protagonists of colour

☆★ DANCING STAR NIGHT!!! ★☆ 

congratulations on the announcement of P5DSN! (´▽`*)

anonymous asked:

So I really, really enjoyed the Shadowrun CRPGs Harebrained Schemes put out a few years ago. They were well written with good characters, and the combat was extremely well balanced. Like XCOM (as I understand it; I haven’t played XCOM) but with less punishing difficulty. The thing is, I haven’t found any game since with similar combat. Most tactical RPGs are too fiddly for my tastes, or have big-picture strategy elements that I don’t care for at all (again, like XCOM). Any recommendations?

I have to preface this post with a caveat that my taste in turn-based tactical CRPGs tends to run substantially more board-gamey than how Hairbrained’s Shadowrun series plays, so these may not be entirely what you’re looking for. That said, you could have a look at any of the following:

  • Children of Zodiarcs - A fantasy title that pairs a traditional battle grid with collectible card game elements: attacks and spells are played from a personalised deck of cards, and the outcome is determined by virtual dice rolls. The deckbuilding and dice-crafting systems are admittedly a little fiddly, but they completely replace the character and inventory management elements of more conventional CRPGs, so it really depends on which you find to be more obtrusive.

  • Phantom Brave - Fair warning: this one’s a PC port of a PS2 game, and while it’s not the worst port out there, it has all the usual issues attendant thereto. If that’s not a dealbreaker, though, you’ve got a very unique tactical wargame on your hands. In a nutshell, all of your units are ghosts, and you have to send them to possess objects on the battlefield in order to take corporeal form; the nature of the object modifies the stats of the resulting unit. On top of that, nearly everything can be wielded as a weapon - including opposing units!

  • Tahira: Echoes of the Astral Empire - If you just want to focus on individual battles, this is the game for you. Not only is there no character or inventory management, there isn’t even any grinding or recruitment; your available units and their stats are fixed for each scenario. The closest it comes to big-picture strategy are a handful of visual-novel-like decisions in the story bits. The sides are quite large, though - you’ll routinely be juggling a dozen units at once - and the difficulty can be pretty unforgiving unless you dial it down to the lowest setting.

  • Ticket to Earth - A tactical CRPG/puzzle game hybrid where the power of your attacks depends on matching symbols on the tiles you walk across as you move about the battlefield. It’s definitely on the light end as RPG elements go - the story is basically a framing device to justify the gameplay - so the characters, while likeable, aren’t particularly strongly characterised; you may want to look elsewhere if depth of writing is a must-have for you.

anonymous asked:

Do you have a favorite guide? something like "Story Plotting for Idiots" type thing? I think I'm pretty well read in terms of lit and movies and such. But I'm at a loss as to where to start to start working on my own. I have TONS of ideas, always have, but the organizing of something longer than say, 500 words always gets bogged down. HALP?

I guess the closest thing to a favourite writing guide that i have is Stephen King’s On Writing, though there’s less ‘this is how to do writing’ and more ‘this is how Stephen King does writing’. Fortunately, or unfortunately, depending on how you think of it, there’s no single way to approach writing that is going to work for everyone, it’s all very subjective and personal.

Even going from one project to another, sometimes the same approach won’t work, it’s a matter of what works for you at that moment, for that project.

You can google ‘how to write’ and you’ll come up with dozens of ‘foolproof’ guides and approaches, ‘save the cat’ or ‘the snowflake method’ or a dozen other things. Some of them will have elements that will be helpful to you, and you should feel free to cherrypick what you need and discard the rest – these approaches are written by people for whom they’ve worked. If it doesn’t work for you don’t agonise over it, just move on, try another approach. Keep on plugging.

That said, the one approach that I’ve consistently been able to use and have work for me, is a very blunt approach. Similar to Stephen King’s ‘write three pages a day every day’, and sort of inspired by the whole NaNoWriMo approach to writing, “BICHAK” (Butt in chair, hands on keyboard).

I call it ‘tippy tappy’.

What I do, is I have my ‘outline’ – which is usually a single sentence describing what will happen in a scene, plus a couple of sentences about the emotional/ conflict outcomes that should come from that scene – and then I sit down, set a fifteen minute timer, and just type until the buzzer goes.

So long as you keep tippy tappying on the keyboard for the whole amount of time, you’ll have something to show for it. One scene at a time, one fifteen minute chunk at a time, and that’s pretty much the only way I get anything substantial done.

Now as to HOW to plot?

I seldom know exactly how my story is going to go, or how exactly it will end. I’ve talked about a Problem based approach to narrative, and I start with that, generally. Here is a Problem that is going to affect the characters, who are these people and how are they going to react to it, what is going to happen in their lives as a result of the problem?

