lloyds-building

Research:Large to Small Scale, Avoiding Homogenizing East Asian Cultures, & Paralleling Regions Appropriately

I’m currently working on a project set in a secondary world, but with nations that roughly correspond to major cultures in our world. 

By that I mean I’m trying to create amalgamations of cultural groups. For example, one country corresponds to Germanic cultures, one to Celtic, one to Mediterranean. There are, so far, also countries that correspond to Eastern Asia - a mixture of Japanese, Chinese and Korean, mainly - South America, “Arab countries” and so on. My first question, in that regard, would be whether or not this concept - creating a “vibe” that reads Eastern Asian, for example, but is not one specific culture - is offensive and if it is, what I can do to solve it. 

The project I’m working on makes use of so called FaceClaims, which means that, for example, actors are used to represent fictional characters. If I based the country on China alone, then I could only use Chinese FCs and would thus greatly limit the representation. A solution I thought of was to have each country be inofficially split up in itself, so the “East Asian” country would have a “Chinese” region, a “Korean” region and so on.
Secondly, I have a desert region that I thought would be nice for an “African” (I am very much aware that there is no such thing as an “African culture”, so bear with me) cultural group. For this “country”, I thought of a loose union between different nations of people. There, I’m stuck - should I choose one region in Africa, let’s say West Africa, and base each nation on one specific peoples there? Or should I create my own “African-inspired” cultures? Or should I choose cultures from all around Africa and base a nation on each?

My third question goes along a similar line: The “cultures” I have chosen for the countries are by far not all there are in the world. There is no country for Native Americans, for example, none for South-Eastern Asians (unless I integrate them with my “India”), no Central Asian, etc. I know it is impossible to include all cultures there are in the world, but how do I choose which ones to represent in a concept like mine? I don’t want to exclude them, but I simply cannot create as many countries as there are cultural groups.

One possible solution I thought of specifically refers to Jewish people, since I feel it is important to represent them more in fantasy writing. My current idea was to have their story go similar to that of our world: Exile, long travels, and a split into groups, one of which would be the Ashkenazim, living somewhere near the Germanic country, and the other would be the Sephardim, which I imagined to live in between the “Arab” and “African” country, in a semi-autonomous city-state. But is it offensive to adapt what happened to the Jewish people in a secondary world or should I make it so that they have a more positive past and life, no exile like there was in our world? As far as I know, the exile is an important part of Jewish identity and cultural understanding, but I thought I’d ask anyway.

I’m going to preface this that some of this wording might sound very harsh, but I recognize you are genuinely asking out of a place of respect but you just aren’t sure what the best way to respect the world’s diversity is. The problem is it’s still not quite respectful enough, and shows sometimes glaring ignorance of nuances in the region.

I would also like to remind people that just because your exact question hasn’t been answered to the full scope you’re looking at, doesn’t mean you can’t get an answer as a whole. For example, we’ve discussed the concept of how and when to mix different cultures in the East Asian tag. Shira will cover your questions regarding Jewish representation below. 

However, I’m going to specifically tackle this from a research and worldbuilding perspective, primarily talking about a history of forced homogenization and how to avoid recreating colonialism/imperialism.

Notes on Language and False Equivalences

For starters, basically all of these groups are too broad. By a long shot. Either they flatten sometimes dozens to thousands of cultures (“Native American country” is in the thousands, “West Africa” is in the hundreds, “China, Japan, Korea” is in the dozens, if not hundreds, same deal with India). This language use makes people pretty uncomfortable, because it implies that the basis is stereotypes. It implies you haven’t done research, or, at least, haven’t done enough. When discussing nuance, it’s best to imply you understand there is nuance— like you did with Africa and Jewish culture, but neglected to do everywhere else.

You also go very broad with all non-European cultures, but narrow down a general homogeneous part for your European analogues, by picking Germanic and Celtic.

This double standard is something that is exactly what we try to draw attention to at WWC: to our ears, it sounds like “I’m taking Germanic peoples for Europe, but I’m going to mix three East Asian countries because those two regions have the equivalent amount of sameness that I can pass it off.”

While that sounds specific to just you, it’s not. We’ve received this type of question dozens of times in the past and it’s a general cultural attitude we’ve faced lots and lots and lots of times. Western society makes you think the equivalence is equal, because they’ve flattened all non-European countries with the single broadest brush, but it’s not.

I would also caution you on relying on media images for face claims, because media images only represent the idealized version of beauty. We’ve written multiple description guides that point out how much variety exists within all ethnic groups and how people seeing us as all the same is a microaggression.

You are right that you can’t tackle all of the world’s diversity into your worldbuilding, because, well, there is so much. The core of your question is basically how to narrow it down, which is what I’m going to tackle.

My suggestion is twofold: 

  1. Research big, top level things, over a few centuries— namely, keep track of empires that have tried to take over places and look at what groups Western society lumps together when it spreads multiple regions.
  2. Build small with a focus on a very specific place and group— namely, pick the smallest possible region you can and see what you have to build from there.

Researching Big

Researching big helps you catch what not to flatten, or at least, where flattening might be reinforcing situations that a government perpetuated. I’m going to focus on East Asia since that’s the bulk of your question, and it’s also where I’ve spent some time worldbuilding. The principles apply to all groups you’re trying to research.

