Latest Posts by antoniachuu - Page 10

KIKI'S CHARACTER ANALYSIS ON TAKIISHI CHIKA

BEFORE PROCEEDING TO READ i want to clarify that this is my opinion and my take on his character before we get to know more about him in the manga. i know that the way i write about him is not what he really is, and that can cause conflicts but i am trying my best! contains small spoilers ahead! anyway hope you will enjoy!

Written on August 9th 2024. Posted on August 10th 2024. Edited on

Takiishi Chika is expressive only when he wants to be, but most of the time he is with that bored expression making it look like he is some kind of robot or haunted doll. As already known his face changes when he feels anger or when he fights with someone at his level or higher, it's when he gets happy and excited, because there is someone who will not bore him and keep up with the adrenaline.

He will not listen to anyone in whom he finds no interest. People can talk to him, but he will pay no attention to them. He will listen, catch a sentence here and there, and when someone mentions something that intrudes on him, he will listen without hesitation wanting to know more.

Strikes me as a type who is also very observant. Not only in a fight but when around people in a calm setting. Also intelligent, may not show it because he acts on impulse but everything is calculated.

Likes to light up fireworks when there's nothing better to do or people to fight. It's nice and something he can do on his own.

He likes to sit on the rooftop of buildings and look down on everything and everyone, either enjoying the view or the feeling of power. We again don't know why. But in Chapter 134: The Moment Longed For, when Endo Yamato receives a punch to his face because he stopped Chika's sudden charge at Umeniya, the conversation goes as such "But hey, Umemiya told us to go to the roof with him. It's been ages since we have been there. You like the roof don't you?" and then Chika freezes agreeing with what Edno said "Right. That's true." Then he walks past Umemiya telling him to go there, leaving everyone behind.

The question here is why Chika likes roofs so much, and what exactly does Furin's rooftop that Umemiya wants to show him? My mind directly goes to the garden. Is it to see one's growth despite its roots? What if Chika used to take care of the garden too? I know, it's a laughable idea and seems impossible but what if? So many questions, but not many answers. This is normal, seeing as how their battle is just beginning and the characters' internal and external conflicts are yet to emerge.

As stated, he is violent and short-tempered, he would never let anyone or anything block him from doing what he wants, it doesn't matter if it was a friend or an enemy. He is capable of destroying everything in his path. But personally, I think he won't hit someone if there's no reason to or if he isn't provoked in some way.

He doesn't care about the others, he only cares for himself and his enjoyment.

Of course, he knows many people and many people know him. But he isn't close with anyone besides Endo Yamato, even if they are childhood friends and their friendship is weird, Chika just lets Endo do whatever he wants — buy him clothes, paint his nails, find him opponents. He probably never asked for him to do such things but Chika knows how devoted the tattooed fool is to him, and so he played along. That leads me to a theory that he was spoiled as a child, that's why he doesn't question Endo, because he is used to getting what he wants and if something goes in his way, he will eliminate it.

Endo stated that Takiishi "began to fizzle out when he left Furin" meaning he was slowly losing his spark and maybe fighting out of boredom and not excitement. Chika is "The Strongest Man in Furin History". Probably in his first year, there wasn't anyone worthy enough to keep up with his pace and cause that fervor to ignite his flames.

Two years later when he dropped out of Furin Highschool he became a shadow and it was a few in the school who knew the truth about him, including Umemiya, the person Chika probably wanted to fight from the start.

In Chapter 142: Revelation, we see Takiishi in Endo's memories, and he has always been so aggressive towards the world, but unfortunately, we still don't know the reason why — perhaps a family conflict that indicates him being abused as a child; himself being bullied and then turning into a bully, or he was a prodigy too doing everything before other kids his age making him develop faster and he took advantage of that. So many theories. Hope we know in the future! [this part will be edited once his backstory is out]

God complex which may also be associated with mania or a superiority complex. Someone with a god complex may exhibit no regard for the conventions and demands of society and may request special consideration or privileges. GD is linked to Narcissistic personality disorder (NPD) with a diminished ability to empathize with other people's feelings. Even tho we don't see Takiishi being 'in love' with himself, he only cares about himself, and thus I will say he is probably narcissistic but not to such an extent.

But here I think the right word which should be used is Egoist — a self-centered, selfish person or arrogantly conceited person. Egoism comes in different forms as there are several reasons as to why someone may act in their own self-interest, such as ethics or rationality. The three main types of egoism are physical egoism, ethical egoism and rational egoism.

1. Physical Egoism

This type of egoism refers to the basic, instinctual drive for self-preservation and personal survival. It is often associated with natural instincts and physical needs, such as hunger, thirst, and the avoidance of pain. Physical egoism emphasizes the inherent tendency of living beings to prioritize their own physical well-being and survival above all else. In this view, self-interest is rooted in biological imperatives.

2. Ethical Egoism

Ethical egoism is a normative theory that suggests some individuals act in their own self-interest. It is a prescriptive approach, meaning it provides guidance on how people should behave. Ethical egoism posits that morally right actions are those that maximize one's own welfare. Unlike physical egoism, which is based on natural instincts, ethical egoism is a philosophical stance arguing that self-interest should be the guiding principle of moral decision-making.

3. Rational Egoism

Rational egoism posits that it is rational for individuals to act in their own self-interest because doing so leads to the best outcomes for themselves. This form of egoism is based on the idea that reason, rather than mere instinct or moral obligation, should guide self-interested behavior. Rational egoism suggests that acting in one's own long-term interest is not only logical but also the most reasonable course of action for achieving happiness and success. It often involves considering the consequences of actions and making choices that best serve one's goals in a rational, calculated manner.

In conclusion:

Takiishi Chika is impulsive, violent, and primarily concerned with his own physical needs and desires, aligning most closely with physical egoism. He doesn't seem to consider the long-term consequences of his actions, nor does he follow a moral code that dictates acting in his self-interest in a socially constructive way, which would be characteristic of ethical or rational egoism.

The behavior could be indicative of several potential mental health conditions or personality disorders, but it's important to note that diagnosing someone, especially when a real person requires a qualified mental health professional. However, I am not a professional and I am doing this only for my entertainment in the fictional world. There are a few possibilities that might align with the characteristics of Takiishi Chika.

1. Antisocial Personality Disorder (ASPD):

Individuals with ASPD often exhibit a disregard for the rights of others, lack of empathy, and can be prone to aggressive, violent behavior. They may engage in fights, show little concern for the safety or feelings of others, and may be manipulative or deceitful.

2. Borderline Personality Disorder (BPD):

While not always violent, people with BPD may experience intense emotional reactions, including anger and aggression. They can also have a pattern of unstable relationships, self-harming behaviors, and fear of abandonment, which might be linked to masochistic tendencies.

3. Intermittent Explosive Disorder (IED):

This disorder is characterized by sudden, explosive outbursts of anger or violence that are disproportionate to the situation. The person might feel a sense of relief after the outburst but may also feel remorse or regret later.

4. Sadistic Personality Disorder:

Although not recognized in the DSM-5, some traits could align with what was previously considered Sadistic Personality Disorder. This involves deriving pleasure from the suffering of others, which could explain sadistic tendencies.

Chika's behaviour is explosive or volatile sadism. This type of sadism is characterized by sudden outbursts of aggression and violence, often triggered by frustration or when the person feels someone is in their way. Individuals with this type of sadism tend to lack empathy, and their violent behavior can be unpredictable and intense.

In addition, his potential sadomasochistic tendencies suggest he might derive some pleasure from both inflicting pain on others (sadism) and experiencing pain themselves (masochism). This combination can make his behavior particularly volatile, as he may be drawn to situations that allows him to express both these desires.

5. Conduct Disorder (in younger individuals):

If the individual is younger, this could be a sign of Conduct Disorder, characterized by aggressive behavior, a lack of empathy, and a disregard for rules or the rights of others. This condition in youth can sometimes progress to Antisocial Personality Disorder in adulthood.

6. Narcissistic Personality Disorder (NPD):

While not typically associated with overt physical violence, individuals with NPD can display aggression when their ego is threatened. They may lack empathy and be manipulative or exploitative in relationships, only caring about others when it benefits them.

7. Psychopathy:

A more severe form of ASPD, psychopathy involves a profound lack of empathy, superficial charm, and often a tendency toward manipulative and violent behavior. Sadistic tendencies may also be present.

8. Post-Traumatic Stress Disorder (PTSD):

Individuals with PTSD may experience anger as a response to trauma reminders or as part of the hyperarousal symptoms. Irritability and angry outbursts. Feeling constantly on edge or easily startled.

PTSD develops after exposure to a traumatic event, and anger can be a coping mechanism or reaction to perceived threats.

9. Trauma and Childhood Experiences:

Anger issues can also stem from unresolved trauma, especially if it occurred during childhood. People who have experienced abuse, neglect, or abandonment may develop anger as a defense mechanism. Difficulty trusting others, leading to anger in relationships. Feeling easily threatened or provoked. Chronic irritability or anger without a clear cause.

This is all I can think of when I did my research. Chika definitely has something traumatic happened to him or he was someone's trauma.

But there can be a scenario with him just being born like that even if love and kindness were shown to him. We will know more once Satoru Nii drops his full backstory like he did with Endo and Umemiya.

TAKIISHI CHIKA'S CHARACTER IN MY WRITING STYLE

I don't want to make him too out of character for the sake of the people who like or will like him, as I want them to have the best experience while reading any of my works that includes him.

In many of my drabbles readers will get to see him being more soft towards the female character or his girlfriend as stated in the most scenarios. He is being vulnerable towards you. It is simply the way I imagine him when he gets to like someone who catches his attention: he wants to know everything, is being possessive, is more expressive, making space in his heart only for you, though his ego and pride would no go down but instead they will go up because he has something the others don't.

As I stated earlier, he will not listen or look at anyone in whom he finds no interest. That being said, and as a cliché as it sounds, you are different, he wants to have you to either a) play with you until you break or b) learn about the way you are making him feel, because his heartbeat only rises when he fights.

When Takiishi Chika learns to love, or at least tries, he realizes that he can tolerate people who get in his way, meaning he tolerates you and is extremely important for him to see you everyday. And if his nonchalant behaviour is due to a trauma, you are his free therapy.

I saw people who think he doesn't talk much, again he does, he chose to who, how and when. Even if it's one word, sentence or a punch, he will talk.

In my opinion the way he loves is unique, everyone has their own way to express their longing for the other. He doesn't know what love is, its a new term in his vocabulary, and you teach him the ways of being soft and tender.