I’ll use my current project as an example, I’m about 4000 words in, it will probably wind up being around 60-80k by the time it’s finished. My outline so far encompasses the first two chapters. At the moment I don’t know exactly what the antagonist is going to do, but I do know how to lead up to it.

My outline looks like this:

[Sorry about the blurring, I just wanted to show how I have it laid out without folks reading my awful notes!]

So I have an A4 notepad, ruled with a line down the middle, just for personal preference. In blue headings and green notes, I have my outline for chapter one. I’ve finished all but the last scene in chapter one, and I’m at 4000 words in the manuscript, so you can see it’s a fairly compact way to outline. 

The black heading and red notes is for chapter two. It also just happens that I’m writing from alternating perspectives between my two protagonists, so the different colours helps keep those two POVs distinct. I may or may not write a chapter or two from the antagonist’s perspective at some point, and when it gets to that I might pick a third colour set to write those in, depending on how complex my notes are to look at.

When outlining, the main thing that needs to happen is that you have to be able to tell at a glance what you’re up to and what you wanted to happen next. I quite often get into trouble because I’ll start writing an outline and then wind up accidentally writing on my outlining page, I get so caught up in details that I forget the longer-term goals that I set out intending to write down.

Using bullet points to keep outlines manageable is something else that I’ve found helps. Keeping things simple ‘Jack wants X but he’s conflicted about Y and that leads to trouble with Z’. These are just the notes to remind yourself of the path you’re going to take. And if you find a path that branches off in a direction you didn’t expect, but it looks more exciting? Take the branching path. Keep your old notes in case it leads to a dead end, but after wandering around you’re going to have more material to work with, and more material is always good.

No writing is wasted.

I have TONS of ideas, always have, but the organizing of something longer than say, 500 words always gets bogged down

Okay, having tons of ideas is a way better problem than having not enough ideas, so we can work with this. 500 words is a great starting point.

  • Pick your favourite ideas that you think will fit together.
  • Decide what you think the big Problem of the story is going to be, what do your characters need to resolve in order to have an ending?
  • In one sentence, write down what will happen in the first scene
  • In 1-3 sentences, write down how the main character will feel about it, what changes for them in the course of that scene, and what they want going forward.
  • Do the same for the next two or three scenes.
  • Sit down at your writing implement of choice (computer, notebook, stone tablet, etc)
  • Set a timer. You can start with ten minutes and work your way up. Sometimes I do 20 minute or 30 minute stretches, but mostly I find that 15 minutes works best for me, personally.
  • Close all windows except for your writing project, pause netflix, turn the tv off. Have your outline beside you.
  • Start the timer and until it goes off you’re either writing, or you’re staring at the blank page. Trust me, writing is a whole lot better than looking at a blank page.
  • Keep writing. Tippy tappy.
  • When the timer goes off, go get a drink, walk around. Look at facebook or scroll tumblr, whatever you want to do.
  • Repeat until you have a novel.

Essentially, whatever system you pick can only take you so far, no matter how you organise it, writing a novel is a whole lot of just sitting down and writing. One letter after another until you have 80k words. Tippy tappy.

I find that not worrying too much about the whole novel helps. I just focus on the next 5000 words. I know what will happen in the next 5k, and I can write 500 words and then 500 words and then 500 words, and it adds up. 

The overarching Problem of the story keeps the gist of the scenes pointing in the right direction, and having the open-endedness of the plot as a whole means that if I suddenly discover a new direction as I’m writing I don’t have a whole bunch of outline work that I suddenly feel like I’m abandoning or losing.

Figuring out what outlining method works for you is going to take trial and effort, but you’ll get there. One scene at a time, one paragraph at a time. Every little bit will help you learn what you’re doing and what you want to do.

Might be a coincidence but the last Stevenbomb had a bit of an Alice in Wonderland/Through the Looking Glass theme going on?

We got protagonists running from two colour themed queens: Yellow and Blue Diamond

The Caterpillar: Fluorite

Tweedledum and Tweedledee: Rutile Twins

The White Rabbit (character who’s always late): Padparadscha

aaaand…IDK what Rhodonite would be. That’s as far as my theory goes xD

Diversity in Anime

Masterpost of anime with diverse culture, sexualities, or body types whether it is a minor or major roll.

Disclaimer: I will be adding anime here I have watched only, feel free to add more; as well as anime I may not have liked. Recommended anime will have a  ❤ beside it.

