. They decide to alter history so that the Doctor can never reach Trenzalore at all. They travel back and their first plan is to destroy the TARDIS - unwittingly creating the Cracks in the first place with the resulting explosion.

The Doctor calls this the Destiny Trap. Kovarian travelled back to prevent the Doctor reaching the Crack, but the Crack only exists because Kovarian travelled back.

(X)

The most succinct explanation of the crack paradox I’ve heard thus far. 

(via iceinherheart-kissonherlips)


areyoumerryriver:

my favourite part of Eleven’s tenure

is how much time passed offscreen

it’s like we can live forever in those untold stories

(Source: areyoumarriedriver, via onewiththegigantichead)


iceinherheart-kissonherlips:

ugh, no but it made so much sense for Eleven to see Amy in his final moments

Read More


I read your meta on Clara vs River. Let me ask you, if you don't mind: Moffat clearly established that the Doctor never gave River a Tardis key (nor Amy & Rory); River can't snap her fingers & have the Tardis open or close for her. Even tho she's his wife & the Child of the Tardis. (Ex: First & Last Night) But the Doctor immediately offers Clara a key 2x; the Tardis obeys her snaps even tho she hates her. So why did Moffat elevate Clara above River like this? I think Clara replaced River as fave

onaperduamedee:

Thank you for asking!

The key to the TARDIS seemed to be a recurring theme under RTD -all of his companions save Mickey got one-, but not under Moffat –it was only a joke with Churchill. The key given to Victorian Clara was an exception, but not precisely. It was a symbol, since the Doctor was locked up in his grief and Clara helped him to come out after a long mourning. The key in itself is useless considering none of the companions can fly the TARDIS.

Modern Clara did not receive it and even had her share of the TARDIS being downright mean to her –which, according to the The Doctor: His Lives and Times has something to do with her impossibility and entering the Doctor’s grave. Other Moffat era companions and River were not shown receiving the key, simply because Moffat is all about symbols and he would use this one sparingly, here with Clara unlocking him, to give it more weight. It would have had less impact, had he written it for every character travelling with the Doctor.

Read More


a-mage-of-space:

YES
YES
GOD
YES
THANK YOU
YES

a-mage-of-space:

YES

YES

GOD

YES

THANK YOU

YES

(via breeherself)


the-impossible-astronaut:

River/Twelve AU: New Face, New Rules 

The Doctor finally contacts River in the Library.

(via tisziny)


ingravinoveritas:

Somewhere in Los Angeles, Craig Ferguson is jumping up and down on his bed with the Scottish flag tied around his neck like a cape.

(via totallymarriedriver)