He is protective of you, very fond by the way you show him how to do things and he acts on instinct. If he wants a kiss, he will get one no matter what. If he wants get intimate or just to initiate a physical touch, he without thinking twice would. Takiishi Chika is not a person who waits, unless necessary, because when he wants something he will make sure to have it. If he wants you he will get you. He is the living prime of "If he wanted, he would."

But then again he has another dark, manipulative and toxic side. Again he is not good or used to expressing his emotions that well, if he wanted to hurt you, unintentionally or not, he would. I know I'm repeating myself a lot with words, but it's true. Was it with a real or non-existent person, if they wanted to, they would do anything to or for you.

This is mostly what I have to say about him, in hopes of your understanding and if you got to the end of this long post, thank you! Takiishi Chika is not that complex of a character, he is pretty easy to understand in my opinion, as long you want to do it.

But it's my profile, my own way to express myself amd how i view a certain character. I would be happy if someone wants to discuss further issues with our blazing inferno Chika <3

And as the manga will continue and more will be understood, I will give it my best to describe and write not only about Chika, but also about all the other characters. I hope this was a hopeful guide to answer questions if you even had one.

Thank you Chika nation for the support, and thank you for reading and following through my writing journey! More is yet to come (⁠｡⁠･⁠ω⁠･⁠｡⁠)⁠ﾉ⁠♡

Honkai: Star rail | WHITE NIGHT

BUONO MARRONA BIANCA in 小悪魔ageha

scan credits @galrevo

O que é o Agejo, realmente?

O termo "agejo" veio da revista Koakuma Ageha e era usado para descrever as leitoras da revista, principalmente aquelas que se inspiravam fielmente nos tutoriais de maquiagem, cabelo e moda da revista. A Ageha é extremamente importante para entendermos quais exatamente são os elementos do agejo, que não se resume apenas a MA*RS ou combinações de rosa e preto. Sim, essas são características marcantes e icônicas que podem estar presentes nos visuais, mas a ausência dessas características não impede uma estética agejo. Por exemplo:

Essas são duas scans da Ageha onde as marcas usadas em cada exemplo estão listadas em inglês mesmo. Percebe que alguns designs poderiam ser confundidos com designs da MA*RS, que são os que mais recebem atenção internacionalmente quando o assunto é agejo, mas o nome da MA*RS não está listado? Isso é porque no auge do agejo, existiam várias marcas que lançavam designs com características voltadas a esse público, não apenas a MA*RS. O que me leva ao meu próximo ponto:

Dois exemplos de propagandas da GOLDS∞infinity, uma marca com diversas características agejo, no entanto, nem todas as co*des das imagens incluem necessariamente preto e rosa.

Os verdadeiros elementos que vão contribuir para uma co*de se encaixar na estética agejo são: feminilidade, glamour (numa visão gyaru), sensualidade, maturidade, a silhueta da co*de. Na maquiagem, isso inclui uma base uniforme, um contorno detalhado e delicado e afins. A atenção aos detalhes é máxima e cada elemento faz diferença.

Por outro lado, alguns exemplos de co*des gyaru que usam preto e rosa mas não têm os mesmos elementos agejo discutidos acima:

Mais exemplos, agora uma co*de gyaru sem intenção agejo (esquerda) e uma com intenção agejo (direita), apesar de usarem peças similares:

Agora exemplos de hime gyaru vestindo preto e rosa:

Se você se interessa por agejo, evite usar apenas referências da MA*RS e procure conhecer a Ageha de verdade, entender suas influências (como a cultura hostess e o ero-kawaii), conhecer as modelos da Ageha tanto quanto quem gosta de outros subestilos conhece as da Egg, busque por scans da Ageha! O que mais nos interessa não está nas partes escritas e sim nos visuais, não entender japonês não é um empecilho tão grande. O maior empecilho para suas co*des gyaru vai ser não ter referências realmente sólidas. Pesquisar por scans vai te ajudar a ter uma ideia melhor do que é uma co*de coerente, quais eram os trends de cada época, qual modelo você gostaria de usar como inspiração e afins. As fontes na internet são diversas e estão a sua disposição. Usar essas ferramentas é o que vai te ajudar a entender como ter um visual gyaru sem depender exclusivamente de marcas, podendo montar co*des a partir de roupas que estão disponíveis com mais facilidade. Aqui estão algumas fontes que eu recomendo, relacionadas ao agejo (você pode usar a tradução automática das páginas pra entender o conteúdo):

Galture

Shibuhara Glitter da Toxic Tsukino

Natsumi’s room da Natsumin

Scans da Ageha

Aventurine character study that I spewed at my friend posted here bc I despise whoever portrays him as a useless blonde 24/7 horny twink as his canon self (i will throttle you through the fuckin screen)

A/n: I think the 2.1 trailer is helping me regain my writing motivation, expect inbox asks from Jan- Feb to be coming out soon :)

WRITTEN BEFORE 2.1 This post will contain leaks, 2.0 Trailblaze quest spoilers, world quest spoilers, Aven's slave life in canon, disgusting people saying Aven's a sex slave, under the cut! Please proceed with caution if any of these trigger you. Thank you, and enjoy my yap session on one of the best characters in this game.

Aventurine's story is much more than just looking and acting like the typical rich blonde playboy, as much as he gives off those vibes. Looking at his child self in the 2.1 trailer compared to all of his current models, its very obvious that many, many things happened that caused all the light to poof from his eyes.

First, his homeland, Sigonia. Aventurine's home planet's is uninhabited, and perhaps even destroyed completely. Aventurine is the last of his kind left. His parents, his sister, his possible friends and relatives, hell, even all the people he doesn't know have all perished. The IPC took him in, I presume, but most definitely not out of kindness. In fact, it may not matter that Aventurine is one of the Ten Stonehearts, he is not a person to the company. He is just a asset, a piece for them to dispose if he fucks up.

In the 1.4? Belobog quest where Topaz goes to Bronya about Belobog's massive debt to the IPC, and at the end, we get our first crumbs of Aventurine's character. A important thing to note in this dialogue between the two of them is that he asks Topaz to the project manager on his project in Penacony, because if he knows better than everyone that if he fails to get Penacony back into the IPC's grasp, he'll die. There's no way around it, unless he gets someone he has a somewhat close bond with, Topaz, to lighten his fall.

The tattoo on his neck, is a symbol of his slavery to the IPC. How he's bound to them. How no matter how hard he runs or hides, he will never escape their grasp. In fact, he knows damn well, if anyone gets wind of this alongside his Sigonian history (Sigonians are notorious for being wolves in sheep's clothing, bad people in most eyes'), it is very well possible that his rivals and enemies will use his past to their advantage. Thats why he freely shows it to the world. So that no one can dig it up and use it against him, because how do you use something that he so freely proclaims to everyone he meets?

Aventurine is a man who gambles as well. Not just simply gambling for the thrill of it or his earnings. He says it himself, he sees the world, life itself, as a gamble. High reward, high stakes. Even going back to his conversation with Topaz, its only shown on how he tells her he warned her about taking Belobog as her project because it was high risk, but low return. Aventurine wants the best outcome not just for himself, but because if he doesn't get a good outcome, the IPC has no use for him.

Aventurine is a man who knows how to get what he wants. he knows how to take risks, get out of high stake scenarios with him being the winner. Its obvious in his lightcone, 'Final Victor', his conversation with Dr. ratio in the Penacony 2.0 Trailblaze quest, and his conversation with Himeko and Welt about giving up his room for the Trailblazer. He's confident, cocky, if you will. But for good reason.

In the lightcone, its implied it doesn't matter for Aventurine dies or lives. He will always be the winner. Every move is calculated, precise, carried out with clockwork precision and most importantly, planned so well that whether you like it or not, you're letting him win. He manages to get the Nameless, the widely regarded faction, in his debt. He knows damn well how to play his cards. It is extremely impressive. But he is the Aventurine of Stratagems. He knows what he wants and needs, and he will go any length to get it.

The lightcone, again, also shows just how far Aventurine risks, just for him to gain Dr. Ratio as a asset for him to benefit from. He could have gone any route, but what does he go for? Thats right, Russian goddamn roulette. Just for the (I assume) slim chance of Dr. Ratio's trust, or at the very least, cooperation. "I will always be the final victor." I am repeating, but just bear with me here, this just solidifies the fact he is confident in his skills. He doesn't flinch at all when he shoots 3 blank rounds right into his heart, even though there's the 1/6 chance he'll die. He takes risks. Its his character. He doesn't have anything or anyone, much less his own life, left to loose.

The lightcone is also not 'haha funny gay story', as much as it is funny, i wont lie, the memes are fun to look at, but it is not that. Its a story where Aventurine's suicidal tendency shows through, perhaps not so clearly, but its very much there if you look past the story and read into it. Again, Russian roulette, he could have gone for anything else, like a contract or smth, but he knows he has to go through extremes, and this just solidifies the fact of how Aventurine will do anything for assets and trust in him, so his plans can come to fruition.

Aventurine's personality is complicated, like a intricate, deceiving web of lies and emotional barriers to keep him safe. He hides behind the facade of smiles and is unreadable, and his past is all but cheery. A slave, (not a sex slave, twitter+Tiktok users need their brain fucking reworked i will cry) a man branded by the IPC, bound to the till his death is what Aventurine is. The IPC is ruthless, evident from multiple world quests, such as the Aurum Street Alley quest, Belobog's debt quest, Chadwick's quest in Penacony, paints them as bad people, a bad organization in general. Hell, even though Topaz isnt like the assholes we've seen, she's far from an angel herself.

Aventurine has gone through many things to have lost the sparkle in his eyes. Take Childe/Tartaglia from Genshin Impact for example, whom fell into the abyss for months, seen all the horrors of it, had to learn to fend for himself because I'm very sure Skirk did not care for him in a healthy sense. We can either assume Aventurine been through something on the same level during his younger days or perhaps, worse.

And no, he is not Dr. Ratio or Sunday's sex slave, I'm looking at a certain artist on Twitter (fuck off I'm not calling it X), its disgusting. Whoever genuinely enjoys sex slave Aventurine is sick in the damn head, no he would not enjoy that kind of Roleplay, as much as i am downbad and indeed filthy with some of my fics with him.

