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Šta je muškarac?! Šta je "pravi"/True Man muškarac?!

Po meni je smisao muškarca nalaženje mesta pod suncem i rešavanje životnih problema.

Muškarac mora da bude taj koji rešava životne probleme, a ne onaj koji kuka.

I tu ne ubacujem definiciju "pravog"/True Man muškarca koji je po mojoj definiciji neko ko pomera planine i menja svet po svojoj volji ili iskorišćava prilike u tom svetu, ali svakako neko silan i zapažen.

I razlikujem i True Man od Alfa mužijaka. Alfa je nešto drugo. Tip oko koga se svi vrte jer privlači sve svojom pojavom, harizmom, izgledom, ponašanjem, ali je pitanje da li zaslužuje da bude True Man.

Muškarac je dakle po meni neko ko rešava svoje životne probleme i izazove i svoje porodice. I iznalazi mesto pod suncem za sebe i porodicu.

Providing for the family. Ako ne rešava svoje probleme iako ima testise ispada nešto manje od muškarca.

Tu nema mesta za suze. Može ponekad, ako ga baš nešto pogodi. Ali muškarac mora da bude ratnik u duši, a ne neka pekmeza i kukavac sve i da je umetnik.

Ja ne volim muškarce koji su neki izgubljeni, pogubljeni, sluđeni, smušeni.

[smorko5]

"True man" filmovi i serije - Once Upon a Time in the West

Moj glavni favorit za jedan od "True Man" ili "Pravi muškarac" filmova bi bio Once Upon a Time in the West.  https://www.imdb.com/title/tt0064116/

1) Osvetnik - glavni protagonista filma MC je Harmonica. Misija osveta za grubo poniženje, ubistvo člana porodice i uvredu. U RPG-u bi bio klasifikovan kao Neutral Good ili Chaotic Good. 2) Zločinac - antisocijalac, psihopata, surovi ubica, bez skrupula i odan samo sebi i sve iskorišćava ne mareći ni za koga i ni za šta. Siledžija, sve potcenjuje. Jedino razume i priznaje zakon sile. Chaotic Evil bez sumnje. Tip je nešto najgore što postoji. 3) Sanjar oportunista - ubijen na samom početku filma zajedno sa celom svojom porodicom pa nismo ni videli mnogo od njega, ali meni svakako spada u kategoriju moćnog muškarca. Oženio prostitutku - nije ga briga šta svet misli. Lawful Good. 4) Bandit - zanimljiv čovek, snalažljiv, banditski moral. U RPG bi bio klasifikovan kao Chaotic Good ili Chaotic Neutral. Neko ko se bori protiv surovosti sveta, ali je i sam surov. Za razliku od Zločinca ima srce i moralan je makar na neki način. 5) Graditelj - Lawful Evil - Krupni kapitalista koji ne preza ni od čega i iako ima tešku bolest zbog koje je nepokretan, njega je ta bolest ipak samo usporila. Ne kvalifikujem ga kao Sanjara jer po meni Sanjar je neko ko ni iz čega stvara nešto dok je Graditelj neko ko širi svoj biznis. Bar moje lične definicije.

Najbolji citat u filmu je "The future don't matter to us. Nothing matters now. Not the land, not the money, not the woman." Po meni je tu sadržana suština filma. Borba za čast ili što bih ja nazvao u ovom slučaju "merenje qurčeva".

[smorko5]

The Top 9 Types Of Literary Heroes

In almost any story, the hero will fit into an archetype in some way or another.

Using character archetypes doesn’t mean the story isn’t creative, though! Archetypes are simply tools for writers to use and play with.

A story outline (like the three-act structure, for example) can be a good scaffolding for us build our story around. A character outline can be a good scaffolding for us to build a hero around.

As readers, we can train ourselves to spot these archetypes. As writers, we can utilise established archetypes to give a character more depth. Analysing archetypes is a great activity for a writer to do. 

We can consider archetypes when trying to understand more about the heroes we’ve already written. We can use them when planning a story to create the best character for the narrative and the world. 

Whatever the stage of your writing, knowing the different types of literary heroes can help you write better protagonists. Let’s dive in and take a look at nine common examples.

Hero type #1: Epic hero

What is an epic hero?

The epic hero is the first archetype that comes to mind when we think of heroes.  They are called to adventure, they face trials, they save the day.

They will begin their story at a point of stability and they will usually return to stability, only now they have been changed in some way.

For some, this means they have gained power(s) through their journey. For others, it means they now know more about the world at large.

What are some examples of epic heroes?

Epic heroes are classic heroes, and it doesn’t get more classic than Odysseus from Homer’s Odyssey.

Odysseus is challenged to complete trials; he shows courage, loyalty and smarts. Eventually he succeeds in his quest and returns to a period of stasis.

A more recent example of an epic hero could be Aragorn from The Lord of the Rings.

Aragorn was born noble, but at the beginning of the story he is in a humble state. Then he is challenged, and eventually becomes the king his people need him to be.

To go even more recent, we can consider Rapunzel from Tangled. Rapunzel begins her story at a point of stasis, but finds adventure when she becomes bored of her limited life.

She is keen to explore, which she does, facing trials along the way. Finally she ends the story as the returned princess.

How to write an epic hero

While many epic heroes are admirable or at least interesting characters, that’s not their primary function.

An epic hero doesn’t have to have as much depth and inner turmoil as some other types of literary heroes. Writing an epic hero can be more straightforward.

An epic hero will often be destined for greatness of some kind. That could mean they’re the long-lost child of royalty or even gods. 

Once you have your epic hero’s backstory, you can put them on the traditional heroic path, like Campbell’s Hero’s Journey, and they will complete their quest, save the day and return to a point of stability.

If they were long-lost royalty, their new stability could be happily ruling their kingdom. Maybe they return to the exact same point they started from, happy with their original, humble life.

Hero type #2: Iconic hero

What is an iconic hero?

The iconic hero is often bundled in with the epic hero, but they aren’t quite the same. 

Both the iconic and the epic hero are classically heroic. They are courageous, loyal and clever.

The difference is that the epic hero goes through a journey and comes out the other end changed in some way. The iconic hero is eternal and does not change.

It can be easy to think that this type of literary hero isn’t interesting, but that isn’t true. As readers, we like these characters. They can feel familiar and even safe. We know that they won’t change.

An iconic hero won’t die in their own story. The story’s other characters could change, die or simply leave, but the iconic hero is always what we expect and need them to be.

What are some examples of an iconic hero?

Literature is littered with iconic heroes. They’re especially popular in comic books.

Consider Batman, Superman, Hulk, Wolverine, Professor X, Captain America. These characters are defined by their respective traits. They may experience a character arc, but Batman is always Batman.

