#...and character with complex moralities and inner lives

[always-a-joyful-note]

Sometimes I sit back and remember just how GOOD Link Click is as a story. Excellent plot? Check. Compelling themes? Yep. Characters well built that you can root for? Obviously. Deaths that do actually mean something? Yeah. Multiple kinds of relationships that colour the narrative? Yes, and it hurts us all. Banger soundtrack? Both the lyrics-based music AND the BG music. Incredible animation? We have that too. Balance of light and dark moments? Again, yes, and it hurts us all. Balance of show and tell? YES, EPISODE 9 S2. Supporting characters and antagonists who obviously exist as their own people even if the stories revolve around our three protags? Mhmm. Symbolism spun to deal max damage? We're still recovering from that

It's just Link Click is SUCH a well-written piece of media and I'm not ready for what happens in s3 but at the same time can't wait

[ravenpureforever]

I think the best part of KinnPorsche, and it really comes to mind with this latest episode, is that every character thinks they’re in a different genre and it’s the funniest thing watching it clash with the reality.

Kinn is just living his best rom-com life where he falls for his sassy but kind assistant bodyguard that he can no longer live with out.

Porsche is basically a YA novel where he falls for his sexy morally ambiguous love interest who’s secretly sweet but *gasp* his past has come to haunt him!

Pete thinks he’s in a dark psychological thriller where he must battle his inner demons and brooding but hot captor to maintain his humanity but it threatens to over take him at any moment as he is torn between his newly found dark desires and the reputation he prides himself on.

Vegas acts like he’s in gothic bodice ripper novel where his entire world becomes the kind, empathic heroine Pete and he will do anything to keep him to himself and Pete is going to help him overcome the truama of his past with his love.

Kim sees himself in this brooding noir style detective film where he must uncover the dark past of his family but oh no he finds himself falling for the pure and sweet ingénue Chay and must wrestle with the dangerous life he leads and the mission he’s devoted himself to and the love of his life

Porchay thought he’s living his Wattpad dream life where he meets his idol and gains his respect as he tutors him and they slowly develop a sweet friendship that turns into a heartfelt romance

They really demonstrate how all the characters are protagonists of their own story, and that’s how they make their decisions, based on the assumptions on the world around them. They think they know the story their in, and that’s the role they have taken, but the tragedy and the complications of these relationships is that they aren’t in a single genre story. They’re people, achingly human people, interacting with other complex people and what is salvation for one is a damnation for the other.

They aren’t in any specific genre (you know, beyond on the whole mafia thing) and that’s where the miscommunication happens, that’s how the drama unfolds, that’s how all these different romances keep missing each other, because they’re all operating on different wavelengths based on the story they think *THEY’RE* in and not stopping to really consider the other perspective.

It’s absolutely hilarious, it’s terribly tragic, it’s utterly beautiful and performed so well by the writers and the actors.

[stillsundazed]

I’ve been seeing people vastly misunderstanding the whole point of the shootout scene, so I want to share my analysis here. It’s not just a redemption for Chishiya, and not just a way to make Niragi seem deep and complex. It’s a way to compare the characters of Arisu, Chishiya, and Niragi, and show their adaptability to change.

To begin, the initial main focus of it all is Chishiya. He has just left the King of Diamonds venue, and has realized that he is jealous of people like Kuzuryuu who are able to die happily with a purpose. He is seeking to speak with someone, to open up about his inner turmoils. That is when he gets caught between Arisu and Niragi, two ends of a morality spectrum he is struggling to find his place on.

Now, why does Niragi start this shootout? He says that he, Arisu, and Chishiya are all too similar, and due to this only one of them can live (although, it is later evident that it is for this very reason all three of them survive). Niragi doesn’t say they are similar in regards to their actions in the games; he says this in regards to how they are all inherently selfish people at the core. They put themselves first and foremost, whether intentional or not, and hurt those around them as a result.

For Arisu, this makes more sense in the context of his manga characterization. Manga Arisu has the unintentional tendency of doing things for his own sake when he thinks he has the group’s best interest at heart, and his speech mannerisms mainly revolve around his own feelings. He is selfish without realizing it. The shootout finally makes him conscious of this, and makes him want to remedy this. He is adaptable to change for the better.

For Chishiya, this has been evident from the beginning. He will manipulate and use others for his own gain, without worrying what happens to them afterward. He never goes out of his way to help others, but at the same time never directly hurts them either. He has and recognizes this selfish indifference towards all facets of life. However, the games make him envious of people like Arisu, who are adaptable to change.

For Niragi, it has always been obvious how he embraces his selfishness. He enjoys going out of his way to hurt others and make them suffer. He becomes the abuser to keep from being vulnerable. He is the oddball out of the three, because despite everything, he does not want to change.

Their selfishness is just the example that Niragi gives, but there are other things they have in common as well. Their upbringings, for one – they all lacked love and affection in their home lives. What makes them different in this sense is that Arisu had Chota and Karube to hold him up, who made him more friendly and optimistic towards life. Chishiya had no friends, but no enemies either, which led to his indifference towards life. Niragi had abusers, which led to his hatred and resentment towards life. There’s also how they all initially wanted to stay in the Borderlands; Arisu because he wanted to avoid his real world responsibilities, Chishiya because he was intrigued by the intellectual stimulation and death of the games, and Niragi because he could thrive in a world without laws. But they all eventually came to the realization that they wanted to leave; Arisu first due to escaping and finding a reason for living, Chishiya next due to realizing he needs to reject the offer to truly change, and finally Niragi not because he changed, but because he simply wanted to live.

As you can see, they are all similar characters at three different levels of intensity. Arisu at level one, the level where he is still capable of goodness. Niragi at level three, where he is too far gone and considered evil. Chishiya is stuck in a morally gray area between the two, trying to figure out where he should place himself.

Anyways, back to the shootout. Chishiya came here to talk to Arisu because he wanted to change for the better. But then Niragi came and pulled him backwards, halting his progress. The shootout is a battle of moralities; a push-and-pull between Arisu’s good and Niragi’s evil.