Aventurine doesn't have anyone he can truly call a friend, ship him with Dr. ratio, Sunday, Boothill (yes, its a thing), Caelus/ Stelle, whoever, but in the end, you cannot say he (as of 2.0, this may change) has any true friends he can trust, not even just a bit. Bonds he forms are transactional, maybe not too much on Dr. Ratio (as evidenced by his dejected his looks after Ratio leaves, either from the insult or bc he truly though Ratio cared) and perhaps on the Astral Express's part, but his bond with Sunday? Yeah, its transactional, 101% unless it changes in 2.1.

All in all, Aventurine is my favourite character, i have never wanted to read, write, understand, watch, hell, I've never wanted to farm and pull for a character as much as him. He is a complex, heavy and deep character that I do not believe many can grasp upon properly when writing stories, headcannons or even smut/nsfw works with him in it (shoutout to those who does tho, I love y'all <3).

Draw or write his fanon self, make him a himbo, tsundere, a rich man who's just a playboy, or a blonde with a pretty face, but you cannot say that is him in canon. I may despise some fanon interpretations, but fuck those who merge fanon and canon. He will never be any of the fanon interpretations i mentioned above, and he never will be in canon. Hoyoverse put their whole soul into this man, i can see it, and its brain damaging on how so many people fetishize his past and water him down.

In speculation of 2.1 and 2.2, if Aventurine does live (he prob will, its unlikely he'll be killed before release, Tingyun is a exception because she released before her death), maybe he'll learn how to start to open himself up again, start to fully trust, starting with Trailblazer as his first true friend. Its cliche, typical protag power bullshit, but it will no doubt, be a huge step in shaping Aventurine back into the man he could have been if his planet wasn't enslaved.

Conclusion: He deserves better, both in- game and how the fandom treats him. I love him, he's my adorable pookie wookie shmookie <33

More doodles from @enden-k's fantasy!au cause I'm obsessed.

Give the prince some more time, please.

SQUEAK MEGA ART DUMP

squeak is a little cat i used to draw weekly on twitter! she loves chaos and arson, has the ability to travel between dimensions (mostly so i can just draw her with whatever characters i want), and is very smelly

Denji's hypersexuality is a common coping mechanism in SA victims, to try to give the assault a logical meaning of why did it happen, or to get to know the foreign at getting close to the act itself. Genitalia in this case would be representative not only of his lust but also the element reminder of his trauma: "wanting to have tons of sex lead his life to end up miserably", so, the victim blames himself for feeling hurt, accuses himself as the perpetrator of his still ongoing tragedy. The yakuza reminds him of his failure in performing manhood, as Katana Man calls him weak, crybaby, "Chainsaw woman" as kicking his genitals joking to stick them in his behind, and Makima to have twisted his idea of love and taken advantage of his needs, making Denji believe he isn't deserving of forgiveness. At the end it all falls into self-harm, the result of this macabre recipe to make a human to hate every facet of his being: his identity as Denji, as CSM, as a man / his existence: to have born in poverty, orphan, to have killed his father and adoptive family, suggested to perform downgrading gender roles in prostitution (accused woman's job to give men pleasure) / his hopes and dreams for the future, everything is poisoned on his mind. This chapter is about relapse and realization.

Denji is under layers and layers of misconceptions, he is unable to see things through. He thinks his lust is the reason of his tragedy, when he hasn't took an active role in doing anything sexually inappropriate to anyone to get blamed on. He isn't the one to punish for not being strong enough to stood by himself sooner against his abusers and let them have their way, and yet, he still capable to recognize the act is wrong and undeserving (even if he was told through all of his life men should always accept a sex offer and sex = love/joy), ex with Fumiko he inmediatly recognized she assaulted him. So saying sex is his drive in life is utterly wrong, sex isn't Denji's priority and never was actually, and that's something admirable on itself when the world has told him otherwise, because is important to never forget how his happiest was with Aki and Power, putting their friendship above everything else, even above Makima's offers.

I don't think cutting his genitals or even transitioning will fix anything, it would be an impulsive act by trying to escape from the natural progression of the stages of grief and give the instant solution Denji wants so bad right now, where the real cause of his grief is the guilt of the survivor, his self-hatred for having been treated as an object of repulsion and failure through all his life he ended up believing it; to have suffered so much abuse which lead him to see his priorities and identity unclear, amoung other things, seems like it started to click on his mind. This is why Yoru, of all characters, is the one who offers to give Denji "the solution", the character who exists to inflict pain and death on CSM. Also, because he's a hybrid, it will regenerate eventually. It's not gonna happen, probably.

average blade greeting

reposted with permission, art by MilkTea543 on twt

Stellaron Hunter Sunday thoughts, going on a mission edition:

Kafka's buying a cake to celebrate Sunday's first official IPC bounty. After a terrifying mission where he uses some Path powers on an important group, he's winded, but his new teammates are clapping when he returns to them safe and sound. And it's at that moment that Sunday realizes that there is no going back to his old life.

Imagine a cutscene where the Astral Express is enjoying a banquet with a bunch of guests. One by one all of the other guests start to fall unconscious. As the room falls silent and the lights flicker and hum, the crew hears the even-spaced, metronomic clicking of footsteps... before they spot a familiar Halovian, dressed to the nines in the darkest shade of midnight blue, making his way into the banquet hall.

How do you get away from a man who doesn't even need a weapon to be a major threat? Bring up Robin. Ask him, "What would Robin think?" or "Would Robin want you to do this?" It stuns him the first few times, but it loses its effectiveness quickly as he begins to convince himself (or perhaps Elio has convinced him?) that everything he does is for Robin's happiness and salvation.

Illusion and dreams are extremely versatile powers in the right hands. Consider: illusory doubles of yourself and your enemy, voices and sounds that distract and deflect, or trapping a single person in your own mental world to eliminate them when they're unable to receive help from their friends.

Maybe he needs a weapon for style purposes, like a conductor's baton similar to the one Dominicus/Septimus had. It works well thematically given how both the Harmony and Order are themed around music. Also it would look cool in battle. One flick of the wrist, and everything is under his control, mirroring the very first scene in the prologue where Kafka plays air violin.

Can Sunday be contained in conventional ways? If you lock him in a cell and leave a guard in the room, could he trap them in a waking dream where they think a loved one is in the cell and feel compelled to break them out? How far does this power extend?

How self-assured is Sunday of his power? Does he believe in Elio's script enough to trust in fate that his enemies will fall? Can his captors see it on his face- an unsettling smile that screams "Do whatever you want, try whatever you will- fate is on my side."?

We've had several moments where the Stellaron Hunters manage to protect each other or free each other (SW saves Kafka in the prologue, Blade breaks Kafka free of the Matrix and helps her escape, etc.). Imagine the playful banter Sunday has when he's finally rescued by the Hunters. As serious as he usually is, with a side of appreciation.

I imagine he's still got that space fantasy Catholicism influence in his words and actions. He's quoting proverbs and admonishing sinners while watching buildings blow up, things like that.

Maybe he puts those proverbs away when dealing with the Astral Express who already bested him once, and who are as noble as him. Perhaps he sees them as equals who could potentially best an Aeon, and he's just playing the villain to make sure fate takes the right course.

Sunday, eating dinner in an apartment the group rented on a whim: "Do you mind if I say grace before we eat?" Blade: "I do mind. This is an Aeonless apartment."

I am once again pushing my Stellaron Hunter Sunday agenda

Will it ever even possibly be canon? Most likely not, but I feel like he’d fit the vibe. I mean look at them

He fits right in!

Thank you for your time :)

Writer tip:

When you are writing a character with trauma keep it balanced. Let's be honest, the plot were the characters parents die in a car accident is kinda boring. On the other hand, a character whos parents got struck by a lightning is just utterly stupid (unless you are writing fantasy and that incident is somehow related to someones super powers).

ALSO trauma is not only "dead parents" or "abusive alcoholic dad/mom". There are lots of different things that may form your characters the way they are right now. You can make a big issue and future trauma out of almost every situation.

Remember: don't give all your characters the same trauma. This is just impossible to happen in real life. (Unless all of them knew each other back then and all witnessed/were personally affected by that incident. Like in OMORI lol).

Merry Christmas Everyone - Character Trauma

Sorry, Y'all. I'm a day late.

I wish I could have posted yesterday but this wasn't on my mind at all lol. I was very sick yesterday, but at least I'm alive!

Here's my Christmas gift to y'all!

Harsh characters vs Kinder Characters - These are general vibes --------------------------------------------------------------------------

Kind/Cute Characters -

Constantly Apologizing

Trying to help people 24/7

Always worried about Disappointing people

Constantly avoiding answering questions

Lying about being okay

Blaming themselves

Always Guilty

Jumpy

Always inches away from crying

Always doing favors for others

Doesn't take care of themselves

If they do, it's only to keep other people from getting worried

Running away from problems

Constantly overreacting to minor inconveniences

Harsh/Reserved characters -

Violent outbursts

TRUST ISSUES

No emotions

What am I?

Breakdowns

Silence makes them irritable

Too much noise also makes them irritable

Hyper-activated Emotions

Emotionally or Physically abusing self on a bad day because it already sucked

Violent intrusive thoughts or words become normal

Pessimism

Constantly overly alert

NO RELAXATION

Trouble relating to anyone in any sort of way

Extra: Dreams

PTSD dreams are usually never anywhere close to the actual events

Flashbacks usually happen when awake

Often dreams are based on the type of trauma

Soldiers are more likely to see blood in dreams

Sexual abuse survivors are more likely to have people attacking or violating them in dreams

Physical abuse survivors are more likely to have loud sounds and other events related to their abuse in their dreams

Of course none of these are specific to each type, and you SHOULD mix and match, but these are generally more likely

--------------------------------------------------------------------------

Different people have different trauma reactions, and so should characters. This sounds pretty obvious, but it's rather hard to do in my experience. It also goes to show that different types of trauma or traumatic events will make a different type of character

For example, I have a few of my characters and their trauma responses because Idk how else to explain it.

Character 1 - Marril - Experienced Physical and Emotional abuse, as well as witnessing several deaths and killing several people.

As a Child he used to be very exposed and unable to hide with short hair and a home that was generally very safe and quiet until it wasn't.

He has a tendency to break or destroy things out of resentment or just as a way to make himself feel better. He also generally obsesses over keeping things clean, because it usually meant better treatment at home. He also generally stays away from children because they remind him of the first person he killed. He also sometimes hallucinates blood on his hands, and isolates himself for fear of hurting them. He hides his emotions until he can't anymore and generally has very extreme negative emotions.