The comic book iconic hero works well because readers often jump into comics at random, not always starting with the very first issue.

The iconic hero archetype means we know what to expect when we pick up the next Batman comic, even if we’ve missed the last 100 or so.

This is also why writers can reboot these stories and franchises so frequently. 

The iconic hero is also popular among detective characters. Agatha Christie’s Poirot, Sherlock Holmes, and even Nancy Drew are all iconic heroes.

They hunger for truth, and they come out the other end the same way they went in. James Bond and even Geralt from the Witcher series fit this character type as well. 

How to write an iconic hero

Looking at the above examples, there’s something that links these heroes: they’re all stars of multi-volume series.

To write an iconic hero, your character must appear in many stories. Otherwise, they’re just a regular old hero, not an iconic one.

Start by getting to know your character. Understand them as best you can, because they aren’t changing.

You might feel that you need to change them to progress the story along. For example, the detective getting better at detecting in order to solve the crime.

But the detective doesn’t really need to get any smarter; they just find the next clue.

You can change the environment around your hero, however. You can have some fun with an established iconic hero by putting them in a new and foreign situation and exploring what they do.

Hero type #3: Anti-hero

What is an anti-hero?

The anti-hero has become increasingly popular over the past decade. The key feature of an anti-hero is their lack of typical heroic attributes.

While a typical hero is courageous and idealistic, and follows a moral code, an anti-hero does none of these things.

Anti-heroes may perform actions that are morally ‘correct’ according to the laws of their universe, but they don’t perform these actions for moral reasons. Often, they act for selfish reasons.

Anti-heroes do what needs to be done and don’t particularly care who they hurt along the way.

What are some examples of anti-heroes?

For a lot of people, the first anti-hero that comes to mind is everyone’s favourite science teacher, Walter White from Breaking Bad. 

Walter White is the hero of the story. He takes to a life of crime to save his family from financial ruin. But as he continues on his path, he makes more and more questionable decisions.

His antagonists are undoubtedly villains, but he is by no means a good guy.

For another example, we can look at the early version of Han Solo from the Star Wars franchise. 

Hardcore fans will always tell you that ‘Han shot first’, referencing a gun fight in the 1977 film, where Han shot Greedo first. In re-releases, this was edited so that Greedo shot first and Han simply retaliated.

Why is the distinction so important? If Han shot first, it’s an example of his moral ambiguity. He shoots first, asks questions later (or never).

We later see Han become more of a typical hero, where he makes moral and just choices, but throughout the first Star Wars film, he is only motivated by his own interests: he wants to get paid for his work.

He is a hero by his actions, but an anti-hero by his justifications.

How to write an anti-hero

Writing an anti-hero can mean writing a heroic path for your character to follow, and then writing a character who is not at all interested in that path.

They’ll go along for the ride if it benefits them, but they aren’t interested in acting without (mostly material) reward.

An anti-hero isn’t a reluctant hero (we’ll come to that archetype soon); they’re just someone who will only perform heroic deeds if they are benefited by those deeds (or who achieves good outcomes through not-so-good means).

Hero type #4: Reluctant hero

What is a reluctant hero?

A reluctant hero has a lot of similarities to an anti-hero. Neither of them really want to be there; they’re just forced to be there. 

However, while the anti-hero is there because of personal gain, the reluctant hero is forced to be there because to do anything else would go against their moral compass.

What are some examples of a reluctant hero?

There’s no better example of a reluctant hero than Shrek. He grows and shows his vulnerability and eventually makes heroic choices that don’t directly benefit him.

Throughout the original Shrek film, we are shown that he is rude because he is insecure, and expects people to leave him. Once he lets people into his life, he is loyal to them.

He saves Donkey from assumed death at the dragon’s tower because it’s the right thing to do. Leaving Donkey to die would distract the dragon, which would benefit Shrek.

He makes personal sacrifices to do what’s right, even though he doesn’t want to. 

Another great reluctant hero is John McClane from Die Hard. He just wants to go on a holiday, but he’s stuck in a building filled with terrorists.

He’s a hero because his conscience tells him that he has to do something about that, even if he’d really rather not.

How to write a reluctant hero

Writing a reluctant hero is similar to writing an anti-hero. You create a heroic path for your character, and then a character who does not want to travel that path. 

A reluctant hero can require a bit more character development than an anti-hero and often some backstory to go with it.

Hero type #5: Liminal hero

What is a liminal hero?

A liminal hero is a hero who is in between states or spaces. They might cross over with some other types of heroes, but this type of hero has some unique characteristics.

‘Liminal’ indicates a space, a state, a feeling that’s between two established elements.

Being a teenager is existing in a liminal state. A teenager isn’t quite a child, but they’re also not an adult yet either. Because of this, a lot of YA stories feature liminal heroes.

You don’t have to write YA to write liminal heroes, though, because teenagehood isn’t the only liminal state available to you.

A ghost is in a liminal state. They’re dead, but they’re still on this plane of existence. 

A liminal hero is a hero going through their own form of change and transition. This affects their story, their interactions with others, and their character arc.

What are some examples of liminal heroes?

Many liminal characters exist in the YA space because their transition to adulthood and their transition through another liminal space can reflect each other. 

Stephenie Meyer’s Twilight is such a great example of a liminal hero, she even named the book to reflect that state – twilight is a transition between day and night.

Meanwhile, Bella (our liminal hero) is in her own transition period. Bella is a teenager, transitioning into adulthood. Later she’s a human, transitioning into a vampire.

It’s not until the end of the saga that the transitions are completed and the liminal hero’s story is over.

Another great liminal hero is Spiderman. Peter Parker/Miles Morales/your preferred Spiderman is another teen trying to become a mature adult. In the midst of that, he has to be a superhero.

He can never be 100% himself (a teenager) or 100% Spiderman (a superhero); he always exists somewhere between those states.

Zoraida Córdova’s Labyrinth Lost (the first in the Brooklyn Brujas series) sees the hero, Alex, in a liminal space: the space between life and death.

Alex doesn’t fit in with her family, and she’s a bruja with magic, but she hates magic. She goes on an adventure to save her family after she made a terrible, magic-based mistake.

Alex remains in a state of flux for her entire story and only exits her liminal space when her journey is completed.

Remember, though: just because liminal characters often exist in YA literature, that doesn’t limit you as a writer. You can write whatever you want. (You’re in your own liminal space.)

How to write a liminal hero

Liminal heroes are inherently uncertain. They don’t really know what they want yet. They’re in-between.

For some, this means being in a literal liminal space (like life vs. death or normal vs. superhero). For others, it can simply be a transition time in their life. 