The whole point of this scene was to give all three of them time for introspection. Who are they currently, and who do they want to become? Niragi’s comment about all of them being similar spurs their answers. Arisu is disgusted at the realization of being so similar to Niragi, so he quickly puts his gun down and pledges to change. Chishiya is inclined to distance himself from Niragi once he sees Arisu’s resolve, and only puts his gun down to become uncharacteristic and save Usagi. And Niragi, upon seeing the other two take this chance to renew themselves, realizes that he was foolish to believe anyone could be like him in the first place. He truly is alone in this world, and he only has himself to blame for it. He never lets go of his gun – he fires. And in that split second, why does Arisu pick his gun back up after vowing to change? He does it to save Usagi. To not be selfish and shoot Niragi out of his own hatred, but for the sake of saving Usagi’s life instead. Saving Usagi is the turning point for Arisu’s character, and for Chishiya as well. Niragi’s attempt to kill her demonstrates how he never wanted to change to begin with.

So yes, Niragi was right in saying they are all similar in terms of their selfishness. But he was wrong to believe that they were kindred to him and could not change.

TLDR; all three of them are foils, bound together by their inherent selfishness. This shootout is the defining scene for their characters. Arisu is adaptable to change, Chishiya struggles with his alignment but ultimately chooses to change like Arisu, and Niragi was never meant to change in the first place.

[saraswritingtipps]

Unleash Your Inner Vampire: Tips for Writing Vampire

1. Study Vampire Legends and Lore: Immerse yourself in vampire mythology and folklore from various cultures. Familiarize yourself with popular vampire tales, historical references, and the diverse interpretations of these immortal creatures.

2. Immortality and Eternal Life: Explore the themes of immortality, longevity, and the consequences that come with eternal life. Delve into the existential questions, moral dilemmas, and emotional complexities that arise from living through the ages.

3. Supernatural Abilities and Weaknesses: Define the unique set of supernatural abilities and weaknesses your vampires possess. Consider powers such as superhuman strength, speed, heightened senses, and the need for blood as sustenance. Establish the vulnerabilities, such as sunlight, garlic, holy symbols, or wooden stakes, that can be used against them.

4. Bloodlust and Temptation: Portray the powerful and primal urge vampires have for blood. Describe the inner struggle to maintain control, resist temptation, and reconcile their predatory nature with their humanity. Explore the psychological and moral conflicts that arise from their insatiable thirst.

5. Immortal Society and Clans: Create a complex social structure and hierarchy within the vampire community. Develop vampire clans or covens, each with their own traditions, rules, and relationships. Explore the dynamics between older, more influential vampires and newly turned ones.

6. Nighttime Environments and Atmosphere: Craft a vivid portrayal of the vampire's nocturnal world. Describe the allure of moonlit nights, mysterious gothic settings, and the ethereal beauty that accompanies their existence in the shadows.

7. Vampire Origins and Transformations: Establish the origins and methods of vampiric transformation in your story. Explore the lore behind their creation, whether through a bite, a curse, or a supernatural event. Consider the physical and emotional changes that occur during the transformation process.

8. Hunting and Feeding Rituals: Delve into the rituals and methods vampires employ when hunting for blood. Describe their seductive charm, mesmerizing allure, and the art of choosing and mesmerizing their prey. Showcase the duality of violence and sensuality that accompanies their feeding.

9. Humanity and Redemption: Allow your vampire characters to grapple with their lost humanity and the possibility of redemption. Explore their desires to reconnect with their past, form meaningful relationships, or find purpose beyond their existence as predators.

10. Vampire Hunters and Threats: Introduce conflicts and adversaries that challenge your vampires' existence. Include vampire hunters, rival factions, or other supernatural creatures that pose a threat to their secrecy and survival.

Remember to infuse your writing with atmospheric descriptions, emotional depth, and explore the complexities of the vampire's existence. Let your imagination soar as you delve into the captivating world of vampires.

[major-wren]

I love the "ARK siblings" concept and I love cute lighthearted fanart of them being siblings but I feel like a lot of people forget that they literally canonically share a soul and that her death is, in my opinion, I think supposed to represent a part of one's self dying and that they're supposed to be, symbolically, a lot more than siblings.

I always saw Shadow's story as a symbolic way to express the way your inner child and innocence is sacrificed in order to survive complex childhood trauma. Maria's color scheme and the way she's written is, I think, clear to all of us how she's meant to represent innocence and youth. I mean, she doesn't really function very well as a stand-alone character or realistic depiction of a child, shes always been more of an.. idea.

I'm not sure if it was purposeful, but the moon's "Maria" are craters that formed from the moon repeatedly taking the hits of asteroids at it's points of gravity. These points of gravity attract asteroids and draws then away from the Earth. The craters are mostly on the side of the moon we see, so the dark side of the moon, or "shadowed" side is better protected because of that. I feel like this is an extension of Shadow and Maria's symbolism. She took the bullet for him, protecting him, the same way Maria takes the comets, and the same way your brain will sacrifice your inner child (or freeze/rush your mental development) in order to survive intense childhood abuse. I know it all sounds extreme lmao but at the end of the day characters and storytelling are used to explore and express hard emotions and I don't think this randomly tragic character sprung out of nowhere for the Sonic games, which, before that point, always had very lighthearted positive characters (except for the echidna extinction in the game right before Shadow's). Having a character that was easy to approach, yet could represent scarier concepts as a child-friendly stand-in, felt like a very important tool to me growing up. I just hope that that writing can be appreciated in his character, with an understanding of how messy production can be and how a character can get pulled between many different people and ideas. I do think this symbolism was intentional to some degree, especially when it gets to the blatant soul-sharing and how characters insist that Shadow can't be a weapon because Maria's soul (his inner child and true morals despite the damage done to him) makes him "good hearted."