He is often mistaken to be much older than he actually is, and is generally very quiet. He also grows out his hair to distance himself from his past and to give himself an easy hiding place when he needs it. He hates people grabbing him, moving quickly, or touching his hair, and sometimes he will hurt or yell at people when even slightly provoked. Silence often triggers overthinking which brings guilt and bad memories, while sudden loud noises cause screaming, fight or flight, or even flashbacks.

Characters 2 & 3 - The Twins, Xhaazi and Kasi - Experienced emotional and Sexual abuse

The two of them have varied Emotional responses. Kasi tends to hide her emotions and act overly aggressive or overly friendly. She tends to be very tense and in many occasions, fight first ask questions later. She cannot tolerate being alone oftentimes and is sometimes clingy. She hates being restrained in any way and is prone to panic attacks and separation anxiety

She's generally a little reserved but becomes a little clingy when she finds people she likes. She is also over-apologetic and tends to cry around people she trusts for no reason. She always has nightmares and tends to enjoy loud noises because they distract her from her overthinking and anxiety.

While on the other hand, her Brother Xhaazi

He was the one who got it worse. He often injures himself when he's alone, hides his emotions extremely well, and tends to enjoy being alone or in silence. His tactics also amount to fight first ask questions later, but he is always in fight or flight mode and never trusts anyone unless given a good reason.

He tends to get very clingy to those he trusts and hates loud noises. He also tends to have a lot more nightmares than his sister and tends to cover up every single emotion he's feeling unless he thinks people will like it. He has depression and a lack of self-preservation along with extreme separation anxiety for his family and no one else when he can't easily get back to them.

So uh... Yeah? Have fun torturing your babies! Just make sure to differ their trauma from one another even if they experienced roughly the same things.

When writing about childhood trauma in a novel, it's important to handle the topic with sensitivity and nuance. Here are some quick tips to consider:

1. Research and understand: Take the time to research and understand the specific type of trauma you're addressing in your novel. This will help you portray it accurately and respectfully.

2. Show the impact: Explore how the childhood trauma has shaped the character's thoughts, emotions, and behaviors. Illustrate the long-lasting effects it has had on their development and relationships.

3. Use flashbacks sparingly: Utilize flashbacks strategically to reveal key moments from the character's past that contribute to their trauma. Ensure that the flashbacks serve a purpose in the narrative and provide deeper insights into the character's experiences.

4. Depict coping mechanisms: Show how the character has developed coping mechanisms to deal with their trauma. This can include avoidance, dissociation, or seeking control in certain areas of their life.

5. Allow for healing and growth: Give your character opportunities for healing and growth throughout the story. Show how they confront their trauma, seek support, and gradually find ways to overcome the impact it has had on their life.

6. Avoid sensationalism: Handle the portrayal of childhood trauma with care, avoiding excessive graphic or gratuitous details. Focus on the emotional journey of the character rather than relying solely on shocking events for impact.

7. Show support systems: Include supportive relationships and resources that aid the character in their healing process. This can involve therapists, friends, or mentors who offer understanding, guidance, and empathy.

8. Highlight resilience: Illustrate the character's strength and resilience in the face of their trauma. Show how they find ways to persevere, grow, and rebuild their lives despite the challenges they have faced.

9. Offer hope and redemption: Provide a sense of hope and the possibility of healing for your character. Allow them to find moments of redemption and transformation, demonstrating that healing is attainable.

10. Approach with empathy: Approach the topic of childhood trauma with empathy and compassion. Treat the characters' experiences with respect, acknowledging the complexity and individuality of each person's journey.

i fear she's making me feel things.............

〜 ˚ ⟡ . 🫧

DECIDE 'HOW'

Decide how they went bind. Was it a disease or an accident? If it was a disease, you need to determine what it was. The disease you choose will affect your character's vision in a specific way.

Macular degeneration and retinitis pigmentosa will create two very different changes to vision. Get very specific with research.

If it was an accident, you need to get very specific about the details of that accident and research whether what you're suggesting is actually possible.

A head trauma might create a tear in the retina which would certainly affect vision, but retina tears are actually fixable through surgery in most cases (not all, but most).

A chemical burn would damage the layers of the eye enough to cause blindness, but you need to be specific on what chemical it was, way type of burn it might cause, and how badly it would affect the skin surrounding the eyes.

Going the trauma/accident route is very easy to mess up and prone to being melodramatic. Choose well!

WHAT THEY SEE

Using what you've researched, decide exactly what your character sees.

Be very specific. Keep in mind that 90% of blind people at least have some remaining vision, even if it's very little.

It might be shadow and light perception, so they see more outside in the sun than they do at night. They can still be light sensitive if they have light perception.

They might see shadows moving in front of a light source, but see almost nothing at night. They may only see the light source (like lamp or headlights) and see darkness everywhere else.

Your character might have color vision still, or some vision acuity that allows them to distinguish some shapes from others but still prevents from seeing details.

Your character might have terrible depth perception, and this makes stairs and curbs impossible to perceive and they might knock something over because they perceived it as being farther away than it was, or feel frustrated when they reach for something they though was a few feet in front of them and is actually closer to ten feet away.

See the World From Their POV

Put yourself in every scene or location your character will be in and determine what they can see in the moment. Even if you are narrating from a different character's perspective, you need to know.

Using this, you need to know what your character knows, especially if your blind character is important to the plot. They can't see the small print on that sign, the dried bit of blood on someone's shoes, a shadow sinking into an alley, or even if that blurry blob twenty feet away is a trashcan or a person.

Make It Resonable

If your character is meant to be uncovering these clues, you need to find a reasonable way for them to figure it out.

Is there a sighted companion who points visual clues out to the blind partner? Do they have magnifiers to read small print?

Are they good at sneaking around and overhearing people from a distance? Are they just great and knowing when someone's lying by the tone of their voice?

Are they working with a team?

They don't necessarily have to have "superpowers" to figure things out!

The Narrative Voice

1st Person

This allows readers to inhabit the character and see what they see, or don't see.

You have to work in terms of what your character can/cannot perceive, which can make description hard and can easily slip up and forget that your character can't see that street sign.

3rd Person

Your readers will probably forget how blind your character is if they read pages and pages with great visual description and then be surprised when your character verbally remarks that they didn't see X and Y.

You still have to work with what they can realistically see and it's much easier to forget in 3rd person

If you like my blog, buy me a coffee! ☕

Have a writing question? My inbox is always open!

Checklist of character traits prone to inconsistency:

Heyo, quick one today. It’s great to give a lot of detail to character traits and personality quirks, but they aren’t real people, you’ve made them up, and thus, might not have a perfect memory for how you’ve described them, or drawn them in the past.

So before you post or publish, do yourself a favor and make sure the following are consistent throughout your story, if applicable:

If they’re left or right handed, or ambidextrous.

Which side their hair parts on.

Which side their scars are on (especially facial scars).

Which eye has the patch or is just missing, and how much or little the character fiddles with it.

Missing glasses and how prone a character is to forgetting them or anal about cleaning them. Glasses are always dirty (do they clean them with a proper cloth or the edge of their shirt?).

Which side broken, missing, or bandaged fingers are on.

If they’re wearing a cast, how it inhibits their mobility.

If they have a leg or foot injury, how severely they limp.

If their clothing takes damage, when/how they replace it or repair it, and whether or not they’re wandering around town accidentally covered in blood or grease or all-purpose flour.

Which injuries they sustain that should still be bothering them, like pulled shoulders, bruises, shin splints, paper cuts, sun burns, cramps, carpal tunnel, arthritis, tinnitus, road rash, and stubbed toes or pinched fingers.

Which side of their body buttons, rings, bracelets, pins, brooches, badges, or name tags are on.

If they’re wearing gloves or mittens, when they take them off or how their mobility is impacted by them.

How mobility changes if their fingernails are short and stubby or long, or artificial, like typing, eating, and grabbing objects.

If they have a wheelchair, how they transition out of it, into it, and move within it, like getting dressed or putting on shoes, or lifting themselves up into cars and back down—and how public spaces do and don’t accommodate them.

If they have prosthetics, how they maintain them, how they might sound different than someone else—prosthetic feet for runners won’t sound the same as sneakers.

If they need crutches, a walker, a scooter, or a cane, and how the world accommodates them.

If they're colorblind, how it impacts their day to day and descriptions compared to other narrators.

Jewelry often jingles. Pandora bracelets are loud af especially if they’re on your dominant hand when you try to write on a desk. Charm necklaces jingle if you bounce and some earrings can jingle when you shake your head.

Where tattoos are and if they take measures to hide them and how.

An aside about characters with tattoos (from experience):

If they’re new, they still hurt for at least a week depending on the level of detail.

Tattoos are basically mega sunburns and fresh ink should either be covered from the sun or, once it’s healed enough that the skin isn’t broken, heavily sun-screened to preserve coloration. Newer ink is very noticeable in sunlight, just like a healing sunburn.

Black ink tends to turn a bit green over time and sharp details blur. Tattoos are beholden to the skin they’re on, and how it stretches or sags.

Tattoos stink, as plasma and other fluids build up under the wrap (that can either be straight plastic wrap or a dermal cover akin to the stuff used for burn victims).

Tattoos can burn and ache if they’re on the legs when you stand, as blood and your body weight settles back into place.

Tattoos do very weird things to your body depending on the amount of ink and the time it took to design. Your skin peels kind of, but not exactly, like a sunburn, and every artist has their own tips for aftercare.

If the ink is over thin skin (I have one that ends over my ankle) the ink may have a texture left behind, a raised puffy bump, that fades over time.

A character receiving a tattoo might have this kind of bell curve effect, where it hurts really bad at the start, until adrenaline kicks in and dampens it, and then again once their adrenaline runs out. There is no pain quite like tattoo pain and everyone describes them differently. I like to think of them as itching a bug bite on a sunburn, dialed up to 11.

According to my past artists, women almost universally handle the pain better than men. I have definitely suffered other injuries worse than tattoo pain.

Fine linework hurts more than broad stroke coloring or shading, because the distribution of pressure is wider with more needles packed together. The larger the needle bundle, the less it hurts. All of mine are water color and the *splash* effect for the illusion of water drops uses a single needle and it’s always the most painful part.

Feel free to tag any that I missed!

🖤【333】Lace-Cake.

category: suit+Sleeves+Scouser

contain：female

Game screenshots using HQ+reshade

*Don’t upload it again *Don’t resell *compatible HQ *Reuploading to any forum or website is not permitted. *Repacking is not permitted. *It is forbidden to convert my CC to other games *禁二次上传和售卖与打包

Patreon

Belletcore N˚1

New Mesh / Top / Bottoms / Sock

HQ / All LOD

Download (Free)

Free Release Sep 23.

Thank you for your support.❤  

You can check all my CCs on my website.

Lot created by uoooooou (Origin ID)

I originally planned to share this cc pack on the first day of Chinese New Year to celebrate the festival🧨, but I met a lot of difficulties in my first attempt to make the cc clothes and I just finished it😂😂. Anyway, happy Chinese New Year🐰!!

Lan Hair

BGC

Female Hair

24 EA Swatches

Hat Compatible

All LODs & All Maps

Custom Thumbnail

Lan Hair Accessory

BGC

8 Swatches

Hat category

Custom Thumbnail

Mei Hair

BGC

Female Hair

24 EA Swatches

Hat Compatible

All LODs & All Maps

Custom Thumbnail

Mei Hair Accessory

BGC

16 Swatches

Hat category

Custom Thumbnail

Qixiong Ruqun

BGC

Female Dress

12 Swatches

All LODs & All Maps

Custom Thumbnail

@sssvitlanz @mmccfinds @maxismatchccworld Thanks a lot!

Download (5 items) : SFS/CurseForge

I also made some new traditional Chinese cc for male sims and you can get them here.

Please don’t claim my cc as your own and reupload it.

Theo Hair

For all frames

Basegame compatible

24 EA swatches

For teen to elder

Custom thumbnail

Hat compatible

Shadow map

Specular map

Normal map

Disallowed for random

Compatible with Universal Hair Overlay

Read my Terms of Use before downloading!

Download here

Public release: 18 July 2024

Writing A Blind/Visually Impaired Character: Canes, Guide Dogs, O&M

Wow, back in June I decided to take a few months break from blogging to recharge and focus on my mental health. About a month ago I began writing this specific post, slowly and in stages because of how demanding, detailed, and long it is.

I’m not sure when I planned to come back. I have about 200 posts with tags and image description in my drafts folder, waiting to be queued, but I wanted to finish this guide before I fully came back.

Come back with a bang, right?

But this blog, and specifically, my Writing a Blind or Visually Impaired Character  guide, has gotten so much traffic and support that I felt incredibly motivated to come back now.

So I finished the guide, and now here it is. It’s been a year+ in the making. Since the very beginning of this writing advice series about writing blind characters, I’ve promised to write a guide specifically about canes, guide dogs, O&M, and other accessibility measures the blind community relies on. 

In fact, if you look at my master post for this guide (now pinned at the first post on my blog) you’ll find that it was reserved as Part Four, even as other guides and additions were added over the last year.

In this post I’ll be explaining 

What Orientation and Mobility (O&M) is

How one learns O&M

About canes, from different types of canes and their parts, as well as how to use a cane. 

I will be explaining the sensory experiences of using a cane and how to describe it in narrative. 

I will include small mannerisms long-time cane uses might develop. 

At the very end will be a section on guide dogs, but this will be limited to research because I have no personal experience with guide dogs, being a cane user.

Disclaimer: I am an actual visually impaired person who has been using a cane for nearly three years and has been experiencing vision loss symptoms for a few years longer than that. This guide is based on both my experiences and my research. My experiences are not universal however because every blind person has a unique experience with their blindness

Continuar lendo

Why Writers Should Consider Giving Blind Characters Canes, Guide Animals, or Other Mobility Aids + How To Choose One

(Note: This post is admittedly long and full of information. Make use of the headings to read the parts you are interested in. I have provided many links, which you can read as you go or save for later. I suggest saving this post and taking your time with it. I am also willing to answer any questions for people who have difficulty reading long posts. While I considered breaking this post into parts, I decided to keep all the information in one place for ease of sharing and reference, especially because multiple sections of the post refer to other sections contained within it.)

When I read for blind characters, my most common suggestion for writers is to give their character a cane, guide animal, or utilize another mobility aid. Most stories I beta read feature totally blind characters or people with very little vision, such as only seeing colors. Despite this, it is extremely common for me to suggest giving them a cane or guide animal because they are rarely portrayed using mobility devices. Because this is such a common suggestion, I wanted to create a post about it.

Most of this will be about mobility aids for people who aren’t familiar with them or are still deciding what tools are best for their character. It will also be mostly for modern, realistic, or semi-realistic stories. I will create a separate post for fantasy and science fiction mobility aids, use of magic or magical items, and writing stories set in or inspired by times before formal mobility tools existed. However, I believe this post can benefit anyone who is writing a blind character or anyone who wants to learn more about blindness. Mobility tools are a big part of blind culture, blind communities, diversity of blind experiences, and accessibility.

Learn About Mobility Aids

Here is a comprehensive post by visually impaired fiction writer and blogger @mimzy-writing-online which contains information about canes, O&M, guide animals, etc. If you are not familiar with canes, start there. It contains helpful information for body language, use of canes, and resources for descriptions that any writer will find valuable. The post also has a section on guide animals and sighted guide.

Here is a post I made about crafting fictional guide animals, although I have no experience as a guide animal handler myself. I made sure to research and include links, so it should still be a good starting point. It also has information about differences between service animals and emotional support animals.

Sighted Guide / Human Guide

First, terminology discussion. Sighted guide is a more common term and more examples come up when I search this term. Sighted guide refers to when a person with vision helps guide a blind person. The guide can be abled or also blind themselves. I have guided my friends before and they have guided me. I have often said that, in a way, sighted guide is a misnomer because someone who has less vision or no vision can also guide someone with more vision just as well.

The term human guide makes up for this misnomer by being more accurate. A TikTok by AskABlindPerson or @askablindperson on tumblr, explains this well. Here is a link to the video. The video states the following:

“I’m blind and I definitely prefer to say human guide rather than sighted guide because you don’t inherently need vision to guide and a blind person can do it too. And it doesn’t have to be that the blind person who’s guiding has more vision than the other person either. It can just be that they know the area better than the person they’re guiding, or it could be that they just have better cane skills or independent travel skills than the other person. Because not everybody has equal access to the same exact opportunities for training. So a blind person can also guide, which is why I like to say human guide because it’s more inclusive.”

Not everyone minds which term is used, however. Some people also only use one term because it was taught to them first, rather than because of any particular meaning.

Below are some examples of sighted / human guide and when it is often used.

Here is an article titled How to be a Sighted Guide

Here is another helpful page with information on certain situations such as narrow spaces.

Here is a video by London Vision.

While human guide can be someone’s main mobility aid, it is often used according to the situation.

Situations in which your character might want to use sighted guide include:

-crowds, where a cane might be difficult to use or someone has a companion they would like to avoid being separated from

-while in lines, mostly to provide descriptions of what happens around them or to let them know when to move forward in the line

-ground that is uneven or steep may cause someone to want to use sighted guide rather than a cane, although this will depend on the person. Using a guide and a cane is also possible. A guide animal may go around the obstacle

-when going inside an unfamiliar house or indoor location, usually for locating a specific room

-navigating unfamiliar areas

-public transport

-guide animal handlers may choose to either do traditional sighted / human guide while using the guide animal or give the command for their animal to follow the person without holding onto them

Guides allow the blind person to gain additional information about their surroundings through conversation with the guide. Human guides can also aid in navigation by providing helpful directions or landmarks. Human guides can be used with a white cane or guide animal. They can also be used without any other mobility aid.

People from cultures who place high value on interdependence, especially on family, may wish to use more human guides. People who have anxiety or disorientation may prefer to use human guides or simply travel with someone else for security. Other people who might tend to use more human guides include: people who have moved to an unfamiliar area, people who are losing vision, people who have recently become blind, people with other disabilities or health concerns, or people who prefer the company of others.

In stories, human guides can portray character relationships, establishing trust and respect. Perhaps a character already knows how to guide, showing familiarity with blindness. This mobility tool can display the helpfulness of a stranger or be the start of a meet-cute. Additionally, showing how good or bad a character is at guiding can show compatibility between characters. I also believe that writing guides into a story can allow for detailed visual descriptions or conversation between your characters.

Imagine character A slowly learning to trust character B, culminating in letting that character be a human guide.

Sonar Devices

I wanted to include a section for these because they aren’t often discussed.

Sonar devices are intended as a supplement for use of a cane or guide animal. Unless the sonar and cane are paired together, such as with the WeWalk cane. While they could be used by themselves, this should probably only be with the addition of a guide and in non-crowded, familiar area.

Here is a video review of the Sunu Band by TheBlindLife.

Here is another review comparing two devices: the Sunu Band and the Buzz Clip.

Note how the devices are used, especially with a cane. The cane is used to detect objects from the waist below, whereas the sonar device is used to detect objects above the waist. This includes objects like tree branches.

Sonar devices work by detecting objects in front of the user and giving a tactile alert, such as a vibration. Vibrations increase the closer one gets to the object, giving a continuous vibration when right in front of it. Moving away from the object, such as stepping to the side, will stop the vibration.

This device could allow blind characters to be more active an create interesting opportunities for descriptions.

Why Does My Character Need a Cane, Guide Animal, or Human Guide?

A few reasons include:

1. It will be more relatable for blind audiences if characters move through the world like they do

2. It is more realistic for stories set in our world or worlds meant to be realistic save for a few elements

3. It allows audiences who aren’t blind to understand how blind people move through the world. In the case of sighted guide, it also offers depictions of politely and efficiently offering help to a blind person, which may include not offering help at all.

4. Canes and guide animals give your blind character some visibility, as the cane, and to some extent the guide animal and harness, signify to others that a character is blind or otherwise disabled in some way. As for sighted / human guide, it offers an extra voice for advocacy purposes or the added visibility that someone is being helped.

5. Mobility tools allow blind people to participate more in a world that is rarely accessible for them at a basic level. I almost always find this is true in books as well unless the writer makes a point to include universal design.

6. Mobility aids improve navigation, increase safety, and increase interaction with the world.

Why Would Anyone Need To Know My Character is Blind?

Safety is a big factor.

In this video titled Using A White Cane While Legally Blind by Cayla With a C, Cayla discusses some of the benefits of using a white cane. One of these is that the cane works as an identifier, letting people know the person using it can’t see so other people need to watch out for them. She mentions it is also important for cars and bikers to know cane users can’t see them well or at all, meaning they don’t expect a cane user to move out of the way.

Both Cayla and Molly Burke share in their videos that people are more likely to offer help when they use a cane.

How Do Mobility Aids Help Blind People Navigate?

It depends on what mobility aid is used.

Canes offer more tactile information and direct contact with the environment. Canes allow someone to feel changes in the ground, such as going from carpet to tile. They make it easier to feel steps or broken sidewalk. They allow blind people to be aware of obstacles, such as a chair, rather than simply going around them they way they might with a guide dog. They help blind people locate landmarks they need in order to be oriented in their environment and navigate their way to different places. For example, they may search for a bench, knowing a drinking fountain is across from it.

As for guide animals, because I am not a guide animal handler myself, I wanted to include quotes from a few sources.

The Guide Dog Foundation says the following in a very useful Q&A:

“In short, guide dogs are taught how to find and follow a clear path, maneuver around obstacles, and stop at curbs. They follow their teammate's directions, and they know that they can disobey only in the face of danger.”

And according to International Guide Dog Federation:

“A guide dog is trained to guide its owner in a straight line unless ordered otherwise. The dog will avoid any obstacles en route, above or around you. It will stop at stairs, doors and kerbs. The dog will not decide where to go; it is up to the vision impaired person to instruct the dog on the direction for the dog to go and the dog will safely guide the person as instructed. The vision impaired person will already be familiar with regularly travelled routes and the dog will quickly become familiar with these too.”

And International Association of Assistance Dog Partnership has a page that explains the categories of tasks performed by guide dogs, as well as other types of assistance dogs.

Sighted / human guide can be used with a family member, friend, or helpful stranger. It can be a primary mode of O&M or used when needed, meaning it be used even if someone already has a cane or a guide animal.

Usually, human guide involves contact with the guide. It can also include the guide orienting the person they are leading by describing surroundings such as “there is a bench to the right” or “we’re near the door” or it can involve telling someone where steps are.

How Do I Know What My Character Should Use?

What your character chooses will depend on their lifestyle, level of vision, age, where they live, culture, religion, and their needs as a blind person.

In the post on guide animals, I went over a few reasons someone might choose a guide dog or a guide horse.

Here are some articles about canes vs guide animals. Although the ones I found focus on dogs, I believe many points made about guide animals can be applied to miniature horses as well.

Guide Dogs vs White Canes: The Comprehensive Comparison

The link above includes the following:

“One of the biggest and most obvious differences between a guide dog and white cane is that a guide dog is trained to avoid obstacles along their pathway. A white cane helps locate impediments so that the blind person can decide how best to maneuver around them.”

Another article that may help:

White Cane vs Guide Dog: Why or Why Not?

White Canes and Guide Dogs - What’s Actually the Difference?

Here are some videos:

Guide Dog vs Canes - Pros and Cons by Molly Burke

White Canes vs Guide Dogs by Challenge Solutions

White Canes vs Guide Dogs - Which is Better? 21 Pros and Cons by Unsightly Opinions

Guide Dog vs Cane, Which is better? by Ashley’s Advice

I also wanted to discuss a few more points.

1. Multiple disabilities

People with multiple disabilities may prefer different methods. For example, those who use a stabilizing cane may have different reasons for choosing their mobility aid. I went into that more in this post here.

It would be difficult to cover all other disabilities here, but I will attempt to include some things to consider.

Consider any pain, weakness, or other difficulties your character may have around their hands, wrists, arms. Canes require repetitive use of these areas.

Consider any sensory issues your character has. Sensory issues may come into play with cane vibration and the tactile information given by canes, especially as it differs between surfaces. The video by Challenge Solutions listed above discusses pain caused by vibration and repetitive movement, for someone who already deals with this. It goes into more detail, mentioning that a dog may lessen this difficulty compared to cane use.

Consider phobias or traumas that may make service animals, especially dogs, a bad choice for the character, their loved ones, or community. In contrast, consider how a service animal may help provide comfort to characters with traumas unrelated to animals

I hope that provides a starting point for thinking about how other disabilities may impact someone’s choice when deciding what mobility aid is right for them. I hope this is helpful is choosing a mobility aid for your character.

2. Financial Considerations

Consider financial difficulties. While guide dog schools often provide highly trained dogs, weeks of training, a harness, and some essentials for free, it depends on the school. Some schools may cover the dog’s veterinary care, while others may not. Some may provide one bag of food. Some may cover costs of transportation to the training school, but may not cover the cost of missed work. Challenge Solutions lists several costly areas that go with having a dog, such as grooming or toys.

The amount the training schools cover is so varied that one cannot assume anything about how the blind person keeps up with care of their dog. They may have trained with a school that covers the most costly things, leaving them to buy the occasional treats and toys, while other schools may not cover much after the dogs and handler leave the school, causing financial difficulties that may or may not have been fully anticipated. Financial situations of blind people with guide animals cannot be reliably assumed.

Canes, on the other hand, are a one-time payment per cane, if they aren’t already free. While canes do require replacement tips and while people do go through canes quickly, the cost is not comparable to that of caring for a guide animal.

For writers, it may make sense to have your fictional world contain schools that continue to cover costs over the guide animal’s life. Or perhaps veterinary care is free in that world. Either way, this may be something to consider. The character’s financial situation can show a lot about them and the world in which they live.

3. Additional thoughts about safety and discrimination

Safety has many different connotations in blind communities. Some people consider safety to mean social safety, as alerting others to blindness may explain any behavior that would be considered strange or rude.

Some consider safety to mean physical safety from tripping, falling, running into objects or people, or having them run into you. This is especially important with vehicles.

Still others consider safety to mean being able to navigate and orient oneself, such as when traveling alone.

Some people consider safety to mean interpersonal safety and the fear of being harmed due to being perceived as vulnerable.

Molly Burke mentions this particular subject at around 19:22 to 20:47 in her video here. To paraphrase, she says that having a big dog with her makes her feel safer as a blind person. Molly states that the white cane may increase her vulnerability as it identifies her as a potential target due to her blindness.

I mentioned that it is helpful for people to be identified as blind, such as with a cane and, to a lesser extent, a guide dog. That is still true. This may provide protection by alerting others that they may need to look out for a blind person instead of expecting that person to avoid them or their vehicle.

On the other side, a cane may alert others to vulnerability in a way that is harmful to the blind person. Due to this factor, blind people may feel safer with a guide dog because the presence of a dog may make others hesitate before doing them harm. I am not sure if the same can be said for those with horses, but it is possible horses may still act as a deterrent. In the video by Challenge Solutions, Caitlyn says that while guide dogs are not trained to be guard dogs and should not be aggressive by nature, it can feel safer to travel with a guide dog. Caitlyn says the following: “They are dogs and I would like to think that they would have a protective instinct if a situation arose where that was needed.” She adds, “I think there is more of a protective aspect to guide dog usage than white cane usage. At least I always felt a lot safer with my dog than I do with my cane.”

I also wanted to include thoughts about discrimination.

Some blind people may worry they will experience more discrimination using one mobility aid over another. This may influence their decision. To give brief examples, people with service animals may be turned away from places they are allowed to go. They may need to advocate for themselves more because of this. Another example might be feeling like people judge them or stare at them more when they use a white cane. They may be grabbed or shouted at more often when using a white cane, as described by Challenge Solutions, or they may be ignored or go unnoticed in other cases. In fact, some blind people are only spoken to in public because of guide dogs acting as a conversation starter.

However, feeling invisible in society seems to be a common issue for many disabled people. Some people also talk about being invisible in some areas and uncomfortably visible in other areas. While a blind person’s choice of mobility aid may influence this, the common disabled experience of both invisibility and hyper-visibility might still follow them.

Additionally, myths about blindness, which I wrote about in this post here, may also cause people to accuse cane users of faking if they have residual vision, which can lead to them feeling unsafe or like they cannot use their residual vision without receiving negative attention. This may cause some people to want a service animal, as in the case of a guide dog, some people may assume they are simply walking their dog or training a guide dog. This may be a way some blind people try to avoid being accused of faking blindness. However, blind people with guide animals may also be accused of having a fake service animal or be accused of not really needing their service animal. Additional barriers may include general public ignorance about laws around service animals or differing laws around access per country.

All of the above can put a lot of strain on people who are just trying to get from point A to point B.

Sighted guide may come with some issues as well. Finding someone who is willing to guide and a helpful guide may be challenging unless a blind person is already using a trusted friend or family member. In social situations, other people may misunderstand use of human guide, believing that they should address the guide rather than the blind person. Use of this mobility aid may also come with judgment from others about the blind person being incapable, lazy, or a burden on others. None of these are true, but they can be judgments people make.

Sighted / human guide may be a preferred form of O&M for people who have recently gone blind or are in unfamiliar areas. Additionally, blind people who come from cultures where interdependence is valued may prefer to use a human guide with or without another mobility aid. It is also important to note that the nature of the blind community also celebrates both interdependence and dependence, and these may not always mean the same thing as they do to people who aren’t blind. This is also true when it comes to using mobility tools and techniques.

What Should My Low Vision Character Use?

The majority of blind people have some residual vision, including low vision. Which is part of why most of the blind community doesn’t use canes, along with lack of training. Unfortunately, many people with residual vision are, however subtly, turned away from using canes or other mobility aids. Based on stories from friends, suggestions in this post by @mimzy-writing-online, my own experience, and information online, I will suggest a few reasons this might be the case.

A big reason has to do with believing they have too much vision to require a mobility aid. The idea of not being disabled enough is both an internal an external issue for people with residual vision. This is because people often claim that if a person can see some, they must not require mobility aid. Mobility aids are seen as a last resort, rather than a way to make life easier. This can lead to self-doubt, confusion, or guilt for a blind person. They might feel as if they are ungrateful because they believe other people have it worse. Conversely, some people may have been taught that relying on a mobility tool is shameful, giving up, or reveals a lack of independence. And sadly, some blind people with residual vision may be afraid of rejection or standing out from others.

This leads me into another reason, which is: believing they will experience more discrimination or social exclusion when using a cane. Unfortunately, this can be true. However, it is also true to that not using a cane can cause others to judge someone for things they do or don’t do as a blind person.

Disclosure is an option that works for many. However, blind people cannot always disclose to everyone they interact with, such as to strangers spotting them outside. Disclosure of blindness can also be fraught with accusations of not really being blind, not looking blind, or not being blind enough to count as blind. These accusations sometimes happen when using canes as well. Denial of help, denial of accommodations, and accusations of faking are common.

In some circumstances, the opposite can happen. Instead of being accused of faking, the choice to use a mobility aid might bring about helpfulness from strangers or concern from loved ones. There may be concern that the vision loss has progressed or that something is wrong. After all, suddenly using a mobility tool can inspire alarm in people who aren’t used to them, because the prevailing thought is that mobility tools are only for totally blind people. And the incorrect message behind this is that being totally blind is negative.

Characters choosing to start using a mobility tool could ease themselves and loved ones into it by being open about their plans. They could experiment with cane use, marginally increasing use over time. Or they could simply use a cane as often as they need to, addressing concerns as they are brought up. Portrayal of communication about mobility aids between a blind character and their family could be a lovely addition to a story.

Lastly, blind people are expected to rely on residual vision for as long as possible, in as many situations as possible. Even if it causes pain, disorientation, or anxiety. Even if seeing is exhausting or frustrating. Even if it isn’t safe. However, the other side of this is that many blind people with residual vision enjoy seeing colors or shapes. They may enjoy being able to describe things to friends with less vision.

But their sight may not always be enough to forgo using a mobility tool safely.

It is my opinion that anyone on the blind spectrum or with declining vision can benefit from use of accessibility tools, whether it be learning Braille or training with a cane.

People with low vision can use canes when they feel it is necessary. Examples may include times where they may need extra visibility or extra contact with the ground as they walk. They may choose to use a cane when crossing the street for added safety. Same applies to using stairs. They may bring their cane only to unfamiliar environments or out with them at night. They might feel like using it one day or in one place and not the next. They may have a condition that is not stable from day to day. Overcast weather or dim lighting could make it necessary to pull out a cane. They could simply want to use their cane or decide to leave it at home because they felt like it.

A blind person does not need to a full-time cane-user to be allowed to use one. It doesn’t have to be all or nothing. If they need it, they need it. It is that simple. It will be the same with your low vision character.

Characters may also switch up mobility tools depending on what is best for where they’re going and what is accessible to them. For example, someone may use a human guide for extra safety while in a new city.

Why I Want More Mobility Aids in Media

This is just my opinion, but I would like to see more characters using mobility aids blind people use in real life. This helps to normalize use of these tools for people who are not familiar with blindness. This allows blind people representation that is more true to life. It also adds more detail to stories that wouldn’t otherwise be there.

There is also something off about blind characters who don’t use anything, specifically because most portrayals of blindness involve characters who are totally blind. Why are these characters walking around absolutely everywhere with no familiar way to navigate? Why are tools used by the blind community rejected when it comes to stories about blind characters?

I suspect it is because of a few factors:

1. Not knowing how mobility aids work. Another deterrent could be the difficulties of research and, in live-action media, wanting to avoid training usually sighted actors in use of these mobility tools.

2. Not wanting the blind character to seem too hindered

3. Wanting the mobility aid to be cooler or more interesting if it does exist. This varies by genre and the period in which the piece of media is set.

I find it strange that most stories about blind people do not feature blind characters using tools or techniques blind people use in real life. It sometimes feels as if blindness is a decoration writers add to their story without thinking about how it would impact their character.

My suggestion is to consider the amount of vision your character has, along with their lifestyle, and choose a mobility tool that works for them. I know that some of you are writing characters who can technically move through life without using a mobility aid full time. In these cases, it would be fun to see characters who are transient mobility aid users.

Closing - Not Everything About Blindness is Difficult

I hope this post was informative. I know that some of it may feel contradictory in nature, but that seems to be part of diversity of experience people have with mobility aids. Not everything has to be true for your character or will be true to their experience. Additionally, don’t feel pressure to portray the difficult aspects of mobility aids or being blind in public spaces; it is good to have stories where blind characters are treated well by everyone. There are days when blind people have nothing but lovely interactions with others and when safety is not a concern.

While I mentioned some negative aspects of being blind in this post, there are many positives as well. This can include opportunities to meet new people and have conversations. This can mean getting the chance to use cool gadgets other people don’t get to use. It can also mean being able to experience the world in unique and fun ways, such as noticing little details about the world. It can mean appreciating colors, lights, smells, sounds, or sensations. It can also mean cool navigation tools and techniques.

I will post a part 2 soon. It will include information for writers of science fiction, fantasy, and stories set in historical times. As always, if anyone has anything feel free to share. I will add any responses here as edits to this post.

If you found this post helpful, my pinned post has many more links. I accept asks or messages with questions. I also offer beta reading for blind characters.

-BlindBeta

One of the most frustrating thing about being a fan of a lore piece in video game is the fact that many of the dev are not a good writers

Espacially gacha game.

I’m trying to set my expectation low but I have a feeling that I will still be mad at the end

Hello! I'm wondering if you have any advice for navigating character death without it feeling disrespectful or like representation being snatched away (I'm talking about important blind characters / protagonists dying towards or at the end of stories, not blind characters getting killed off right at the beginning)? One thing I thought of is having other blind characters in the same story who don't die, but are there any other things I should be aware of? Any pitfalls to avoid? Thank you so much!

Some Tips for Killing Off Blind Characters Without Being Ableist

It will depend on the actual story, the tone, and how the death is portrayed, but I have a few ideas I can provide. While I normally suggest avoiding death of blind characters, I understand that sometimes it works for the story. A lot of my concerns stem from how the death itself is portrayed and what messages the audience are expected to gain from it. I’ll attempt to explain more in the following advice.

Killing off blind characters becomes less of a concern when they are not the only blind character. Having more blind characters as you suggested would have been my first recommendation.

When it comes to losing representation, having other characters is helpful. Having a cast of mostly blind characters isn’t going to present as much of a problem compared to a cast with only one blind character who dies.

Avoiding death due to blindness would also help. This includes someone killing the blind character because of blindness, them killing themself because of blindness, the character having a fatal accident due to their blindness, or the character’s death being portrayed as tragic because the character was outside or doing something viewed as less safe for blind people. An example of this situation would be if Toph from Avatar: the Last Airbender was told fighting in the Earth Rumble was unsafe, did it anyway, and was killed in the ring. Blind people already have our daily activities viewed as unsafe, which can be infantilizing, and so having media portray the tragic death of a blind character who dared to go on a quest wouldn’t be fun to read.

My advice is to afford them agency in their death rather than focusing on torture, trauma, or passivity. It sounds like you’re already on the right course, but I wanted to include this here just in case.

Additionally, framing the character as their own person, rather than focusing on how their death makes sighted people feel, would be beneficial in giving them agency. Again, you are on the right course, according to your question, as this probably occurs more often with disabled characters who die as part of backstory or toward the beginning of the story.

Of course, I cannot give you the exact best formula for killing off blind characters, but hopefully this gives you some direction.

I also suggest having a few sensitivity readers. Aside from me, you can find more options here. @sensitivityreaders

So, I've been writing a blind character who cooks. So far, I've written him as being someone who relies a lot on routine and habit, who navigates the kitchen by touch and by memory. He's a bit rigid, and insists on using his own tools, which are color coded (he can see them up close with what residual vision he has) and marked with braille, but I was wondering what other tools a blind person might use when cooking.

A Bunch of Stuff For Blind People Who Want to Cook

I don’t know where and when your story takes place, so what is used might change depending on the character. Here are some options to get you started. There are many tools and techniques devoted to making cooking easier. I don’t know as much about the subject, so I’ll do my best. Please add any other ideas in the notes.

First, the creator @canseecantsee on YouTube and TikTok is an excellent resource. She has lots of videos showcasing how she cooks and does various daily tasks. She demonstrates the use of many tools, such as heat resistant gloves and high contrast items. Here is a video in which she demonstrates chopping vegetables.

Notice the high contrast items such as the yellow chopping board and purple knife. In the video, she demonstrates use of the towel or a place mat beneath the cutting board to prevent slipping. As she cuts a cucumber, tomatoes, and onions, she also uses a technique that allows her to feel the edge of the item so that she knows where she wants to cut and how thick the slices will be.

Here is a video by TheBlindLife showcasing his accessible kitchen. He has excellent points on the importance of contrast, from color contrast to shape contrast. The video includes

bump dots

labels

high contrast colors of tools

high contrast plates and bowls

talking scale and thermometer

heat resistant gloves

and alternatives for glass cups

High contrast is important and can be created by being mindful of the kind of countertops or tables used. For example, in the video, there is a triangular plate that is decorated like a pizza slice. Eating on this plate might cause food to get lost visually, especially food that has the same colors as the plate. Much like the plate, counters or tablecloths with busy patterns might cause items to be harder to see due to lack of contrast. Plain counters, tables, or tablecloths make items stand out more.

Additionally, creating contrast between surfaces and the items on them is helpful. The table is a dark wood? Light plates, bowls, and cups it is. The counter is plain white? The plates and bowls are a dark color.

For glass cups, the video offers solid, colorful plastic cups that offer better contrast. The fact that glasses are clear makes them even more of a challenge and colorful plastic alleviates that concern. However, if someone wants to use glass cups, they can use some that are either made with colorful glass or have color somewhere on them. This might help depending on the contrast and lighting.

In addition to memory, your character can also use labels and various markers. Sharpie, different colors and shapes, textural elements like bump dots, actual Braille or large print labels, tape, stickers, string, or ribbon. Label makers are great, but plenty of other options exist, particularly considering the aesthetic the kitchen has. He may also enjoy decorating this way since he has residual vision. Ribbons tied around containers of sugar, salt, and flour can be cute and functional.

A few other ideas after searching cooking stuff:

talking items, such as a blender, rice cooker, or microwave oven

marking speed on electric mixers or other devices

talking, high contrast, or large print timers

funnel or liquid level indicator

Braille or large print labeled measuring cups

individual bowls for portions, such as soup, rice, sauces, proteins, etc. Different shapes, sizes, or color could also indicate what food item typically goes in what bowl.

You can also come up with other ideas by thinking about what your character would use and how that might be done more easily. While I prefer characters use blindness techniques and assistive devices, people also naturally make things easier for themselves through organization and creating their own labels. A person who cooks might also be able to distinguish certain ingredients by smell or texture.

Another tip I have is to watch blind content creators on social media. Chances are, some of them show themselves cooking or discuss how they do it.

Lighting is also going to be a big deal. The kitchen will need good lighting, both overhead and under cabinets. Natural lighting is also great, although this is not as reliable or constant.

What he uses might also depend on various factors such as income; how often a character cooks; amount of available space; time period and setting; cultural practices around cooking, eating, and utensils used; access to the blind community; willingness to use assistive devices for blind people; any internalized ableism or ableism from family; and level of vision.

Hope that helps.

Im sorry if this is a dumb question but how would someone use a white cane to locate and go down stairs, specifically if they are at the top of the stairwell. I'm asking because im the story Im writing a blind character (who is the protagonist btw) has to go downstairs to reunite with his younger sibling but he cant take the elevators because the power is out (and there's a monster chasing after him so that doesnt help) I want to make sure I write this scene accurately, especially since I am sighted and do not use a white cane myself. Thanks in advance and sorry again if this is a dumb question.

Hi! Not a dumb question at all. I will do my best to explain it in writing. Most blind people are perfectly comfortable using stairs if they have cane skills, so I appreciate that you aren’t shying away from having your blind character using them.

Finding the top step is super easy. You just tap or slide the tip of your cane around until you find the place where the floor drops off, and then briefly slide the tip of the cane along the edge of the step so you can orient your body to go down the stairs at the right angle and not accidentally go down diagonal or anything like that.

Actually going down the stairs with a white cane is pretty easy as well, because the nice part about using a white cane as opposed to a guide dog or a low vision aid is that the cane can give you an exact idea of the size and depth of the step, so you aren’t left wondering until you actually step down.

The tip of your cane should always be two steps ahead of you. This applies for going up as well as down. So if the character is standing at the top of the steps, he would put his cane down on the step in front of him, which will give him a clear idea of the height and depth of the step, and then put the tip down one more step beyond that. As he steps down, the tip of the cane should move down to the next step beyond that, so every time he steps, the cane is still two steps ahead. He will know he is at the bottom when his cane slides forward on the floor of the landing instead of finding another step dropoff. Having the cane two full steps ahead will give him enough time to slow down when he finds the bottom with his cane so he doesn’t try to step down again onto flat floor.

In case you are also interested in how he could go up the stairs as well, the two-step rule still applies, but it’s slightly different. Every time he takes a step up, he should be tapping his cane against the front of the step two steps up. When he is approaching the top, his cane won’t have another front of a step to tap, so it will just swing out into open air, which is how he will know he is approaching the top and can slow down for the last two steps and not accidentally try to step up again onto empty air.

If he has been using a cane for a long time, this should feel totally natural and shouldn’t slow him down at all. It becomes muscle memory and second nature pretty quickly, so he should be able to get down the stairs as fast as he needs to without incident or worry.

I hope this made sense!

— Mod Lane

Writing Blind/Low Vision Characters

Time for another one of these I have decided! As always, this is based on personal experience with blind low vision people, classwork, and research. I do wear glasses, but I am not blind/low vision and this is not my lived experience. Please feel free to question, correct, and comment, as long as you are respectful! Thanks so much for reading :) On to the good stuff!

Vocab

Blind describes a person who has very little to no vision. This can be written with a lowercase or capital b (blind or Blind). Blind does not always mean no vision. It is medically defined as having vision of less than 20/200 in the better eye. Someone can be able to distinguish color, light and dark, or shapes, and still be blind.

blind refers to the medical condition of having little to no vision.

Blind (note the capital b) refers to the sociocultural experience of being a nonseeing person in a predominantly vision-based society. This distinction is newer and less common than with the Deaf community, but is becoming more popular, particularly with DeafBlind people. As always, the important thing is respecting what people identify as and want to be called

Visually impaired is a term that covers the spectrum of vision differences.

The term does not include disorders that affect one or more of the “basic psychological processes.” What this means is that though vision or the use of visual information may be impaired, if the nature of that impairment is not related to the structure of the eye, it would not be described as “visual impairment.” Examples include perceptual disabilities, brain injuries, or dyslexia.

B/VI is an acronym, standing for Blind/Visually Impaired, that can be used to refer to the community as a whole.

Low vision describes a person who is not fully blind, but whose level of vision is significantly impaired. More technically, this refers to vision that cannot be corrected through medical or surgical procedures, or conventional eyeglasses.

Legally blind (in the USA) refers to an individual whose vision is affected beyond what glasses can correct. This is a bit difficult to describe in writing but: If the strongest prescription possible cannot bring that person’s vision up to 20/20, they are legally blind. This is not the same as having no vision.

Deafblind or DeafBlind refers to an individual with any combination of vision and Deaf gain/hearing loss, ranging from mild to profound Deaf gain/hearing loss and from low vision to total blindness.

Visual acuity refers to clarity of vision and is the source of numbers like 20/20, 20/30, etc. This is another one that’s weird to describe so stick with me. My vision is about 20/40 (last I went to the eye doctor lol) which means that I see at 20 feet what someone with 20/20 vision sees at 20 feet. The top number is always 20, and refers to the 20/20 standard, while the lower number describes the visual acuity of the person in question. If their visual acuity is 20/10, that means they see at ten feet what a person with 20/20 vision would see at 20 feet. If they see at 20 feet what a person with 20/20 vision would see at 200 feet, they are medically considered blind.

Visual functioning is (basically) a measure of how well a person can use visual information in completing tasks. This is assessed a number of different ways.

Residual vision is another way of referring to the functional vision of a person with low vision or blindness. 

I’m not going to go through all the different kinds of blindness and eye conditions, because that would take too long, and this is already a pretty long vocab section. But there are lots of different kinds of conditions and disabilities affecting eyes and vision! Please explore them :)

Blind Culture?

Is there Blind culture in the same way that there is Deaf culture? Difficult to say. It’s an ongoing debate, and I’m going to briefly address each side, and then leave it up to you to research further how this might affect your character and your story.

Historically, the blind community have rejected the idea that blind individuals have a shared culture. The reasons for this are very well outlined in this letter, which I highly recommend reading. To summarize it here: Blind people are not isolated from sighted people in the same way that Deaf people have been historically isolated from hearing people. The reason for this is generally acknowledged to be the lack of, or existence of, a language barrier. Blind people use the same language as the sighted people around them, while Deaf people have used signed language as opposed to spoken language. Where no language barrier exists, this position argues, no separate culture forms or needs to form.

On the other hand - there are certainly experiences that are shared by people across the visually impaired spectrum that fully sighted people do not have. Blind or low vision people access and interpret the world in different ways. There is, analogous to Deaf communities, a history of blind or low vision children being educated separately from sighted children, and of discrimination throughout the lifespan that has isolated visually impaired people from sighted society.

What does all of this mean? It means that there is less consensus about what it means to be visually impaired, and what values or traditions unite that experience. It means that there is less of a framework for how your visually impaired character might relate to other visually impaired characters or their broader community. I highly encourage further exploration within your own story, as well as making sure that whatever choices you’re making about the character’s relationship to their vision is grounded in conscious choice and research. Just because there are no easy answers about a collective blind culture does not mean that a blind character can be written the same as a sighted character but without the vision.

Assistive Technology

Assistive technology (as a reminder, this is not specific to visual impairments) refers to pretty much anything used to make the lives of disabled people easier.

Official American government definition is:  “Any item, piece of equipment or product system, whether acquired commercially off the shelf, modified, or customized, that is used to increase, maintain, or improve the functional capabilities of children with disabilities. The term does not include a medical device that is surgically implanted, or the replacement of such device.”

Braille is a tactile system of writing in which raised dots represent letters, numbers, and punctuation. More on this later.

A screen reader is a software program that either reads written text on a screen aloud, or produces a Braille display.

Speech-to-text programs are software programs that…convert speech to text.

Text-to-speech or TTS are programs that convert written text into spoken speech. These were also commonly used on landline phones by d/Deaf people before text messaging became commonplace. 

Seeing Eye dogs are service dogs that are trained to help their blind owners move and navigate independently.

White canes are white canes with a red stripe. These are both navigational tools for B/VI people, and used to communicate to others that the person carrying it is B/VI. Accordingly, it is illegal in some US states to carry a white cane if you are not visually impaired. Only 2-8% of B/VI people actually use them, though, and it requires dedicated practice to use them effectively. They are designed to vibrate differently when they come in contact with different types of surfaces, and proper practice can help cane users distinguish between different obstacles. 

Braille and the Braille Literacy Crisis

Braille, as mentioned before, is a tactile way of writing, which helps B/VI people read and write effectively. I’m not going to do an exhaustive explanation, but essentially, a different combination of raised dots represents each letter of the written alphabet. The sentence I’m writing, rewritten in Braille, would have the exact same words and structure, but would be expressed in raised dots. There are abbreviated forms that are less commonly used and may be used by more skilled readers or those reading texts with specialized, space-saving abbreviations.

Less than 10 percent of legally blind in the US can read Braille, and only 10 percent of legally blind children are currently learning it. This is a huge problem. Over 70% of blind adults are unemployed, and up to 50% of blind students drop out of high school. There is a strong, scientifically supported link between literacy and employment.

Technology should supplement literacy, not replace it. Screen readers and text-to-speech are great tools, but are not an adequate replacement for literacy.

Reading English text is not always the best possible method of reading. The misguided belief that reading Braille is isolating and stigmatizing leads many to push reading text over reading Braille, even when this is inappropriate or even impossible. Some children achieve higher levels of literacy through reading Braille.

Implications for your writing: Can your character read Braille? Why, or why not? What impact does their illiteracy have on their life?

Rethink

I’ve tried a couple different headings here cuz as always, don’t want to tell people unequivocally not to write things. But these are things you should really think hard about before you include them in your writing.

So, things to rethink:

Overused tropes for B/VI characters:

Blind seer/blind mystic

Innocent, pure, noble, sweet etc.

Bumbling oaf B/VI person

Feeling people’s faces as a way to “know what they look like”

Does not happen in real life, more of a stereotype/sighted person’s fantasy

“Helen Keller didn’t exist” TikTok conspiracy theory (not a writing thing but a pet peeve I can’t not mention)

This is ableist. The only reason people think she wasn’t able to accomplish things is because she was deafblind and that’s fucking bullshit. It is not a cute silly TikTok joke. It’s ableism, and it’s disgusting.

Blindness negating power/ability.

This can be anything from an actual superpower (X-Men) to a technological advance (Star Trek) to a supernatural ability (Avatar: The Last Airbender.)

In real life, this could be having someone with other senses that compensate to an unrealistic degree, or echolocation, which, while it proves successful for some people, is hard, takes a ton of effort, and doesn’t work for everyone.

Resources/Recommendations

Please add recommendations in reblogs and comments! I really haven’t watched a lot of TV or movies that have blind characters, which sucks :/

Haben: The Deafblind Woman Who Conquered Harvard Law By Haben Girma is an autobiography of a deafblind woman that is incredibly well written and discusses independence and activism.

The World I Live In by Helen Keller describes life as a deafblind individual and is really powerful and beautiful.