* Means I have not watched the show, but friends have

A:

Accel World: A romance action show where the main protagonist is chubby

Afro Samurai: An action adventure show where the main protagonist is a person of colour

*Aoi Hana: A romance show that deals with sexuality and gender issues

Assassination Classroom : A school life show where the main protagonist deals with gender issues, as well as a chubby side character

B:

Bakemonogatari (Monogatari Series) : A mystery drama show where a major character is lesbian

Black Lagoon: An action adventure show where the setting of the show takes place in Thailand and features many characters that are person of colour

C:

Charlotte: A school life show where the final episode has minor characters of colour because of some fucking random trip around the world

Cowboy Bebop : An action show where most of the main characters are person of colour

D:

Dangan Ronpa the Animation: A horror (?) school life show where several characters are person of colour and one deals with gender issues

Death Parade :  A drama show where several minor characters are people of colour

*Denpa Kiyoshi: A comedy school life show where a major (?) character deals with gender issues 

*Dimension W: An action show where the main protagonist is a person of colour

Durarara!: An action drama show where minor characters are people of colour, as well as 2 minor characters that are bisexual (if you’re okay with incest)

F:

*Fate/Stay Night, Fate/Zero: An action adventure show with a major person of colour

G:

Gangsta.: An action drama show where majority of the cast are people of colour

*Gatchaman: An action show where a major character is genderfluid

Gatchaman Crowds: An action comedy show where a major character is transgender

Gekkan Shoujo Nozaki-kun : A comedy slice of life show where a major character is gender fluid

H:

HaruChika: A mystery comedy show where most of the characters aren’t heterosexual, the main character revels that he is homosexual. As well as a major character of colour

I:

Idolm@ster: An idol show where a major character deals with gender issues

J:

*Jellyfish Princess: A comedy show where a major character is genderfluid (or Trans, I haven’t seen the show and this is what people told me)

Jojo’s Bizarre Adventure : An action adventure show where the setting takes place in different countries. Stardust Crusaders has major characters of colours. Has various body types

K:

Kekkai Sensen : An action comedy show where majority of the characters are people of colour with varying body types

Kill la Kill: An action adventure show where a major character is a person of colour, as well a different body build. As well as the main characters being lesbian (not confirmed, but they went on a date so? hell yea)

L:

Little Witch Academia : A comedy OVA (original video animation) where characters have different body types

M:

Macross Δ (Macross Delta): A mecha idol show where the setting takes place in Dubai, with varying people of colour as well as body types (the show hasn’t aired yet, but the first episode special has, showing the setting)

*Maria†Holic: A comedy romance show where most major female characters are lesibian

Marshmallow Oji-san: A comedy short where the main character is chubby

Mawaru Penguindrum : A drama romance show where a major character is lesbian (or bisexual, she married a man but likes to do things with chicks)

Michiko and Hatchin : An action drama show where the main protagonist is a person of colour, as well as most of the cast being people of colour

Mikagura School Suite: A comedy school life show where the main character is lesbian (or has a strong preferance of girls), and a major character who is genderfluid

Mirai Nikki : An action horror show where a major character is homosexual, as well as varying body types

N:

*Nana: An idol drama show where the main protagonists are lesbian

Neon Genesis Evangelion: A mecha drama show where a major character is homosexual and the main protagonist who is bisexual

O:

One Punch Man : A comedy action show where most characters have varying body types

Ore Monogatari!!: A romance slice of life show where the main protagonist is fucking huge

Oishiete! Galko-Chan: A comedy school life show where the main protagonist is chubby (or thicc)

Ouran Highschool Host Club : A comedy school life show where the main protagonist is genderfluid

P:

Panty and Stocking with Garterbelt : A comedy action show where a major character is a person of colour

Paranoia Agent: A horror mystery show where a major character is a person of colour as well as most of the cast having varying body types

Persona 4/Golden the Animation: An action (?) comedy show where a major character has gender problems, and another is questioning his sexuality

Pokemon: Brock

Punchline! : A comedy show where the main protagonist is transgender, as well as a major character being a person of colour, other major character is nonbianary and major characters are pansexual. has a poly relationship

R:

*Rakudai Kishi no Cavalry: An action show where a major character is transgender

Ranma ½: An action comedy show where the main protagonist is able to switch from being male to female

Ranpo Kitan: Game of Laplace : A horror mystery show where the main protagonist is genderfluid as well as most of the major characters being homosexual

Revolutionary Girl Utena : A romance drama show where the main character is bisexual as well as several major characters being people of colour, and are bisexual

RWBY : An action school life show where most of the cast are people of colour (inb4 shit heads tell me this isnt an anime, fuck of)

S:

Sailor Moon: The cousins

Sakura Trick: A romance school life show where the cast are lesbians

Shingeki no Bahamut : An action adventure show where most of the cast are people of colour as well has varying body types

