Diana Elena

So much of fantasy and science fiction (obviously not all) is a warning against arrogance, hate and prejudice, against wealthy elites who accumulate wealth and power at all costs and how they pervert society and destroy lives.
And yet technofascists like Musk are intent on misreading these works

My birthday is tomorrow!

It's Brian with a word bubble that says I want more seven out of 10 games with whatever graphics and weird ideas made by cool people that don't use ai and I'm not kidding

BAHAHAHAHA XD
omG love that

heyo, that me!
thank you so so much!

W/o downloading anything new - where are you mentally?

A battle cry! 🫂

😂 10/10 this got me chuckling consistently while doing the dishes lol

Woops. I got confused, there are screenshots here of two different critiques from different people, but I thought they were from the same person.

bsky.app/profile/nohu...

Also to be clear diana is doing a good job not saying who said what outside whats in the critques. There is more then one person telling me to just idk what they want from me

bsky.app/profile/nohu...

bsky.app/profile/phan...

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Both of these were highlighted to me by Nohua, so credit to them

Thought 1:
bsky.app/profile/litt...

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Jesus, I said I wasn't going to go "too deep in the water with this," and here I am an hour and a half later. Talk about autistic hyperfixation.

This is all I got in me right now. I'm stepping away for my own personal wellbeing.

But I do want to finish up with two thoughts.

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Through the same old tired tropes.

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I'm highlight this here because, even though Nohua's comic does take place in a city, it is fundamentally a story about the dual complexity and mundanity of BIPOC life.

In the same way that critiquer refused to engage with the representation of BIPOC life in the comic, they frame IRL

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isn't by necessity an intercity thing. It's just framed that way, when white folks talk about POC communities. But that framing only really functions to obscure the reality of POC rural communities.

To obscure the complexity of POC communities, into an easily digestible stereotype.

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I grew up in a city, but that is not the universal experience of all POC. I wanted to highlight this as another example of the critiquer creating a narrative and fitting Nohua and their comic into this narrative. Nohua didn't grow up in the city. They grew up in a rural space. Multiculturalism

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Wrapping around to my last point. When Nohua asked to speak with the critiquer a bit more, this was the reply received.

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a storytelling flaw. And when the creator who received this critique expressed frustration, even while preserving the anonymity of the critiquer, this was deemed "a crash out." A breaching of the norms of polite professionalism.

bsky.app/profile/benj...

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Because BIPOC ways of speaking are subject to policing that white ways of speaking are not. Hence the critique that began this entire situation, urging a BIPOC creator to make their narrative more sensible to a white audience. A critique which framed a different cultural perspective as

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You might not hear that with a white audience. Or rather, the shifts in language that you'll hear are between the different dialects of the white community.

These different white dialects have been treated as universal in a world shaped by colonialism, but BIPOC ways of speaking have not.

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consumed primarily by white audiences, and you're going to find commentary on "sociopolitical and racial" topics, "interpersonal relationships," and "consumer-capitalist culture."

The only difference is the framing. In a BIPOC context, you may hear the language shift as the topic is discussed

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responsibility of a BIPOC creator to cater to white sensibilities about storytelling.

Another point: white narratives do this too. ALL stories deal with a multiplicity of themes, because all stories are at the end of the day about people. Take any story written by a white creator and

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listen more carefully. It's probably an even better idea to consider the possibility of there existing in the world valuable narratives, beyond those with which you are personally familiar.

While it is the responsibility of a creator to communicate clearly to their audience, it is not the

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when I say the critique isn't engaging with the comic on its own terms.

It's urging the comic to become comprehensible to white readers, by stripping it of the ways it talks directly to readers of color.

If you don't understand what a creative is work is saying, it's probably a good idea to

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It's saying that a white audience is going to be so tripped up by different languages and characters openly talking about race, that they're going to struggle following. It's saying the BIPOC/Latine/etc people FOR WHOM THIS IS DAILY LIFE either don't exist or don't matter.

This is what I mean

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comprehensible to its intended audience.

To say that it wouldn't be comprehensible, that it couldn't be, implies a universalization of the kind of audience for whom it *would* be confusing. It implies otherizing the community that *wouldn't* be confused.

Let me be plain.

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different ways.

Which is to say, hearing someone can talk about "sociopolitical and racial commentary," "interpersonal relationships," and "consumer-capitalist culture" in the context of a single sentence. That sentence could switch languages in the middle, and still be perfectly

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the comic, who grew up in a rural setting, I grew up in the city (as did the critiquer--this will be relevant later). My normal state of being is moving between different cultural groups, each of which hold a range of understandings about the world and express these understandings in several

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