East Asia— namely Japan, Korea, and China, although that is an oversimplification itself— is composed of two empires: China and Japan. This makes homogenization extremely risky because you’re touching two nerves of countries trying to take over in very recent history.

China has taken over a very large swath of land over centuries, and still has independence fights to this day from their recent history. As a result, they have both a roughly overreaching culture because the empire is so old, and a very fractured culture with over 50 recognized ethnic groups. When you think of “Chinese” you usually think of the dominant Han Chinese, but because of its old empire roots you can get a giant variety. In modern day, some provinces have kept their individual culture, while others have been part of China for so long there is a general “sameness” to them that can capture the flare you want.

Japan’s imperialism is similarly recent, only ending in 1947, and it left wounds across the Pacific (including Korea, China, Taiwan, the Philippines, and Malaysia). Many of their actions are classified as war crimes. They’ve also erased their own Indigenous population by insisting only one ethnicity lived in the country. Both of these factors make mixing Japan into an “East Asian” mix tricky. Japan’s culture, while heavily impacted by China and Korea, is pretty distinct because of its island status.

Big research also lets you see the neighbouring areas at a time borders might not have been the same. For example, in the 1600s, China was much smaller because the Manchu External Expansion hadn’t happened yet. As a result, places we now think of as “Chinese” actually weren’t, and you’ll have to account for these differences in your worldbuilding. You can determine this by looking up historical maps/empires, which might require book research (libraries are wonderful).

This does not mean you can ignore recent history, however. Because the story is set in modern day, people will be viewing it through a modern lens. You need to research both the modern and the historical context in order to understand how to go about crafting a respectful world.

So that’s stuff you would’ve discovered by big research. By tracking empire movements, you can see where old wounds are and what historical contexts exist within whatever region you’re pulling from. If you take North America, you can see how each individual tribe is cast aside in favour of settler stories; in Africa, you can see how multiple empires wanted to plunder the land and didn’t care who it was; in the Middle East, you can see both the recent military involvement, the historical Ottomans, and the historical Persians.

Build Small

You can also see what empires influenced their regions for long enough to create a similar-ish culture throughout multiple regions, which can help you extract the essence you’re looking for. I would add a very large caution to only do this for historical empires where those who suffered under the regime are not fighting in present day/ have living memory of it (such as incorporating too much of England, France, or Spain in the Americas, along with the two examples above).

Now you can build small. If you wanted to give a sense of, say, coastal China with a heavy amount of trade, you can pick a major port city in China and figure out the pluralism in relation to that city. What parts identify it as Chinese (architecture, governance, food, general religious practices— folklore changes by region, but the general gist of practices can remain similar enough to get a vibe), and what parts are borrowed from a distinct enough culture they’re noticeably different?

By going from a city level, you can imply pluralism by throwing in asides of differences “out there” that shows you’ve thought about it, without cramming your world full of cultures you can’t fit in the plot. You can then also narrow down what to include based on map proximity: if there’s an easy sea or land path to an Egyptian analogue, you’re probably going to at least hint at it. This is a known historical trade, btw. Egyptian blue and Han purple are made of similar substances, pointing to an ancient cultural link.

You can research this by simply googling the country and looking under its history in Wikipedia. If you look up “China”, you can see “Imperial Unification” as one of its history points. “Japan” similarly gets you the Meiji period. Turkey shows the Ottoman empire. You can also look up “empires in [region]” that will give you a similar overview. This even works for places you don’t think have historical empires, such as North America (the pre-colonization section notes several).

This also is a starting place for what the borders would’ve been during any given time period, and gives you places to potentially factor in military involvement and recent strife. This is where modern research comes in handy, because you can get an idea of what that strife looked like.

Hope this gives you an idea how to go about worldbuilding a diverse population, and how to avoid paralleling recent wounds. 

~ Mod Lesya

Regarding Your Jewish Characters

I think it’s valid to reflect our real history in fantasy although if you dwell too much on the suffering aspects and not the “richly varied cultural traditions” aspects you’ll probably lose some of us because suffering-porn written from the outside gets old fast (if you’re Jewish yourself you 200% have the right to write this, of course.) Human Jewish characters living in pockets in fake-northern-Europe and fake-Mediterranea and fake-North-Africa (or even Fake China and Fake India; we’re there, too) is actually injecting some well-needed historical accuracy back into a genre that’s been badly whitewashed, gentilewashed, etc by imagining a Europe where nobody but white gentiles existed until they conveniently popped into existence during whatever era the writer thinks is appropriate.

In other words, if your fake Germany has a Jewish neighborhood in its largest city, that’s a way of making pseudo-European fantasy more realistic and less -washy, and is overall a good move, despite the fact that the destruction of the temple is the reason we were in Germany in the first place. (I mean… it’s not like you’re planning on sitting there writing about Tisha b'Av itself, right? You don’t have to say “And the reason there are Jews here is because a bazillion years ago, we wound up getting scattered” just to have Jews.)