Shingeki no Kyojin: An action drama show where most of the cast are people of colour, as well as major characters being lesbians

Shinsekai Yori ❤: A drama horror show where major characters are homosexual

Shirobako ❤: A comedy drama show where majority of the cast have varying body types

T:

Tamako Market : A slice of life romance show where several major characters are people of colour, as well as a minor transgender character

Tatami Galaxy ❤: A drama romance show where most of the cast have different body types

Teggan Toppa Gurren Lagann : A mecha action show where most of the cast have different body types as well as several minor characters who are people of colour

*Tiger and Bunny: An action show where a major character is nonbianary

Tsuritama : A comedy slice of life show where a major character is a person of colour

Y:

Young Black Jack : A drama show where most of the characters are people of colour and discuss racism

Yozakura Quartet ❤: A comedy action show where a major character is lesbian

Yuri Kuma Arashi  ❤: A drama romance show where most characters are lesbian. Other major characters are nonbianary

Yuru Yuri: A comedy school life show where all the characters are lesbian

Female Protagonist of Colour #37 - Alex

Oxenfree came from nothing and hit with surprise and success. Its protagonist Alex is now entering this squad. She is of young age but the dealing with her brothers death gives her a good reason to be more contra than before. That rebellious teen has no problem by getting through the wall with her head. Even if it means to break rules or to break the law.

Why 'The Legend of Korra' and it's portrayal of mental illness is important.

‘Book 4’ of Korra is so important.

In terms of representation, it is so, so important to the wider community of those who watch it. Because it is one of those rare instances in a television medium–more specifically a children's medium, where the portrayal of mental illness is done right. 

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Book 3 ended with Korra, out woman of colour protagonist, beginning her recovery from her traumatic experience with the Red Lotus, both physical and mental. The thing is? Most people thought she only had to recover physically to become better again. In today’s society, people believe that as soon as a physical trauma goes away, that the person who was injured all but disappears, and the original personality comes back. 

That isn’t the case. Mental trauma exists, it’s prominent, and it’s scary how under-represented it is, in both adult and children’s television and film media.

Children get mentally ill. Adults get mentally ill. Yet the common public are so ignorant about matters like this that they automatically assume “just smile and be happy” is a remedy for mental illnesses. That’s like going up to a person with a broken leg and going, “just walk it off”. You just can’t do it. It hurts, it’s hard to stand up, and you just want to go and lie down. It’s hard.

Why is this so important to me personally? I am mentally ill. I have been for over a year, and it is only now my family is noticing. It’s because of Korra’s portrayal of mental illness that I have been able to get the courage to admit that I needed help. Because so many of Korra’s actions have been parallel to my own.

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How many times have people–children, teenagers, adults, elderly–had a similar image to the one like above? Looking in the mirror and seeing a shattered form of who they used to be? Korra’s eyes tell the story of her pain already, all without words. And she can’t heal, because she can’t let the past event go. And rightly so, it was traumatic. And maybe we haven’t fought a life-or-death battle believing our father is dead, but I bet if you ask a person, “was there ever a time you looked at yourself and missed the person you used to be?” they’ll be a period of silence, before there’s a hesitant nod. 

Korra was built up in her life to be someone important. She was fed things that boosted her ego, and she became vain because of it. “I’m the Avatar! You’ve gotta deal with it!” Was her motto, and rightly so. She was an emissary of someone important. She fed off of positive praise, and became confused when people didn’t reciprocate it, (e.g: Mako). It’s only when she was hit with reality, in the form of Amon, Unalaq, and Zaheer (and as of late, Kuvira), and the circumstances around her, does she begin to feel like her place is for naught.

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Which brings me to the earlier part of Book 4. Tenzin is the embodiment of good intentions gone awry. He’s constantly reassuring Korra that the Air Nation will balance things out whilst she’s healing, and that everything will be okay without her.

Everything will be okay without her.

“Would it really mattered if I left?”

How many times has someone feared that in their lives? That nothing would change if they weren’t there? I sure as hell have experienced it in the past. Looking into that mirror and wondering just what significance I have in people’s lives.

And we as an audience know Tenzin is just trying to be a good mentor, and a good father-figure to Korra. We understand that he has the best of intentions for her, so that she can heal without the additional stress. But we as an audience can also sympathise with Korra’s struggles of not being needed, and by having others doing what she should be doing for her. 

And that, folks, is representation done right.

There’s no bad guy in Korra’s mental illness. There’s no looming cackling bad-guy who’s taking over Korra’s head and made her feel this way (though to be fair, that would be a good metaphor). There’s no metaphor’s for Korra’s mental illness.