Liminal characters exist between the spaces of certainty. But uncertainty is a character trait as well. If you’re not sure where to begin writing a liminal hero, remember how you felt in key transition times of your life.

Hero type #6: Everyman hero

What is an everyman hero?

The everyman hero is an ordinary person, with no special abilities, who acts heroically. They’re not Superman; they’re just the person who’s here.

The everyman hero is almost an audience insert. The archetype is designed to represent the average person.

It can be hard to empathise with a superpowered hero of the story, but easy to connect to a regular person – an everyman.

The name ‘everyman’ is gendered, but this heroic archetype isn’t limited to men. Any character can represent the average person and complete heroic tasks.

Even characters made of plastic… (See below.)

What are some examples of an everyman hero?

One of the best examples of an everyman hero is in The Lego Movie. The hero of the story, Emmet, is nothing special. In fact, the film directly tells us that he is ordinary.

Emmet still acts heroically and saves the day, despite not being ‘special’.

Ellen Ripley from Alien is also an everyman hero. Ripley possesses no ‘special’ abilities besides her determination, and she still manages to overcome the Xenomorph and survive.

And who could forget Frodo Baggins and Samwise Gamgee? These two heroes are just regular hobbits who find themselves on an epic quest to save the world.

Their compassion for others and determination allow these ‘everyhobbit’ heroes to complete their monumental task.

How to write an everyman hero

The everyman hero is a normal person, who finds themselves in abnormal circumstances. They face extraordinary challenges.

They may think themselves to be special in some way (the way that Emmet does), but the power of this archetype is that they are just like us.

To write an everyman hero, you need to write a character who cares and who will do the right thing.

If anything makes this type of character special, it’s their compassion, determination and willingness to sacrifice for others.

Hero type #7: Romantic hero

What is a Romantic hero?

The name ‘Romantic hero’ doesn’t refer to a hero who has romantic relationships. Instead it refers to the Romantic period of literature.

The defining features of a Romantic hero are their constant rejection of established norms and their sense of self-importance. They reject authority and rules and are often introverted and isolated.

It’s important to note that while these concepts may have negative connotations, they are not necessarily character flaws in a Romantic hero.

The heroic archetype of ‘misfit hero’ is a modern example of a Romantic hero.

What are some examples of Romantic heroes?

A hero who doesn’t conform to societal expectations and is self-important and moody? There’s no better example than Mr Darcy from Pride and Prejudice.

Darcy doesn’t act how we (and how Elizabeth) expect someone in his position to act. In the beginning, at least, he’s somewhat rude and doesn’t particularly care what other people think of him.

This is in direct opposition to a lot of the other characters who are caught up in the many rules of Regency society.

Katniss Everdeen from The Hunger Games series can also be seen as a Romantic hero. Katniss doesn’t follow the rules of society, and she is better for that.

She tends to isolate or distance herself, but she thinks outside the box because of her isolation, and can succeed in her many trials because of her unique way of seeing the world.

How to write a Romantic hero

The way to write a Romantic hero is to give them lots of inner turmoil, broody behaviour and (occasionally unearned) confidence.

Romantic heroes know that they do not fit in, and they do not care. To write a Romantic hero (or Byronic hero – see below), you need to know what established norms they will reject.

And, importantly, you need to know why those rejections make them interesting and heroic. 

Hero type #8: Byronic hero

What is a Byronic hero?

Lord Byron, never satisfied with established archetypes, invented a twist on the Romantic hero: the Byronic hero.

The Byronic hero is a sub-category of the Romantic hero. The key difference between them is that while Romantic heroes are better off because of their rejection of societal rules, the Byronic hero has been hurt and rejected by society.

In their isolation, they become apathetic or even dangerous to themselves and to others.

What are some examples of a Byronic hero?

The best example of a Byronic hero is Lord Byron himself. He was overly obsessed with himself and his own work and everywhere he went, he left a trail of broken hearts in his wake.

We can also see this archetype in Bojack (Bojack Horseman), Loki (the Marvel Cinematic Universe), Mr Rochester (Jane Eyre) and Heathcliff (Wuthering Heights).

How to write a Byronic hero

Writing a Byronic hero is similar to writing a Romantic hero. They both live with inner turmoil, and as the writer, you’ll spend a lot of time in your character’s head.

To write a Byronic hero, you first need to know why they were rejected from society. What crime, sin or difference set them apart from their peers? 

Once your hero has settled down, isolated from society, how will they twist and change into someone who wilfully eschews tradition? 

You also need to know if your hero would return to society, if society would have them. For some Byronic heroes, returning to the group that rejected them is their ultimate goal.

Finally, you need to decide if your Byronic hero will change their behaviour and stop being a danger to themselves and others. Or will they embrace their fatal flaw, their story resulting in tragedy?

Hero type #9: Tragic hero

What is a tragic hero?

The tragic hero was first defined by Aristotle, and they are the central player in most tragic stories. 

Aristotle argued that any good tragic story needed emotional investment from the audience. We need to be sympathetic to the hero and feel catharsis at the end of their story (which was most commonly their defeat in some way).

A tragic hero is someone who is flawed in a major way and though doing their best, they still meet tragedy at the end of the story.

They may make poor decisions or do bad things. But at their heart, they are (or at least want to be) good. That’s why their downfall is so tragic.

What are some examples of tragic heroes?

Can you get any more tragic than Romeo and Juliet? Romeo is passionate, excited, in love. He would do anything for his love. He’s reckless, but that’s because he’s so passionate.

His recklessness is also what leads to his and his lover’s deaths. If not for that trait, both he and Juliet may have avoided death.

To switch to a contemporary example, what about Game of Thrones? (Spoilers for the last season of GoT. Scroll past the paragraphs between the stars to avoid.)

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We watched Daenerys Targaryen survive many hardships throughout the run of GoT, only to see her end turn tragic.

Dany’s whole journey was to become the ruler of the seven kingdoms. Her single-minded desire for the Iron Throne became her fatal flaw, and she ultimately died because of her actions.

Ned Stark also suffered a tragic fate where his downfall was his own moral code.

(He is perhaps an even better example of a tragic hero than Daenerys, who could arguably have been called a ‘villain’ rather than a hero in the end.)

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Jay Gatsby from The Great Gatsby is another tragic hero. Throughout the novel, we seem him constantly searching for more. For the American dream. For Daisy. For a sense of satisfaction that he will never find.

Gatsby is near-delusional, obsessed with the dream of the perfect life with the perfect wife. Because of his inability to accept the truth of life, to see beyond his idealism, he meets his tragic end.

How to write a tragic hero

Writing a tragic hero is hard! They have to be flawed and meet their tragic downfall because of those flaws. But at the same time, the audience has to care about them.