By the way, having myself written secondary-world fantasy where entire countries, plural, get to be majority-Jewish, and 100% free of on-screen antisemitism, I think both ways are valid.

–Shira

Smol Lloyd Headcanons

*Lloyd lost both of his front teeth, not from cavities, but by accidentally bumping into the chalk board at school.

*Smol Lloyd has an undercut. I said it.

*Ties his bangs into a unicorn horn for fun

*One of the slower kids while playing kickball. His short legs don’t carry him far.

*An insects kinda kid. Specially butterflies.

*More into tea than juice or milk. (He prefers juice as a teen)

*learned how to sing his abcs backwards by heart.

*That asshole who colored in the lines but never fully. You know who I’m talking about.

*Cheated on his spelling test. Still got a 70.

*Worst subject in school was P.E. next was his actual “evil acting” classes.

*Favorite candy is kitkats. Cookies n cream hershies come in close second.

*Stands at like. 4'3ft. He’s a smol.

*Painted on the school’s chalkboard more than once. Never got caught though.

*Really good in music for some reason.

*Always had those little dinosaur animal crackers for snacks. (Every kid was jealous)

*I know I said this before but. Smol Lloyd can magically stick onto the ceiling like a mother fucking bat and nO ONE can get him to come down until he falls asleep.

anonymous asked:

Is Touken canon?

in my heart, yes~

but nah, personally I won’t call it ‘canon’ until Kaneki explicitly reciprocates. The way I see it, that was the whole point of this scene:

Kaneki realises that this conversation was Touka confessing her feelings but before he can form any sort of response, Tsukiyama interrupts. 

And honestly, I’m glad for it. I don’t think Kaneki is ready to confront those feelings. Even with the crippling fear of one day disappearing, romance was something Haise was able to entertain; he had the time and inclination for love-filled fantasies. Much like Kaneki in the beginning of the story with Rize. But especially after Aogiri Arc, Kaneki has always been struggling under the weight of all the shit life has thrown at him and desperately throwing up walls between himself and others. Romantic feelings just don’t seem like something he’s been in the right head space to recognise or accept when he’s ‘empty inside’ as Seidou put it, both in TG and :Re. I mean, he couldn’t even understand how much the people around him loved him and wanted him to ‘live’. 

I actually think this was the 1st time Kaneki had remembered and reflected on his behaviour towards Touka as Haise.

After getting his memories back, Kaneki was in a very dark place for those 6 months or so as Black Reaper so its not surprising.

It’s clear as day that Touka and Kaneki are so important to each other but I don’t think Kaneki has ever actually entertained the possibility of him and Touka together since Haise.

“Touka… and me?”

But Touka being open and honest about her feelings, spelling it out for Kaneki because he’s… a ‘bit’ oblivious to the feelings of others, was a first step. He’s always been so focused on pushing Touka away to protect her that Touka’s confession came at a huge surprise. Now (pretending that everything with Mutsuki is going to turn out A-OK) Kaneki has the time to sit them aside and examine his feelings for Touka properly, reflect on the feelings he had as Haise and figure out whether those are something he still wants to pursue. He can come to terms with them at his own pace.

I’ll just put it this way: I also thought Touka’s feelings for Kaneki was blindingly obvious but I would never have said ‘canon’ until last chapter. I also think Tsukiyama has romantic feelings for Kaneki but although they’re implied in canon, I won’t give it that label until Shuu explicitly calls it ‘love’. I follow the same rules with anything. Haise felt romantic interest towards Touka; the chapter they met again was called ‘Inherited Feelings’. That’s up to your own interpretation to decide whether that implies more about Kaneki’s side of things. Only when Ishida addresses it again will we know whether we were meant to be reading between the lines there or not. 

no matter the results of the tony nominations next week, at least we can all agree on one thing…….……cats is the fucking worst.

do you ever lay in bed and realize how not okay you are
—  (via sturzpoesie IG)

anonymous asked:

Hey! Just an author who wanted to ask the lovely writer of the prompts: How do I write a mermaid in the human world? Mermaids study it like another country but the closest they get to humans is by swimming near land. What's her reaction to first seeing the human world? How does she act at first? I understand it depends on the character but I want to know what to keep in mind for a realistic reaction. (Btw the mermaid didnt become human shes just in a wheel chair guided by her friend)

I would imagine it would be something like being immersed into any foreign culture, just slightly more extreme. There are a lot of everyday things that we talk for granted as being just “normal” so try to think outside the box. You could try to think of it like how you would feel visiting the moon or Mars for the first time. I think the first few moments would just be awe and “simple” curiosity in the land. As she really starts to experience land is when the differences really hit her. If you’ve ever spent a few days in a different culture you probably know that there are always little things you may not have thought of before. Environment differences, the food, the way people carry out their lives…Do merpeople have the same sort of daily scheduling based around the rising and setting of the sun since deep under water there wouldn’t be as much sunlight? Maybe she is astonished by all the different kinds of food that grow on land and misses the things she finds underwater. If she’s never been on dry land, how does she react to fire? Does she feel uncomfortable with how dry the air can be sometimes? 

(Sidenote: sorry I took a while to post answer you, I thought it had been scheduled to be posted but I guess not :o)