It’s real. And this is a kid’s show.

Now, am I saying this because children are incapable of understanding mental illness? Not at all. But the fact that it’s being so well-written for a kid’s show is pretty damn impressive. 

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Korra is haunted by her past, and this causes her to relate her trauma to new circumstances. It’s her body’s red button saying, “ABORT, ABORT, I NEED TO GET OUT OF HERE”. It causes nightmares, it causes her distress, and we can see how it’s affected people around her.

For some, like Bolin and Mako, they’re worried, but they don’t understand what’s she’s really going through. They’ve got their own lives, their own worries, and Korra knows that. People like the kids are confused over why Korra isn’t raring to go like before. Adults, like Tenzin and Tonraq know Korra needs time. 

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Senna? Senna was a blessing in this scene. She’s a mother. Whilst she may not be able to get inside her daughter’s head, she knows Korra. She knows she needs time. Look how tired they both look, yet she still comforts her. Because that’s what good parents do. They shouldn’t judge just like that, make assumptions. Korra needs time, and Senna is going to give up as much as she is able so her baby is able to fly with those little wings of hers again.

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Let’s not forget Katara.

It honestly confuses me when people complain that Katara’s changed too much. Because she was the one who supported Aang when he went through a trauma like this. And what a damn good job Katara does. She doesn’t baby Korra, but she is lovingly holding back so that Korra can catch up on her own. She is sad, yes, but she’s doing all she can for her. She knows Korra has to reach a conclusion on her own, and Korra can confide in her for that.

People with mental illness do not need babying. They need support. There’s a big difference between the two. They made depend on you, get frustrated, cry, whatever, but at the end of the day, they may need you. And it’s okay for them to want that.

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If there was ever a calling for a well-done female friendship, it was between Korra and Asami Sato.

Though they met through being in a love triangle with Mako, the friendship that evolved between the two of them during Book 3 was beautiful. Now, for the sake of neutral grounds, I won’t be looking at Asami’s role in Korra’s mental illness from a romantic perspective, but please note I am a Korrasami supporter.

Asami has been through a lot. Heiress to a company her father had built from the ground up, only to have that responsibility thrust onto her at an early age (and yes, nineteen is an early age), having lost almost everything she ever knew within the space of around two years. And still, still, she managed. Why? 

Because Asami had all this tragedy come in small doses. The death of her mother? Happened when she was around six years old. She still had her father, she still held onto her love for the bending arts. Her father’s association and siding with the Equalists? She still held her beliefs, she chose to make that conscious effort to side with her friends. She did crack under pressure, but unlike Korra, she was never built up on a pedestal. Asami Sato’s life was wrought with tragedy, but she’s learned to cope with it. 

Which is why she has such a bond with Korra.

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If there was anyone who represented how to help a friend through the stress, it’s Asami. She’s not a psychologist, and she’s certainly not an Earthbending master who can deliver a few hard truths, but she’s someone Korra trusts. And in a time where mental illness hurts, that is such a blessing to have. 

She let’s Korra know she’s not going to pressure her. That it’s okay for her to take time out. That she’s still important, despite all that’s happened. Most of all, she promises that she’ll be there for her. Talking, or anything. She’ll be there. No matter what.

Asami doesn’t sacrifice everything to cater to Korra’s needs. But she is there for her. And Korra knows that, which is why she manages to confide with her about her troubles. Some of them, but it’s better than nothing.

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And even through getting that poison out of her? Korra still has delusions. She’s still haunted by everything. Because though her physical injuries have healed, she tried to go into sorting things out too early. She’s not mentally ready.

It’s okay to admit that.

I was actually shocked when I saw this episode’s clip here. I honestly thought, “well, they did 'The Calling’, but I doubt they’ll do anything else when it comes to Korra’s mental state”. And I am so glad I’m wrong. I’m glad that this is a massive subplot. I’m glad that Korra’s issues aren’t being swept under the rug. And whilst the writing for this isn’t perfect, it’s pretty fucking good.

Mental illness is such an important issue to tackle, and it needs more representation in today’s media, especially when it comes to talking to children about it. Children need to know that it’s okay to admit when you’re not mentally sound, and that there are people who will believe them. Parents need to listen when they’re kids say they aren’t well, because they probably aren’t. And I applaud The Legend of Korra, it’s writing staff, and Bryke for doing such a magnificent job in the portrayal of it. 

Rebloggable Masterlist

This is a rebloggable version of my Masterlist page.


Gender:

Race:

Sexuality and Romance:

Disability:

Religion:

Nationality/Ethnicity:

Other: