AMEERALJINN

Arab writer, researcher, and creative director.

speculative storytelling, comics, anti-colonial narratives, memory, myth, and community.Commissions through Ko-Fi.

ABOUT ME

I am a diaspora Arab writer of Bedouin background and a neuroscience student interested in speculative fiction, memory, myth, and anti-colonial storytelling. My work explores questions of homeland, displacement, identity, care, and historical continuity through comics, transformative fiction, and research-driven worldbuilding.

ACHIEVEMENTS

  • Comics and media analysis threads reaching 50k–80k+ readers

  • Creator and organizer of Superman: Son of Al-Khalil, a collaborative transformative fiction zine project

  • Experience coordinating artists and contributors across collaborative creative projects

  • Writing commissions focused on political/worldbuilding-heavy fiction and character work

  • Currently developing an original graphic novel project in collaboration with artist Dandeidolon

  • Research-focused writing on orientalism, Arab representation, and speculative fiction in comics and popular media

FEATURED PROJECTS

SUPERMAN: SON OF AL-KHALIL

Creator • Writer • Director • Organizer

"What if the symbol of truth and justice did not land in the American heartland but in the heart of Palestine?"This is a transformative fiction reimagining the last son of Krypton as a son of Palestine. Careem “Khalil” Kanaan, a mild-mannered reporter from the Occupied West Bank. He raised by two kindly parents who nurtured his love for truth, justice and homeland.

Art by Satoshi

RA'S AL GHUL

Khalid, later known as Ra’s al Ghul, is a reimagining of the iconic Batman antagonist as a 17th century Arab physician from a Bedouin Adnanite tribe in the Ottoman Empire.Raised between tribal discipline and the care-centered philosophy of his milk mother, Fatima Ma Lihua (Omm Bil Reda’a), Khalid grows into a compassionate healer whose inability to accept loss ultimately transforms responsibility into an ideology of control.

SELECTED WRITINGS

Excerpts from various works

NOT WHAT I ASKEDPAGE 5 (6 PANELS)
PANEL 1
The policeman continues speaking. His words distort—lettering warped, overlapping, partially unreadable. Amal watches him, but nothing lands.
POLICEMAN (DISTORTED)
(unreadable)
PANEL 2
The Norias turn. The creaking grows louder, overwhelming.
SFX: CRRREEK—CRRREEK—
PANEL 3
Faces around Amal blur. The policeman’s face distorts, unreadable. His mouth moves, but nothing holds.
The sound lettering stretches across panel borders, partially cut off by the frame.
SFX: CRRREEE—K—CRR—
PANEL 4
Close on Amal’s face. Her breath stutters. The sound overlaps her features, intrusive.
SFX: CRRREEK—CRR—CRRREEEK—K—
PANEL 5
The Norias still turn in the distance—but their shape distorts, wood bending into shadow. The river darkens, flattening into black.
Behind Amal, the air gives way to stone—rough cave texture pushing through the background, overtaking the riverbank.
The policeman’s silhouette lingers—stretched, thinning, dissolving into the dark.
Amal stands at the center, unmoving.
SFX (FADED): crr…ree…k…PANEL 6
Silence.
Sound cuts. Amal stands inside the cave, her breath steadies.
CAPTION (AMAL)
Here, I don’t have to explain.

BIRTH OF THE DEMONPAGE 1 (4 PANELS)
Panel 1 (Large panel):
A large, imposing chamber. The architecture blends Arab and Chinese influences. Carved wood, silk, and stone. Intricate geometric patterns run across the walls and floor. The space is symmetrical, centered on a raised platform at the far end.The space feels deliberate, controlled; nothing excessive.
Panel 2:
At the far end of the chamber sits RA’S AL GHUL, elevated on a throne-like seat. It is not ornamental. His authority comes from restraint, not display. A few steps in front of him, an ASSASSIN kneels, head bowed, hands flat against the stone floor. Ra’s watches him. Still. Unreadable.
RA’S AL GHUL:
It was preventable.
Panel 3:
Closer on the assassin, still kneeling. His face remains unseen. His shoulders are rigid, hands pressed flat against the stone.
RA’S AL GHUL (OFF):
The question is—
Panel 4:
Close on Ra’s. Still. His expression doesn’t shift. Not angry. Worse, he was calm.
RA’S AL GHUL:
—why wasn't it prevented?

RESEARCH / ANALYSIS

Threads and Presentations

  • Let’s talk Orientalism in Absolute Superman

  • Head of the Demon: a distillation of my thoughts on Absolute Ra's Al-Ghul.

  • Why Are Arab Characters Always Assassins / Terrorists?

  • What is Talia Wearing?

Scholarly Articles Summarized

  • Jack Shaheen's Arab Images in American Comic Books

  • Rachel Saloom's Arab Stereotyping: A Multi-disciplinary Perspective

  • Jehanzeb Dar's Holy Islamophobia, Batman!

  • Frank Mehring's Holy Terror! Islamophobia and Intermediality in Frank Miller’s Graphic

COMMISSIONS

COMIC SCRIPT COMMISSION

  • 1-page comic scripts — $18+

  • 3 pages — $55+

NARRATIVE & CULTURAL CONSULTING

  • narrative/cultural consulting — $60+

  • developmental feedback — custom quote