There's other things that uphold this symbolism of Maria dying as representing his inner child being killed, like the rushed/suspended mental development in the face of trauma being illustrated by the fact that Shadow was forced into a dormant cyro slumber right after Maria's death, symbolizing the way he had to basically skip childhood or hit pause on development until he could escape the people controlling him. Much like how victims will have to pause everything and go on autopilot with only a goal of survival until they can escape their situation; only after they feel safe can they begin growing as a person and find their identity. In the Japanese language, there are different types of pronouns people can refer to themselves with instead of just "I" or "myself." In the Japanese dub of SA2, Shadow's creator said in an interview that he had been very insistent on Shadow using the pronouns reserved for young boys, despite Shadow's menacing villain role in the game, because he felt it was important to show Shadow's purity and his lack of experience in life so far. That "live and learn" theme.

And then in his self titled game, Shadow is searching for a way to reconnect with his past and to find the truth about this Maria person he keeps seeing in flashbacks, but in the end he throws away her picture and accepts himself as he is now, forever changed and stained by his past, but more than just a product of his situation. He is "all of him," including the negative impact he never asked for, and including the parts of himself he lost, but also the parts of himself he chose to become. Your environment and childhood shapes you even if you didn't want it to, but that doesnt mean you cant have control in your identity and recover your inherent nature once you've escaped the negative influence (nature vs nurture theme). He will never be the person he used to be, or could have been, (represented by Maria as a pure and untouched youth), but he still has a say in what that grows into.

I just feel like a lot of Shadow's identity issues and inner conflict stem from this whole soul sharing situation with Maria and that his character ends up inevitably being misunderstood if you water them down to just siblings. Especially considering that it was never answered if Shadow actually even ever met Maria or if they're just memories planted by Gerald or caused by the shared soul. In Sonic Battle, it's also said in Gerald's diary that not only do Maria and Shadow share identical souls, but that Gerald literally modeled Shadow after Maria out of his love for her. I'm not sure to what degree or in what ways, but Shadow is supposed to share purposeful similarities with Maria, likely through the content of her character and her morals. That's what makes them so much deeper than just psuedo siblings, he's not only made for her, but designed after her too. It can't really be compared to, for example, Sonic and Tails.

I also think its what makes Shadow's character so substantial and meaningful. His self titled game's entire theme was purity, morals, what is good and bad. This question of purity and morality spreads into his appearances in other stories too- This question that, if you were badly hurt in your youth and shaped by evil- does that leave you impure? Stained? Destined to continue that cycle of harm and cruelty? I think these insecurities feel very real and relatable, and that it's even more realistic that despite these insecurities, that hurt and damage is actually what fuels him to protect others. Just as he said in Sonic Battle, "There's no need to repeat past tragedies! Nobody else ever needs to go through the things that I have!"

Statistically (despite media portrayal) abuse victims RARELY become abusers, because they understand the pain on a deeper level and can't bring themselves to force someone else into experiencing that same pain, knowing the permanent damage it causes. However, childhood abuse leaves people socially stunted and conditioned to harshness, which causes them to accidentally hurt others without meaning to. Or they end up hurting people out of desperation if they feel endangered (like Shadow's "means to an end" approach where he'll prioritize violence if it means reducing the end-impact). Also, they are more susceptible to being abused again after escaping the first abuser, because they are so susceptible to manipulation- Just like how whenever Shadow does switch sides, its usually because someone manipulated him into it or literally brainwashed him. I think Shadow conveys all of this so well, and that Maria's true role is an integral part of it all that can't be ignored or misunderstood, or else Shadow ends up reading as unnecessarily violent or overly obsessed with her when you interpret her as just a sister-figure that he knew for... who knows how few years.

I think this symbolism runs deep with his writing. Just like Maria's meant to be that inherent purity and inner child, I think the black arms DNA is that stain that abuse or trauma can leave on you, that causes you to act out or feel like you're always holding back and trying to keep control over some darker part of yourself that was left behind in the damage done. Especially since they literally have a mind link with Shadow. In the Sonic Universe comic, they succeed in brainwashing Shadow and turn him against his friends. These mind-links, soul-sharing, and brain-washing from both Gerald and the black arms... To disregard the fact that he's deeply connected to these people on a metaphysical, identity altering level is to water down his character and leave it feeling as though his motives are too weak to justify his harsh actions. I've seen people poke fun at his amnesia or insecurity in his identity, as though his confusion isn't justified, and I think it's because people don't realize he has these... literal fragments of other people inside of him, that that's pretty much what he's made of, kind of franken-steined together between a little girl's hopes and morals, an alien race's hivemind greed, a weapon-hungry government and a revenge maddened scientist's painful grief, and even the chaos emeralds which we all know are spiritually whacky and potentially connected to another alien race's memories and energies (the ancients from sonic frontiers). With all of that going on, plus some amnesia mixed in and his memories having been altered by Gerald- I mean.. you'd be searching for the "truth" of your identity too, who you really are. And of course, prone to frustration and aggression, or even a "wish-washy inconsistency." I think there's always a constant tug of war inside of him and that his whole development was a game of tug of war between Gerald, G.U.N and the black arms too. "Am I a cure, am I a death-bringer, am I earth's protector, am I it's destroyer," etc etc

Idk I just think a lot of problems people have with Shadow's writing stems from not realizing how deep things go and what they symbolize. Not to say that something like his boom characterization is of good quality or anything, but I think it's unfair to call him inconsistent when a confusion in his own identity and purpose/goals is kind of the point. And I think people not realizing Maria's deeper, physiological connection to him and influence might be part of the problem.

[incomingalbatross]

So Your Fave is OOC: A Brief Guide to the Condition

(Note: this list is intended for cases of OOC Protagonists specifically. Please contact the publishers at Faves Diagnosis Ltd. for information on other character types.)

Infantilization Also known as woobification in the classic manuals, this variety has plagued faves for decades, and is particularly insidious among intellectuals, younger protagonists (relative to the rest of the cast), and those perceived as having repressed inner lives. Do you know your fave as a stubborn, determined character with a temper and a brain and some personality flaws? Have all of those traits disappeared in favor of endless tears, martyr syndrome, and a general air of helpless pureness and fragility? We may be looking at infantilization.