Keep in mind that a tragic hero must be virtuous as well as flawed, suffer a reversal of fortune, have the sympathy of the audience and (despite their best efforts or intentions) cause harm or come to ruin.

Should be simple, right?

Aristotle broke it down a bit for us:

Hamartia is the hero’s tragic flaw that leads to their downfall. 

Hubris is the hero’s excessive or unreasonable pride. 

Peripeteia is the sudden change or reversal of fortune. 

Anagnorisis means ‘recognition’ and is where the hero learns something important about themselves or the world. 

Nemesis is the unavoidable punishment for the hero. 

Catharsis is the hero’s inevitable downfall and where the audience can release their built-up emotions. It may also bring renewal or some positive change to the hero’s world.

This iconic structure is still present in today’s fiction, though many authors manage to create a tragic hero without all these elements. (Nemesis, for example, is often omitted in contemporary stories.)

Bonus: Combination heroes

Above are the key archetypes of literary heroes, but don’t feel limited to using just one type. And if you’ve already started writing a character, but they don’t neatly fit into one of these types, that’s fine.

Some of the most engaging characters are those that are a combination of different archetypes.

The reluctant everyman hero. The liminal Romantic hero. The iconic anti-hero. Or any other combination that suits your writing style and your story.

As a reader, you might not be able to categorise each hero you read as one of these archetypes. However, each hero will partially fit into at least one archetype.

Let these types of literary heroes inspire your writing. Maybe you’ll be the first to use a new archetype combination in your story.

[smorko5]

Hero Archetypes in Literature

Since the dawn of storytelling, heroes have captivated our imaginations, serving as the embodiment of courage, resilience, and the triumph of good over evil. From ancient myths to contemporary literature, heroes take center stage, guiding us through epic quests and inspiring us with their noble deeds. Behind these heroic figures lie archetypes, universal patterns and symbols that resonate deeply within us. In this article, we will take a deep dive into the various hero archetypes in literature, shedding light on the timeless characters that continue to shape our understanding of heroism.

Throughout literary history, various hero archetypes have emerged, each with its own unique qualities and motivations. From the noble and self-sacrificing hero to the reluctant and flawed protagonist, these archetypes reflect different facets of the human experience and embody our aspirations, fears, and desires. By studying hero archetypes, we gain insight into the universal themes and values that permeate our collective consciousness.

Moreover, hero archetypes provide a roadmap for character development and storytelling. They guide authors in crafting multidimensional characters that resonate with readers on a profound level. By understanding the core archetypes, writers can breathe life into their heroes, infusing their narratives with depth, complexity, and relatability.

In the following sections, we will delve into some of the most prevalent hero archetypes found in literature. From the mythical hero of ancient legends to the modern-day anti-hero, we will examine their defining characteristics, symbolic significance, and the impact they have on the narratives they inhabit. By exploring the hero archetypes that have stood the test of time, we uncover the timeless allure and enduring power of these mythic figures.

The Reluctant Hero

One prominent hero archetype in literature is the “reluctant hero.” This archetype embodies a protagonist who initially resists the call to action, often driven by self-doubt, fear, or a desire for a peaceful life. However, circumstances compel them to embark on a heroic journey, where they discover hidden strengths and rise above their doubts. The reluctant hero reflects the universal human struggle with stepping into the unknown and embracing their destiny. This archetype resonates with readers as it showcases the

 transformative power of overcoming personal limitations and illustrates that heroism can emerge from unexpected sources, inspiring us to find courage within ourselves.

The Tragic Hero

A prevalent hero archetype in literature is the “tragic hero.” This archetype represents a character who possesses noble qualities and is destined for greatness but ultimately meets a tragic downfall. The tragic hero is often flawed, exhibiting hubris, excessive ambition, or a fatal flaw that leads to their own undoing. Their journey is a poignant exploration of the human condition, as they grapple with moral dilemmas, inner conflicts, and external forces that shape their tragic fate. The tragic hero’s story evokes a sense of catharsis in readers, as we witness the complexities of their struggles and reflect upon the fragile nature of human existence.

Archetypal Hero

A further cornerstone is the “archetypal hero.” This archetype embodies the quintessential hero figure who embarks on a grand adventure, often overcoming extraordinary obstacles and facing formidable adversaries. The archetypal hero possesses exceptional qualities such as bravery, strength, wisdom, and a strong moral compass. They are driven by a sense of duty, justice, or a quest for truth. Throughout their journey, they undergo personal growth, learning valuable lessons and embodying the ideals of honor and heroism. The archetypal hero archetype resonates deeply with readers, as it reflects our innate yearning for heroism, escapism, and the triumph of good over evil. It taps into universal themes of self-discovery, resilience, and the transformative power of heroism.

The Anti Hero

One of the most fascinating archetypes is the ‘Anti Hero’. Unlike traditional heroic figures, the anti-hero challenges the conventional notions of heroism. They possess qualities that deviate from societal expectations, often displaying flaws, moral ambiguity, or a cynical outlook. The anti-hero’s journey is marked by internal conflicts, navigating complex moral dilemmas, and questioning societal norms. Despite their unconventional nature, anti-heroes captivate readers by challenging the status quo and reflecting the shades of gray inherent in human nature. Their stories offer a compelling exploration of the blurred lines between good and evil, inviting readers to ponder the complexities of human existence.

The Unlikely Hero

The ‘Unlikely Hero’ is one of the most inspiring for audiences to read. This archetype defies expectations by featuring a protagonist who lacks traditional heroic qualities or comes from humble beginnings. The unlikely hero may be inexperienced, underestimated, or initially reluctant to embark on a heroic journey. However, circumstances thrust them into extraordinary situations where they rise above their limitations and display unexpected bravery, resourcefulness, and resilience. The unlikely hero captures readers’ imaginations by showcasing the transformative power of ordinary individuals who find the courage to confront adversity and fulfill their potential. Through their journey, the unlikely hero teaches us that heroism can emerge from unexpected places, inspiring us to believe in our own capacity to overcome obstacles and make a difference in the world.

Trickster Hero

Perhaps the most entertaining of all the archetypes on this list is the ‘Trickster Hero’. This archetype embodies a character who possesses cunning wit, cleverness, and a mischievous nature. The trickster archetype in general relies on their intellect and quick thinking to navigate challenges and outsmart their adversaries. They employ deception, humor, and unconventional methods to achieve their goals, often challenging societal norms and authority figures along the way. The trickster hero brings an element of unpredictability and levity to the narrative, injecting humor and irony into their actions. They serve as catalysts for change, questioning established systems and exposing hypocrisy. Through their antics and unconventional approach, the trickster hero offers readers a fresh perspective on problem-solving and encourages us to challenge the status quo.

The Redeemed Hero

An intriguing hero archetype in literature is the “redeemed hero.” This archetype features a protagonist who begins their journey with significant flaws, moral failings, or a troubled past. They may have made mistakes or been on the wrong side of the moral divide. However, as the story unfolds, the redeemed hero undergoes a profound transformation, seeking redemption, and striving to make amends for their past actions. Through acts of selflessness, sacrifice, and personal growth, they evolve into a symbol of redemption and renewal. The redeemed hero’s journey offers readers a powerful exploration of forgiveness, second chances, and the potential for personal redemption. Their story emphasizes the capacity for change and the triumph of the human spirit.

Hero Archetype Examples

One notable example of an anti-hero is the character of Severus Snape from J.K. Rowling’s Harry Potter series. Snape is a complex and morally ambiguous character who initially appears as an antagonist, frequently antagonizing the protagonist, Harry Potter. He exhibits characteristics that deviate from traditional heroic ideals, such as his bitterness, cynicism, and harsh demeanor. However, as the story progresses, Snape’s true motivations and backstory are revealed, showcasing his unwavering loyalty and self-sacrifice in service of a greater cause. Snape’s complex nature and conflicting actions challenge readers’ initial perceptions, making him a compelling anti-hero.

The ‘Unlikely Hero’ is perhaps the easiest for readers to root for as their underdog nature allows us all to imagine we can rise to the occasion when needed. A classic example of this is Bilbo Baggins from J.R.R. Tolkien’s “The Hobbit.” Bilbo, a hobbit known for his love of comfort and predictability, is thrust into an unexpected adventure when he is recruited as the “burglar” for a group of dwarves on a quest to reclaim their homeland from the fearsome dragon Smaug. Initially, Bilbo is unsure and ill-prepared for the dangers that await him. However, throughout the journey, he surprises both himself and others with his resourcefulness, bravery, and cleverness. Despite his small stature and lack of traditional heroic qualities, Bilbo’s wits and unexpected heroism prove crucial to the success of the quest.

The tragic hero, when done well, has the capacity to provoke powerful emotional reactions from readers, maybe exemplified by the character of Hamlet from William Shakespeare’s play, “Hamlet.” Hamlet is a prince of Denmark who is plagued by a tragic fate. He is torn between his desire for revenge for his father’s murder and his contemplative nature, constantly questioning his own motives and the consequences of his actions. Hamlet’s tragic flaw lies in his indecisiveness and overthinking, leading to a series of unfortunate events that result in the downfall of himself and those around him. Despite his intelligence and introspection, Hamlet’s inability to take decisive action ultimately leads to his tragic demise. His story embodies the universal theme of the human struggle with morality, existential questions, and the consequences of inaction.

Hero Archetypes in Literature – Final Thoughts

The hero archetype has emerged due to various reasons, but broadly speaking we can condense this into two. Firstly, the hero as a concept taps into human nature about an individual’s capacity to overcome evil and save the day. Secondly, as time has gone on, the evolution of these archetypes is as a result of our desire as readers to progress from more juvenile black and white narratives into tales that reflect the complexities of our own lives.

By twisting with the cliches of a hero and bringing in other personality traits within the character, it adds many layers and dimensions to both the character as an individual and the story as a whole. The above list of character archetypes give an insight into what that looks like and will likely continue to evolve over time to reflect the world we live in and our desire to see that reflected in the stories we read.

[smorko5]

Priča o lošem standardu i iseljavanju iz SFRJ tokom 70-tih i 80-tih

Kakve bre 70-80-te. Krajem 60-tih i pocetkom 80-tih se iselio enorman broj ljudi iz SFRJ zbog toga sto se u vecini drzave zivelo u nemastini, pa je tako u 6-7 godina na prelazu tih decenija iseljeno 800 hiljada Jugoslovena sirom sveta. Samo u Australiju se pocetkom 70tih iselilo 80 hiljada ljudi, cak 50 hiljada Makedonaca.

Za ilustraciju, moji su od 50-tih godina imali kucu u Gornjem gradu u Zemunu, 800m od centra Zemuna, jedne od 10 centralnih opstina glavnog grada SFRJ. 70-tih godina mi nismo imali kanalizaciju, imali smo septicku jamu, sve dok nije izgradjeno novo naselje Meandri 1976-77. Takodje, telefonski prikljucak je bio misaona imenica do 1982, 3 decenije su deda pa otac podnosili zahteve PTT, u ulici su ih imali clanovi SKJ, SUBNORa, mi ostali smo dosli na red kad sam ja bio u srednjoj skoli.

70-tih i 80-tih si devize kupovao na crno, pogotovo u 80-tim kada si svaki izlazak iz zemlje placao takse, svaki put za 2000din vise. Tih godina inflacija je bila poprilicna pa je dinar stalno gubio vrednost, 70tih je postojao pojam koji kao dete nisam razumeo "stari" i "novi" dinari. "Novi" su uvedeni kada su obrisali 4 nule, neki se mozda secaju da je to uradio i Ante Markovic ( i navodno nas uveo u blagostanje, kako kratkivido kod ljudi koji brane tu 1989-90). Secam se da sam kao klinac na kraju osnovne 1980 poceo da belezim kurs u nekom svom dnevniku i da je za 7-8 godina vrednost dinara desetostruko pala, 1987 je pocelo da divlja.

Da li se neko seca perioda "stabilizacije" za vreme premijera Djuranovica i Planinc? Naime, drzava je bila u tehnickom bankrotu i sacekali su da se jednonogi diktator ohladi da sve zivo prodaju i prestanu sa uvozom da bi dosli do deviza kojima ce otplatcivati dugove. Pa se desio prvi raspad energetskog sistema te godine, odlicno se secam, 8 razred osnovne poslepodnevna smena, zima, odjednom ceo centar Zemuna u mraku, popepi smo se uz baterijsku lampu na Gardos do kule i jeziv pogled, pamtim ga i danas, na stari i Novi Beograd i Zemun u totalnom mraku sa pokojim automobilskim svetlom ( vec su uveli bonove za 40 lit po registrovanom automobilu). Izvezli su svu struju napolje i zato se raspao energetski sistem SFRJ. 5-6 godina smo imali bonove za secer, ulje, kafu, deterdzent, benzin...

I onda kada bolidi kazu da se tad zivelo dobro, jeste zato sto su sad bakutaneri koji su sad bolesni i pred smrt tad imali 20-30 godina a mora se priznati da retko ko ne zali za svojom mladoscu ili bar delom nje.

Iako sam se iselio iz Srbije pre 16 godina mogu reci da se danas tu najbolje zivi od onoga sto ja pamtim, od te neke prve polovine 70tih. Relativno je stabilno za one koji imaju posao ( a nije nezaposlenost kao 70-80-tih), prosecna plata bar u BG je relativno OK, jeste skuplje za zivot (ali i sirom sveta je isto), infrastruktura je bolja, savremenija, imate interMet kao i neko u San Franciscu, snabdeveni ste svime zivim ( ah, da u 70-80-tim niste mogli svaki mesec kupiti iste proizvode, nema ih vise), putujete po Evropi vise nego ikada u istoriji, mozete kupiti stan ili kucu a ne cekati da vam odobri radnicki savet ako se ponasate u duhu socijalistickog samoupravljanja...

[smorko5]

Pogled na ulogu negativca - Ludi Viking Moonk u 5. sezoni Fargo serije.

Moonk iz 5.sezone Farga. Filozofski predstavlja divljaštvo i ludilo nasuprot civilizacije prikazano u zadnjoj epizodi. Inače u samoj sezoni on je ili mentalni bolesnik ili divlji Viking koji je živeo ko znak koliko stotina godina i ne može da umre, poludeo na neki način ili jednostavnije donosi percepciju i društveno vaspitanje iz prošlih vekova: "Oko za oko, zub za zub", "Ubij ili budi ubijen, jedi ili budi pojeden!"

Veliki mrak, velika tuga, veliko ludilo, hronično nerazumevanje i teška unesrećenost bi karakterisale Moonk-a, ali ipak i pored sveg toga želja da se ide dalje silom kroz blato ljudskog postojanja! Njegovi dijalozi i monolozi su bogati ljudskom bedom, zaista retko viđena vrsta negativca koji i sam mnogo pati. Ovakvih stvari nam treba više na TV-u.

Sviđa mi se mnogo ova vrsta negativca i upliv filozofije u inače možda i preterano feministički pogled na svet 5.sezone Fargo. Ovo bi moglo i da se nazove takozvanim toksičnim maskulinitetom od strane Woke krugova. Naravno nisam siguran da ovo podržavam. Čak verovatno bih bio kritičan prema ovome, ali je pametno i zanimljivo. Sve u svemu, divlji ludi Viking Moonk je pred nama koji oprost za grehe dobija jedući kolačić u porodici glavne junakinje sa kojom je bio u sukobu, ali kojoj je i pomogao! Interesantna je i simbolika hrane kao grehu i jedenju pogače kao oprostu od grehova i to možemo povezati sa crkvenim pričešćem! Sviđa mi se sve u svemu ta višesmislenost!

[smorko5]

Da li ste srećni i zadovoljni i da li uživate u ovom vremenu?!

Mnogo ljudi je nezadovoljno iako živimo što bi se reklo u najboljem periodu ljudske istorije. Nismo robovi koji rade po ceo dan za koru leba. A pre samo 100 godina naši preci su motikama od jutra do mraka kopali njivu za mizerni džak krompira.

Međutim, dosta ljudi nije zadovoljno. I pored vrlo lako dostupnih stvari poput jeftine hrane, punih frižidera, svih oblika tehnološke zabave, TV-a, interneta, smartfonova, igrica, filmova, serija, muzike, društvenih mreža. Pa do nekih nešto viših prohteva na primer eventova poput letovanja, zimovanja, koncerata, festivala, izleta, splavarenja, planinarenja itd.

Da li ste srećni i zadovoljni i da li uživate u ovom vremenu?! Šta vas koči i sprečava da ostvarite ono što želite? Neki psiholozi kažu da uvek znamo šta želimo - samo se plašimo, nemamo hrabrosti da to i ugrabimo.

Nekad mislim da bi himna ovog modernog vremena u kom živimo mogla da bude i ova pesma. I pored sexomanije 90-tih koja meni baš i nije bliska ipak mislim da pogađa u metu!

[smorko5]

SFRJ Mitovi na šta se svode...

Mitovi. Najobičniji mitovi. Ništa u toj SFRJ nije bilo tako zlatno kako se veruje... Isto ko što sad Vučić priča da smo ekonomski tigar. Ali tada si imao 2 kanala i sve novine je uređivala SKJ pa je narod lakše bio izmanipulisan. I sada bi isto manipulisali nego ne mogu, je li?!

Ja kad razgovaram sa matorim ljudima oni mi pričaju da su njima senzacije bile yebene polukuvane viršle na crvenom kiosku i kako je tja kiosk izgledao kul i futuristički. Oni su se time oduševljavali. Isto su mnogi koji su došli iz svojih sela prvi put videli uličnu rasvetu pa im je i to bila senzacija.

I još na primer eurokrem im je bio vrh vrhova jer su do tada samo znali za kačamak... Svi SFRJ mitovi se svode na bajke seljačića koji su čuvali ovce i prvi put sišli u grad.

[smorko5]

Kako je propala fabrika "Ivo Lola Ribar" u Železniku!

(preuzeto sa Interneta)

Ja sam odrastao pored te čuvene Lole, okružen ljudima koji su praktično svi tamo radili. U Železniku, u kome je praktično svako imao nekoga ko je radio u Loli, a često su i po dve, tri generacije radile tamo. Ah, rekoh "radio u Loli"? Pa sad, to je malo nategnuto. To "radio". "Dolazio na posao" je nešto tačnije

U Loli je (na njenom "vrhuncu"), krajem 70tih, početkom 80tih bilo oko 5000-6000 zaposlenih (zavisno šta se sve računalo u "Lola" fabrike). Međutim, "pravih" radnih mesta je, zapravo, bilo mnogo manje. U naručenoj studiji "Sistematizacija radnih mesta u pogonima fabrike Ivo Lola Ribar u Železniku" iz 1978. godine se pominje cifra od maksimalno 2000-2500 "realnih" radnih mesta, a treba uzeti u obzir da su i autori ove studije pripadali istom sistemu, pa su i tih dve, dve i po hiljade zapravo "okićeni". A i sama Studija je nekako "nestala", nije je više nigde bilo, bila je, blago rečeno, "neugodna". Moj ćale ima još uvek jedan primerak, sačuvao za uspomenu U hodnicima upravne zgrade se moglo čuti da je realni broj radnih mesta u Loli zapravo oko 1500-1800, i to sa sve zastarelom tehnikom koja je bila na raspologanju.

Zastarela tehnika? Tjah, Lola je pre imala prepotopsku tehniku, posle 2. Svetskog Rata dovučenu što od nacionalizovanih fabrika negde drugde, što dobijeno/dovučeno od Nemaca, valjda kao ratna reparacija. Lola je negde do kraja 60tih godina, možda najkasnije početkom 70tih godina nešto i modernizovala, naručivala čak vrlo pristojnu tehniku (mašine, alate, opremu), pogotovo u poređenju sa drugima u bivšoj Jugoslaviji. Ali, od početka 70tih godina je investiranje prestalo (zvanično: "potpuno iskorišćavanje već postojećih resursa", a zapravo nije bilo para, problemi sa kreditima, itd). Tada započeta modernizacija nikada nije završena, pa je par pogona imalo relativno nove mašine (a nešto mašina je i sama Lola pravila, u pogonima Lola Alatne Mašine), a ostatak je imao opremu koja je često bila iz 1920tih i 1930tih godina (!). U to vreme je krenula i eksplozija zapošljavanja u Loli - kao što je bilo uobičajeno, preko veze, ali opet, svako u Železniku je imao neku vezu u Loli, pošto su praktično svi ostali već tamo radili

Onda je počelo da upada u oči da se broj radnika povećava, a "količina rada" za te radnike (čitaj: količina naručenih mašina, opreme i sl.) ostaje ista, ili se i smanjuje. Inače, ovo "smanjuje se broj porudžbina" je bio teški tabu u Loli, to nije smelo javno da se kaže, ni dole u pogonima, a tek u Upravi ili na sastancima SK, mogao je posao da se izgubi zbog toga. Tek, zapošljavanjem praktično "celog" Železnika je kupljen socijalni mir, a nova oprema nije ni bila potrebna. Recimo, umesto uvođenja motorizovanih kranova za hale i šinskih transportera za teške terete (što je od inženjera i majstora predlagano bar 300 puta u 30 godina, i isto toliko puta odbijano), tereti su se u pogonima transportovali "kičma-transom", iliti njih desetorica-dvadesetorica uprte pa nose, ili natovare na neka izanđala kolica i slično, i guraj... Ali, eto, deset, dvadeset (nekvalifikovanih) ljudi više je imalo "posao", ergo nisu džabalebarili kući i bunili se protiv države.

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A kako se kralo u Loli... O tome mogu knjige da se pišu, i španske serije da se snimaju Sve što nije bilo zakovano (ma šta zakovano, zakovano i zavareno i sa tri katanca zaključano) se, naravno, odnosilo kući. Nekoliko potpunih setova alata po radniku se podrazumeva, pa svi očevi i dedovi u Železniku su popravljali automobile, pravili gelendere i zidali kuće alatom iz Lole. Od sredine 70tih su uveli kao "markiranje" alata, tj izgrebu "Alatne Mašine" ili "Livnica" ili samo "ILR" na alatu i to je to. Jedina razlika je bila što su sad svi popravljali kola i pravili gelendere sa markiranim alatom

Uglavnom, kralo se na tone i vagone, a pošto su svi odatle, iz Železnika, nisi mogao a da ne čuješ o svakoj akciji, to je bila javna tajna. Kada su iz pogona izneli vagon (da, vagon) pun šrafova i profila koji su tu bili na kaljenju. Kada su u Upravi izdali direktivu da se pisaće mašine zašrafe za stolove (!). Kada je iz Lola Kompjutera pokradeno svih 30ak PC-a i industrijskih PC-a, lemilice, čak i malo bolje stolice koje su oni imali. Kad su šefovi pogona bili na nivou nemačkih gastarbajtera, jer su i oni imali 2 stana od Lole i vikendicu i mercedesa. Kako 2 stana? Easy, dobiješ stan jer si šef, pa se razvedeš na par meseci od žene koja isto tu radi u Loli (naravno), pa ona kao samohrana majka odmah "skoči" na listi za stan skroz gore (a ako nije skroz gore, onda se malo... pogura), pa onda i ona dobije stan, a nije se čak ni formalno odselila nazad kod mame posle "razvoda" ... A vikendicu izgradiš od materijala i alata iz Lole. A ako si malo jači šef, onda uzmeš lepo i majstore iz Lole da ti rade vikendicu. U radno vreme. Svi su ili na "spoljnom zadatku" ili su svi od tog istog šefa prijavljeni kao "bolesni". Milina.

I skoro svako je imao i neko imanje negde ili rođake na selu, pa kad dođe sezona radova na polju, pola Lole se "razboli" i nema ih nedeljama i mesecima. Dok se ne ovrše ili ne poseje. I tako, mogao bih do sutra da pričam o tome, Hiljadu i jedna priča iz Lole

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A onda je pukla tikva slavnih 90tih, a počelo već tamo negde krajem 80tih... Porudžbine su spale skoro na nulu, i to malo što se radilo je bilo u svega par pogona, tamo gde je neke porudžbine bilo. Recimo, kada su dobili prilično veliku porudžbinu da opremaju nekoliko kompletnih ciglana sa mašinama i opremom, pa je stotinak i više ljudi stvarno imalo posla neko vreme. Ostali su bili uglavnom na prinudnim odmorima ili su zevzečili po halama. Ej, u Lola Livnici, usred hale se igrao fudbal u po bela dana, čak i za džabalebarošku krivina-kulturu u Loli je to ipak bilo nešto novo (ili, novo dno). Eh, 90te... "Došla" je Slobina hiperinflacija, ne bi li se finansirali ratovi i sopstvena pozadina na prestolu, došli su novi "kadrovi", pre svega SPS i JUL. I onda je tek krenula otvorena krađa i čerečenje. Svi pogoni Lole su dobili SPS ili JUL direktora, pa su malo potom "privatizovani" tom istom direktoru, pa je onda odrađen taj 1 ili 2 još preostala ugovora koji su dobijeni, pare od ugovora u sopstveni džep, a nova firma, bivši pogon Lole, je potom zatvoren, naravno kad je gubitaš A radnici naravno nisu primali platu po 3, 4, 5 godina....

Jedan od majstora u Loli je otvorio firmu za reciklažu gvožđa, čeilka i ostalih metala. Tik do Lole, deli ogradu sa njom. Kad je njemu krenulo... Mislim, strug iz 1932. je težak bar 3 tone, još kad ga... dobiješ... besplatno, margina zarade je astronomska. Ili par tona čeličnih profila koji tu, 5 metara preko ograde, stoje naslonjeni na zid hale i/ili razbacani i zarasli u travu. Samo treba imati pravu ideju na pravom mestu, jel'te Ne mora ni da se govori, čovek je danas milioner, prodao je firmu nekim Nemcima ili Austrijancima, i sad živi u Španiji. Preduzetnik čovek, pa uživa u plodovima svog napornog rada.

Jedan vodeći inženjer Lole Alatnih Mašina, koji pre Slobinih kradovremena nije bio šef, je kao novi poslanik SPS-a u Skupštini Srbije napredovao, pa postao direktor jednog od pogona Lole. Od Lole je onda "kupio" zemljište u blizini centra za šaku DM (Slobina hiperinflacija), otkupio 4 Lolina kamiona, i za džab-džaba "otkupio" gomilu građevinskog materijala koja je poručena ko zna kada za renoviranje zgrada i hala u Loli. Onda je dovezao svoje nove kamione u Lolu, tamo natovario prvo sav građevinski materijal, a potom i celu opremu za jednu od ciglana koju je Lola tada pravila (!). Da, da, tek tako. Moglo se, tad, pogotovo kad je čovek poslanik SPS-a. Odvezao to lepo na svoj novi plac, i doveo Loline radnike na taj isti plac. Da mu sazidaju ciglanu i građevinsko stovarište. A onda je dao otkaz u Loli, i postao direktor novog stovarišta i ciglane u Železniku. SPS je poslao i TV ekipu da napravi dokumentarac o uspešnom privredniku u vreme sankcija (!!). Naravno, u to vreme, a bogami i sada, niko tamo nije smeo mnogo da talasa o tome, ono, svi se znaju, pa te pojede mrak ako talasaš... Dođe Buta i ostala rent-a-utoka ekipa koja visi kod stare posluge, sada kladionice, u Železniku i ugazi te. Da nije tužno, bilo bi smešno....

Na kraju, kad su se svi SPS i JUL kadrovi poslužili, došla je i prosta raja na red. Noću se preskakala ograda i kralo to što su SPS/JUL lopine još ostavile ili previdele, iznosile su se stolice, ormani, iz Upravne zgrade kod Tehničke Škole su odvalili i sve lavaboe, je*i ga, bili onako od "šarenog porculana", pa nisu mogli da odole. Iz portirnice je privatna "firma za zaštitu lica i objekata", iliti kriminalci angažovani da štite par poslednjih "direktora" odnela telefonsku centralu i komandnu tablu sa monitorima. Iz hala koje su okrenute prema jugu, tj. prema poljima i livadama su seljaci krali i iznosili sve živo. Čak su zidove hala od lima noću sekli i odnosili, eno desetine svinjaca i torova u Sremčici i Taraišu napravljenih od Lole... Bukvalno.

I to je to. To se desilo sa Lolom u Železniku.

[smorko5]

Uzrok mržnje Hrvata prema Srbima

Srbi ne mrze Hrvate

Ali su veoma zgroženi i oprezni svim što se desilo tokom Drugog svetskog rata.

Ljudi u Srbiji nisu toliko zagriženi, možda zato što frustraciju nisu osetili direktno na svojoj koži.

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Mržnja je daleko veća u Hrvatskoj prema Srbima. Zašto je to tako postoji posebna priča još od doseljavanja Srba gde je hrvatska elita + sveštenstvo bilo frustrirano i zbog konstantnih upada Turaka gde je mnogo Hrvata stradalo u tim ratovima između Ugarske/Austro-Ugarske i Osmanske Carevine.

I još su dodatno Hrvati bili frustrirani što su Srbi dobili zemlju za naseljavanje i prava da ispovedaju svoju veru jer su smatrali da ih je trebalo pokatoličiti i asimilovati.

Postoje prastara pisma između hrvatske vlastele i sveštenstva gde se piše upravo o toj frustraciji: "Sve bismo mi sikirom to istrebili časkom kad bismo imali šansu".

Posebno je hrvatska elita bila frustrirana kada su Srbi oslobodili Srbiju od Turaka i Crnu Goru takođe, a oni nisu uspeli...

Frustracija je dakle bila najviše zbog konstantnih upada Turaka i nesposobnosti Hrvatske da se adekvatno brani pre svega zbog geostrateškog položaja hrvatske koji je po rečima hrvatske elite izgledao kao "presavijena kobasica".

Ta vekovna hrvatska frustracija je i dovela do Jasenovca i Jadovna i genocida nad Srbima tokom Drugog svetskog rata.

[smorko5]

Teorija o muvanju - figurativni primer autobuska stanica

A pre nekad davno su devojke bile "čekaju da im priđe". Ako ne priđe nije ni zavredeo. A koliko vidim one koje su ostale takve i danas najgore su i prošle. Završe sve sa nekim probisvetima koji su ih ganjali i smarali i na kraju smuvali.

Teorija o autobuskoj stanici. Ovako ide priča.

Stoje muškarci i žene na autobuskoj stanici i tu se dešava proces negativne selekcije na sledeći način. Lepa devojka se odmakne dalje od epicentra gde je većina ljudi jer joj muški smetaju, ne želi da je muvaju. E, ali ona se tu zeznula faktički. Otišla je van stanice. I sada fini momci joj neće prilaziti sigurno. A oni napaljenici što muvaju svaku da bi došli do sexa i ostali manijaci i ludaci, e oni će da jure za njom i van stanice. I time je sebi učinila medveđu uslugu. Učinila je to da će joj ubuduće prilaziti samo neiskreni, loši momci koji žele samo sex i da iskoriste devojku i ostali manijaci, narkomani i budaletine, je li?!

Naravoučenije priče je da je isto u životu. Što više devojka podigne zid prema muškarcima neće odbiti one loše. Odbiće one najbolje. A ove budaletine manijaci će da prilaze i napadaju i neki će i da je smuva na kraju. I uvek ko po pravilu imamo priče u životu o upornim muškarcima koji su smuvali lepe devojke i na kraju se pokazali kao totalni ludaci i maltretirali, tukli i emotivno i fizički povređivali svoje devojke i žene. U današnje vreme ovo važi i za muškarce. Ako žele da se usreće bolje im je da dobro procenjuju i odaberu neku finu devojku nego neku koja ih neće biti vredna...

[smorko5]

Ukakili su Fargo u 5.sezoni

Fargo 5 sezona

Usrali su malo sa Woke feminizmom i egalitarizmom… Ja očekujem više ludila, a manje popovanja i lekcija. Ideja Farga je antisocijalnost, dakle ljudska beda i drama ljudske bede, a ne "Angry Feminist" i "Egalitarian" lekcije. Tako da ukakili su. Svidelo mi se prvih par epizoda gde je žena borac i pravi ludosti sa otmičarima, ali čak i Heroji u Fargu moraju biti samo ili Bedni ili Slabi Ljudi na kraju. To je moj pogled.

Tako da čak i policajac i policajka koji su nesumnjivo heroji u prvoj sezoni su opet neki smotanci i uplašeni slabići. Smotanko Policajac je ubio Lorne Malvoa, a Smotanka Policajka je navatala Lestera na kraju.

Meni čak i 4.sezona poprilično odstupa od antisocijalne ideje već je više mafijaška zezancija, dok su prve 3 sezone genijalne