Villains are Cool A condition particularly widespread in faves native to moral, plot-heavy, or thematically-complex stories. If your fave is a person deeply dedicated to the heroic side in their canon, but you suddenly find them rejecting that side outright as inherently corrupt and instead celebrating the antiheroes or even villains as misunderstood victims, this may be the diagnosis you've been looking for. May coexist with Author's Mouthpiece (see below), but this is a difficult and risky diagnosis.

Author's Mouthpiece There is ongoing debate in the diagnostic community as to whether this should be defined as a single condition, though tending to be comorbid with other varieties, or whether it should be established as an umbrella category which encompasses several more specific conditions. In this pamphlet, we define it by itself first, before describing related conditions. This condition directly replaces your fave's opinions and beliefs with those of their current writer's, with varying but often severe results.

Secretly Judging You This afflicts faves with the secret power, unrevealed in canon, of having been right about everything all along—and bitter about it. Likely to appear in bashfic and fics labeled "fix-its." Is your fave suddenly condemning people, concepts, or ideals to which they are canonically loyal? Are they taking pains to explain why every flawed or questionable action they took in canon was actually correct, while revealing their scorn and contempt for the flaws of their friends (or even claiming they never really were friends)? They may have been afflicted with this unpleasant condition, often considered a variant of, or comorbid with, Author's Mouthpiece.

Has Read the Canon A variety particularly widespread in fix-its and AUs, which gifts the protagonist with a magical ability to know exactly what the right decisions are at any point in their canon, even when they have no in-universe basis for their choices. Another symptom includes mentioning canon plot points as hypotheticals and then sneering at them as being absurd. It cannot be proved that these protagonists were given a summary of their original canon before beginning to live out their AU, but evidence strongly suggests that. Also considered an offshoot of Author's Mouthpiece, although there is some debate as to just how far the overlap goes.

Snarky McQuip An attitude change, sometimes manifesting as general scorn for the other characters and/or story (see also: Secretly Judging You), and sometimes as an air of flippancy and emotional distance from the events of their own canon. Has been identified as a symptom of Has Read the Canon, with which it often coincides, but the argument that it is a tonal manifestation of Author's Mouthpiece (reflecting the author's emotional distance) has been found more convincing in recent years. May also be an outside contagion from the MCU and related environments, mutated bathos from Whedon canons, or the proliferation of dissatisfied fan cultures.

They Would not Have the Emotional Intelligence to Say That A more superficial change than many listed here. In which a characters' feelings and beliefs may remain unchanged, but they suddenly acquire the ability to state them in direct and impersonal language. If their mental blocks have disappeared, they suddenly have the vocabulary of a therapy book, and all personal idiosyncrasies have been flattened out of their approach to communication, you may be looking at this condition. Again, it is less deep-seated than most! However, we understand it can still be deeply disconcerting to encounter in your fave unexpectedly.

[lexmakeshit]

To anyone saying that Orym has the more trauma than Laudna I just want to say you’re wrong. Yeah Ludinus’ cult attacked his home and otohan murdered his father and husband then killed him and his friends but I’m sorry Laudna was tricked by Delilah then beaten to death and hung from a tree as a warning and then spent 30 years alone with in the woods with the disembodied spirit of her murderer living in her head. Was Murdered by Otohan as a threat to Imogen then forced to relive her trauma and then woke up in the same place as when she was first killed and now Otohan is the reason her friend is dead. If we are gonna play trauma olympics she is by far the winner

Girly has been constantly going through shit the entire campaign and has been in and out of a downward spiral since the airship fight of course she is starting to lose it. Y’all could get how Liliana was brain washed by years under ludinus but can’t understand how Delilah has so deeply fucked up Laudna sense of reality that her actions are in her mind perfectly logical because all she cares about is Imogen and Delilah who is both a master manipulator and been in her head for 30+ years is using that to gain power.

I also want to point out that laudna is the last member of the group other than Dorian to have given in to a potentially corrupting influence for more power in this fight and to protect the people they love. Imogen gave in partially to predathos and got exhalted, Chet got training from the gorgenyi and gave into his inner wolf and made a deal with nanna morri, fearne and Ashton both absorbed a part of a titan and fearne made a deal with champion of asmodeous, orym made a deal with nanna morri and FCG literally gave into his inner rage and blew himself up to save them. So Laudna has spent the last few weeks watching all her friends make deals and give in for power and now that she is doing the same to protect the person she loves most in the world after watching them barely win and lose someone despite everything they have done to get more powerful she is getting shit for it.

I totally agree that laudna shouldn’t have have done what she did but orym shouldn’t have made a unilateral claim on any of the Otohan stuff so close to FCGs death especially without the group having had a chance to talk or process at all and I can totally understand how Delilah has manipulated laudna to the point that she believes that what she is saying is true.

I wanna say I am by no means hating on Orym I am just really not a fan of the way Laudna is be treated like some evil manipulative abuser when she actually a very traumatised person who is struggling in a manner very similar to someone fighting a addiction while being constantly re-traumatised which is being essentially ignored.

I genuinely love all of the characters in C3 and actually have a lot of thoughts about them particularly as allegories for the spectrum of disability and how poetic and heartbreakingly beautiful and complex they all are as characters and a group. I just have been getting really frustrated at the lack of nuance being used by some folks for a group that is deeply morally grey and some folks seeming lack of ability to assess multiple perspectives in a campaign that is all about multiple perspectives and what makes someone the good or bad guys.

Sorry for the rant I might delete this later and make what might be a more coherent post when I am more calm and it’s not so late at night but I just needed to get my thoughts out.

[angelasscribbles]

Character Development

Here's the summary of today's live discussion.

What is it?

Character development can refer to initial character creation, but when I say character development, I'm usually talking about how the character grows and evolves over the course of the story.

We will talk about both.

Character Creation

Creating a character is much more than just what they look like. So many things play into their personality, beliefs, feelings, etc. Their ethnicity, religion, sexual orientation, what kind of upbringing they had, past traumas, general inborn temperament traits, etc.

Character Types

Static v dynamic: refers to how much the character changes throughout the story.

Static characters stay the same and do not change at all during the course of a story.

Dynamic characters change and grow in many different directions. This character will develop and change throughout the story, sometimes to the point where it surprises the reader. Sometimes they surprise themselves and the other characters.

Flat v Round: refers to how much depth the character has.

Flat: A flat character is pretty one-dimensional, and that doesn’t change throughout the story. It is a static character with little to no depth. Maybe one or two identifying traits.

Round: A round character is more developed and has some depth and layers. They are interesting. They do not necessarily change throughout. (Unless they are also dynamic).

Character-driven story v Plot-driven stories: A plot-driven story is one where the plot moves the characters, while a character-driven story is one where the characters drive the plot. 

The key difference between a plot-driven story and a character-driven one is that in a character-led narrative, the focus is more on the thoughts and feelings of the protagonist and the decisions that they make. Whereas, in plot-driven narratives, the action and occurrences that unfold will be the main point of focus.

Plot Driven examples:

Jurassic Park by Michael Crichton.

Dark Matter by Blake Crouch.

Gone Girl by Gillian Flynn.

The Da Vinci Code by Dan Brown.

Character Driven examples:

To Kill a Mockingbird by Harper Lee.

The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid

Practical Magic by Alice Hoffman.

Some Definitions

Main Character: The character through whose POV we get the story. Often the same as the protagonist, but not always.

Protagonist: Prime mover of the plot. And in the vast majority of cases, the main character.

False protagonist: A character that seems to be the protagonist until a twist tells the reader otherwise. Think Ned Stark in Game of Thrones. This is why his death was such a shock, because most readers assumed he was the main character. This is often done exactly for that reason. Plot twists and shock value.

Antagonist: Opposing force who stands in the way of the protagonist’s goals.

Grey/morally ambiguous character: Just as it sounds. A character who is not all good nor all bad. They have complex motives and can sometimes be a loose cannon. Their actions are not always clear-cut in terms of morality.

Unreliable Narrator: An unreliable narrator is an untrustworthy storyteller, most often used in narratives with a first-person point of view. The unreliable narrator is either deliberately deceptive or unintentionally misguided, forcing the reader to question their credibility as a storyteller.

Character Arc

The character arc is the full extent of how the character's inner world - thoughts and emotions - transforms from the beginning to the end of a narrative.

Things we will discuss in a future session:

Character motivation

Inciting incident

drivers of character growth

Random recommendations from today:

Lovecraft Country: an American horror drama television series developed by Misha Green based on and serving as a continuation of the 2016 novel of the same name by Matt Ruff. Lovecraft Country follows Atticus Freeman as he joins up with his friend Letitia and his Uncle George to embark on a road trip across 1950s Jim Crow America in search of his missing father. This begins a struggle to survive and overcome both the racist terrors of white America and the terrifying monsters that could be ripped from a Lovecraft paperback.

Otherworld series by Kelley Armstrong. A good example of using the same characters but shifting who is the main character from book to book. The series began in 2001 with Bitten, featuring werewolf Elena Michaels. It continued for thirteen novels, introducing other supernatural characters–witches, ghosts, necromancers, half-demons–and spinning off to their stories, and expanding the series into a multi-narrator fantasy world. Past characters continued to appear in guest roles and often returned to narrate new novels or short fiction.

Ya'll, I'm sure there were more recs from both myself and others but I'm drawing a blank and once the live stage ends, I can't see the chat anymore, so please comment or DM me if you remember a rec that I didn't.

Please, if I've missed anything at all, mention it in the comments and I'll add it!

Also, check out these articles:

Character Development

April Event:

TBD pending voting.

Word Warriors:

@karahalloway @aussiegurl1234 @harleybeaumont @alj4890 @peonierose @petiteboheme @twinkleallnight @lizzybeth1986 @noesapphic  @thedistantshoresproject @welcometotheweirdplqce

@ryns-ramblings @tate-lin @nestledonthaveone

@aallotarenunelma @kristinamae093 @coffeeheartaddict2 @memorias-depresivas

@jerzwriter

[i-professional-procrastinator]

It's really funny how Gale clearly has more haters than Snow.

It's strange how Snow has sympathizers even. Don't get me wrong, I love him, he's so well written and I thank Suzanne Collins' pen everyday but being a great character doesn't make him a good character...? Tom blyth did an excellent job and I have nothing but love for him. But people act like his Snow and Donald Sutherland's Snow are two different people. I personally don't think Snow had an ounce of goodness in him, or anything to question his fucked morals. That man made deliberate choices. He took the wrong actions on purpose. He chose himself over doing the right thing each time. Sure he was shaken up by Sejanus' death or killing for the first time in the arena (remember though, that made him feel powerful, that says a lot), but that didn't stop him from choosing to do that again. He got worse with time. He was always evil just not accustomed to the consequences I guess? There's not a lot of gray area when it comes to Coriolanus Snow. The sympathizers (there are SO MANY on twitter) often forget that Tigris went through the same things and still chose to be better. Snow was always a terrible person. I can't think of a suitable way to add his inner monologue to the movie but honestly that would have helped immensely because HIS THOUGHTS ARE ALWAYS INSANE and give so much insight into his growth...from a bad person to a far worse person.

Gale on the other hand is a product of war. War has no winners and Gale is the prime example of that. Sure he fought for the "right side", he fought for his people, he fought to save lives but that's didn't protect him from getting innocent blood on his hands. Gale also took the "wrong" actions I guess but unlike Snow, I don't think he had a choice. As Katniss said he's fire, like her. He fought because there was no other option, and he went in with all his heat. He got burned too. He lost a lot, putting aside Katniss, the PTSD and the trauma. He deserves to get shit for killing civilians but there was a lot behind that awful step than just "Gale evil, Gale wanted people (read Prim, most of the fandom would not have cared if it wasn't Prim but that's a topic for another day) dead."

Gale is a far more complex person than Snow (I didn't say character because I'm not talking about writing, ofc the villain is better written than a supporting character ) and he deserves respect for that. I think the early/mid 2010s shipping wars did a lot of damage to his rep. And all this is coming from an everlark shipper so just think about it for a second.

Ignore typos it's 3:31 AM. Thank you for coming to my Ted-Talk. I do not respond well to constructive criticism.

[iambicpentameterhamster]

Six Of Crows commentary because why not

Read it recently and am halfway through croomed kingdom. I ADORED six of crows. One of the best books i've ever read. 11/10 deffo reccomend.

The characters are all so amazing they're basically unrankable, but i'll rank them anyway:

#1 Kaz Brekker, no question

The most iconic character by far. I love Kaz's chapters, and i also love him told from other character's perspectives, not being quite able to figure him out. Cleverly executed by Leigh Bardugo and a timeless character that lives and breathes on the page.

#2 Jesper

I always get excited seeing Jesper's chapters because i find his inner workings so interesting and i love his witty remarks. I also feel for him in terms of his backstory and struggles- other characters have very intense backstories, while Jesper's is a more overarching one, self sabotage, letting people down, being afraid to be who you are. Jesper is not the simple comedy relief character archetype. He is fully realised and complex and i love him for it.

#3 Inej and Wylan

These characters have to be on a tie for me. I love Inej's way of looking at the world, all the perspectives in this book are so wonderfully distinct, from Kaz's calculated eye to Inej's more spiritual, morally realised one. I love Wylan's slightly pessimistic edge and the raw honesty of his story, his feeling like a failure, being morally wary and yet loyal to his crew. He doesn't fall into the "soft innocent gay boy cutie pie 🥺" box that fandoms try to squeeze these sorts of characters into, and he's not a kill-happy maniac either (can you tell how much i hate the flanderization of characters??)

The events in these character's lives have well thought out and plausible effects on their character, another testament to Bardogo's genius.

# 4 Nina

LOVE Nina- i'd want to be her friend in real life. She's only slightly lower on this list because i felt a bit disconnected from her backstory, possibly because i hadn't read the Shadow and Bone trilogy, but i felt for her and Matthias.

#5 Matthias

The Grisha-Fjerdan situation was handled beautifully by Bardugo through Nina and Matthias, and Matthias's story and mindset being presented empathetically made it perfect. It's important to consider complexity, to see how decent people can fall into these traps of hate with the right manipulation. This storyline overall had a well delivered anti-hate message.

I like Matthias himself, i like his perspective chapters, i think he's very perceptive. I didn't click with him as much as other characters but i wouldnt have him any other way.

[ohmystaxk]

Goodbye, My Dear Stranger (6)*

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Pairing(s): (Jake Lockley x Reader, Steven Grant x Reader) (Marc Spector x Reader later on) [Pre-Moon Knight show]

Chapter Character(s): Steven Grant, Jake Lockley

Content/Tags: SMUT +18, morally grey main character, one sided non-exclusive relationship, Steven just being the nicest man in the world and the horniest, Consensual Voyeurism (wink wink), fingering, oral (f!receiving), dry-humping, cum eating,  PinV, praise kink, dirty talk, jealous talk, too many pet names, hair pulling, biting, Jake being a munch BELIEVERS RISE.

Word Count: 6.8k

Summary: Wanting to take things slow with Steven, you find your mind going back to Jake, good thing is all in your head, right?

Guess who is back from the dead? YEAH, me bitches! I am so sorry for disappearing for so long, writers block is a bitch, but I needed to deliver this as soon as I could. So, ofc, this has not been edited so I apologize for any errors u might find, ENJOY AND HAPPY HALLOWEEN WEEK!

Your skin feels hot, a thin layer of sweat forms as your head falls back, eyes rolled back as your mouth hangs open. You let out a breathy gasp, your stomach tightening as you feel your heartbeat faster. It’s exhilarating, the warmth of his breath against your pelvis as his mouth is enclosed around your clit, tongue licking slowly, taking his time as he did so. His grip on your thighs is strong, bruising them as your back arches, air leaving your lungs as you start to feel the rise of your orgasm.

You looked back down with heavy eyes as you locked them with him. A dark gaze looks at you from between your legs, his curls soft when your hand runs through them, moving his hair away. The action makes him bite your inner thigh, a yelp falls from your lips, he smirks as he kisses the teeth marks.

You just had to answer the phone, didn’t you?

Turns out the café would be back in business two days after your last encounter with Jake. You had gotten the morning shift that week, working through your day with a smile for the customers, preparing and serving them. The ride back was long, or at least that’s how it felt. Lids heavy as you unlock the entrance to the complex, the lift opening to reveal one of your neighbors walking off. All you could think of while at work was to get back to your flat, lay down on your comfy bed and fall asleep for a little. That would’ve been ideal, but as soon as you walked through the door your phone rang. 

It was Steven. His voice chimed from the other side, surely with a smile on his face. You closed the door behind you. 

‘Hi, love, you on your way home?’ Steven asked, you nodded to yourself.

‘Already am. Just got here actually.’ You sighed as you walked past the living room window, dropping your bag on the couch. 

‘Oh really? Yep, just saw you walk by.’ He let out a small laugh, you turn to see him getting closer to his window.

You send him a quick wave before heading to the fridge.

‘Worked early today?’ You ask him, inside the fridge was your beloved wine bottle, you took it and closed the door with your hip.

‘Yeah, actually made it in time, can you believe that?’ You laugh, shaking your head.

‘Hardly.’ You tease, ‘What did Donna say?’

You poured yourself a glass, taking a quick sip from the bottle before placing it down.

‘Well, the only reason I made it in time was because I woke up thinking I was already late. So Donna was very surprised when she saw me walk in thirty minutes early. She even looked worried, I had no clue she could even show any other emotion.’

‘Geez, thirty!? No wonder she did, I would be too, thinking something must have happened.’

Steven laughs on the other end, then he goes quiet for a second. You wait, hoping for him to speak but, there is something about the silence that makes you worry.

‘You still there?’ You ask softly, not wanting to startle him if anything.

A small mhm comes from the other line, you tilt your head to the side, he sounds unsure.

‘Can you go towards the window?’ Steven asked.

‘Sure, just give me a sec.’ You left your glass on the table and walked towards your living room, the curtain was halfway open, allowing some sunlight to peek through. 

You pushed the fabric to the side; it was then you smiled. Across from you was Steven, a smile on his lips as he waved at you once more from his window.

‘Wanted to stop by and say hi at the shop, but you know, Donna.’ He scoffed, his voice sounded slower, with weight to it.

Even from a distance the dark circles around his eyes were darker. ‘You look tired Steven. Have you rested?’

‘I have just not been sleeping too well in the last two days, that’s all.’ You frowned but decided not to push it.

‘Try and rest for a little, it helps me whenever I feel stressed.’ Steven shook his head.

‘Can I tell you something?’ He asks, you nod.

‘Of course.’

‘I know I told you about my punctuality issues, but there’s sort of a reason why.’ Steven sighs, you start to worry. ‘I have these terrible nightmares; they feel almost too real. Sometimes I wake up in pain, perhaps I toss around too much. So, I sort of, try not to go to sleep.’

You feel your chest heavier with his words, the implication that Steven purposely avoided sleeping given his nightmares and the physical strain it put on his body was evident.

‘Have you tried talking with a specialist? Not sleeping for long periods of time can affect you, Steven.’ You see him shake his head.

‘Haven’t. I should though, really should.’ 

‘If it helps, I can research with you, find a good one that can help you.’ You reassure him, trying to let him know you want to help.

‘You don’t have to do that.’ He looks up, meeting your gaze with sad eyes.

‘I want to, Steven.’

‘I’m sorry for calling, I wanted to hear your voice. Is silly, I know.’ You looked down, a soft smile appeared on your lips.

‘Is not silly, Steven. It’s nice to hear that actually.’ You confessed and looked up.

It was hard to fully make out Steven’s eyes, but you saw him sigh, tilting his head to the side to once again look up at you.

‘It is rather nice, I think, talking to each other like this. Wouldn't you think?’

‘Yeah, but if I’m honest, it also makes me think of a prison visit.’ Your words cause Steven to laugh wholeheartedly.

‘That is also a perspective. But I do have a nice view and can see the whole world. I don't think an inmate can say the same, can they?’

‘Not much of a view Steven, my flat blocks any view.’ You saw him shaking his head.

‘Still a good view, I can see you.’ Steven then seems to turn around for a brief second before he turns to look back at you. ‘I really wonder, what made you like doing this?’

‘Like what?’ You asked and Steven gestures to you and him, then at his surroundings.

‘Watching. What caught your attention?’

It was your turn to sigh. You had not expected Steven to forget about the subject, but you didn’t have an answer in mind, a well thought out explanation in your logic and in your possible irrationality.

‘I can tell you; I could probably lie as well.’ You looked at him with a small smile before you looked down, your fingers reaching for the window, your nails drawing shapes on it. ‘It’s stupid, Steven.’

‘You can tell me.’ He responded immediately; his voice was soft, warm.

‘I’ve lived here for almost a year now. The Green Wall is the only place I feel safe, is what I know, is where my only friends are. I followed the same routine for the past year, over and over again.’ You said, you couldn’t hear Steven on the phone, and neither could you see him as you continued staring down. 

‘Then one night there was this light across my window starting to turn on during midnight. I saw a shadow pace about, then it would stay still for hours as it sat down to read, it was like watching a ghost, except, it made me feel accompanied. So, I no longer saw the ghost as a lonely soul, but as something I could share my late nights with even if the ghost was not aware.’

Ten seconds passed in silence after you spoke, you feared looking up, not knowing if Steven was even standing there anymore.

‘You thought of me as a ghost?’ Steven asked with genuine curiosity. You laugh.

‘That’s your big takeaway?’ You looked up, finding him leaning his forehead on the window, with his eyes closed and a smile on his lips.

‘One of them. When I saw you at the gift shop, it wasn’t the first time. I knew you looked familiar when you approached to talk to me, but it wasn’t until the next day that it dawned on me. I had seen you all the time on the bus, glance your way more than once, my eyes always following the same path towards you. I’ve always thought you were beautiful.’

You felt breathless, his words careful and sincere. Then he looks at you, his hand on the window, you feel your chest heavy. 

‘I wish I knew what you saw.’ He says with a quick laugh, and you feel your cheeks warm.

‘You could.’ You say immediately as you see him tilt his head.

‘Watch you? I don’t wanna make you uncomfortable.’ He sounds worried.

‘You won’t, I will admit that it makes me curious to know what it is like to be on the other end. If you don’t feel uncomfortable then it’s okay. You asked what got me to do it in the first place, I guess it’s easier to find out for yourself.’

‘That sounds easier than it probably is.’ He nervously laughs, and you shake your head.

This man was surprising you, the way he doesn’t even bat an eye does make you wonder what he might truly hide behind those doe eyes of his.

The door shut slowly behind Steven; his body heavy as he moved through the clutter of his flat.  He flipped the kitchen switch; light quickly illuminated his space and sighed. He had forgotten to clean the dishes before he left, having already been too late to even do so. He could clean them in the morning, he thought. Right now, what he needed was to lay down, just for a minute or two. Water droplet created a path as the man walked around, tossing his jacket on a chair without care. He dropped his bag on the table, bringing his right hand to his face and dragging it down as he rolled his eyes.

Rain had caught up to him on his way to the bus stop, leaving him all drenched on his way home. It was so late already, the cold of the night sure to do its job if he didn’t shower before bed.

His hair was wet, sticking to his forehead as he removed his shirt. His left hand quickly ran through his hair and scratched the back of his neck. Then he let his hands drop without care, hitting his thighs from weight with a thud. 

It had been a long day, Donna had forced him to work an extra shift given the fact he had shown up late once again. Of course his once in a lifetime trick of showing up early didn’t work this time. His sleep schedule had already been a mess, but he had surprisingly woken up only to find himself having the biggest headache of his life, the pain not even allowing him to focus through the day. 

He knew his body craved his bed and a soft pillow under his head, but he knew better. Even the thought of falling asleep made his body go rigid, his muscles ached.

Steven made his way towards his couch, dropping himself on the cushions, he took off his shoes and socks. The hardwood floor was cold on his skin, making him shiver. He was about to rest on the couch when in the corner of his eye a light flicker. He looked towards it and realized it was coming from your flat.

He stood there, your blinds were drawn, so it allowed him to see inside your flat, so he stood in the middle of his flat watching as you walked by. His heart jumped, a quick rising as he then saw you return back into view, your back facing him as you seem to head to your kitchen.

It was then he remembered your voice from two days ago, ‘I guess it’s easier to find out for yourself.’

Steven barely realized what he was doing when he had already made his way back to the kitchen and killed the light. The flat was dark now, the only light coming from the window thanks to the moonlight. He slowly walked closer to this one, creeping in the dark of his own home, slow quiet steps as if you were to hear them.

When he was closed enough, he saw you as you drank a glass of what looked to be wine, a very full glass. He frowned, he caught his hand trying to reach for his phone, but quickly stopped. Of course he could call you, ask how you were doing, hear your voice, but he wanted to see if he could know what was wrong just by his own means.

You had told him you had watched him during his many sleepless nights, having accompanied him even during his worst nights unbeknownst to you. You had found comfort through that, maybe he could do the same. Perhaps he would understand you, he wanted to understand, seek for that same comfort you found in him.

But as he continued to watch, he felt his heart pumping loudly. You had disappeared for a minute before you returned, seemingly in different clothes, you were wearing a tank top with what he could make out to be shorts. Steven gulped as he watched you take one more sip of the wine, making your way towards your window. 

He felt his heart race, have you noticed him standing there? No, there was no way, it was too dark. Oh no, your flat was higher than his, you could see far more into his flat then he could yours. He had already failed at his poor attempt.

But you sat down by the window, grabbing a book and opening it. Steven was stunned, had you not caught him?

Steven watched you, leaning himself against one of the supports that were around his flat. He crossed his arms as he rubbed his chin, his eyes taking in his view. You sat with both your legs on the loveseat, one leg closer to your chest. Your eyes running through the words in the book, one hand still holding the glass as you tilted your head to the side.

You seemed relaxed, he noticed. He subconsciously smiled at this, his heart calming down at the sight of you enjoying yourself. Then, he found his eyes traveling from your face, back to that glass, to your hand holding the book. They looked soft, they were, he remembered.

He gulped again, his heartbeat deciding to pick up again, your legs looked so soft. He could almost feel his fingers squeezing them. Steven then remembers your voice as he pushed his fingers inside you, how sweet it sounded, how breathless you were as you clung to him. How soft and perfect your breast felt on his hands, how fucking much he wanted to touch them again. How pretty you looked as you brushed his hair, how tender you were as you kissed him.

Before he realized, he was already hard. He tried to push the thoughts away, he blames his headache for even thinking of you while in such an inappropriate time. You take another sip of the wine and immediately remembers your lips around his cock.

“Bloody hell.” He lets out, closing his eyes, his head falling back against the wood. “The hell is wrong with you?”

His thoughts betray him once more as he sees you stare up at him through your lashes and he groans. Hitting his head against the wood purposely this time. Steven shakes his head, he didn’t understand why his mind decided to show you in such a way. Of course there was nothing wrong with you, he simply didn’t know why it had decided to show him that part of you.

This was supposed to be him trying to understand you, not him getting hot and heavy at the sight of you just doing something so mundane.

He would need to relieve himself tonight, of course, in the privacy of his shower.

Ring.

His eyes opened wide.

Steven fished around his pockets until he found his phone, the screen lit up, your name was displayed.

‘Incoming Call: Dove 🕊️’

Steven stares at the screen, then looks back towards the windows, there you were with your phone by your ear, waiting for Steven to answer you. He looked back again at his phone, his finger just hoovering the answer icon. You were reaching out to him, wanting something, yet, Steven just had to let his mind wander too far from sanity, his thoughts flashing more of those images of you on your bed. He couldn’t do it, talk to you and pretend everything was alright. 

“Just got to wait it out, that’s it.” He says to himself, before he lets the call reach his voicemail.

You stared at your phone; you had tried calling Steven 30 minutes ago, but it sent you to voicemail. There was no light on in his flat, so perhaps he was still at the Museum, or on his way home. Yeah, it had to be that. A sigh escapes you as you glance at your glass, you drink every drop in one go before you stand up from the couch.  Today had not been a good day at work, some group of older women decided to pay a visit right before closing, only to ask for things you could not make or even sell, then proceeded to ask for them again but talk to you like you were some sort of idiot. Since they could not have things go their way, they started being absolute cunts, a nightmare. You were grateful Rose had not given a fuck and straight up kicked them out, you knew if the incident were to be brought up to the owner's attention, they would understand, which is why you were thankful for your job.

You walked back to the kitchen where the wine bottle stood, there was still some in it, but not for a full glass. You brought the bottle to your lips and drank it. Your muscles were tight around your shoulders, the alcohol not yet doing the trick. Soft droplets started to fall, bringing your attention to the window. The rain was calming down, you were glad you remembered to bring your umbrella to work this time.

It was then you remembered last time, how it had been Jake who swept in and drove you home. Truthfully, as much as you wanted to pretend you had entirely forgotten about Jake, you couldn’t. Sometimes, on those sleepless nights, your mind would think of your night with Steven, but it would be Jake instead. You felt guilty, the sexual frustration ate at you slowly, but you also couldn’t sleep with Steven knowing damn well you would think of Jake. 

You sighed. There was a store not too far from your flat you could walk to, restocking a brand new bottle of wine sounded like the perfect thing to do, well, maybe two bottles. And while you are at it, use the time to cool your head. Yeah, that was a nice plan. 

Quickly you walked to your room, looking through your wardrobe for a jacket until you found one. 

Before you knew it, you were already one block away from the store. Your umbrella in one hand as the other was in your pocket, keeping it warm. The rain was softer now, yet the cold was unforgiving as you felt your jaw tense. You had opted to still go out with your shorts, tank top, and only your jacket to keep you warm, deeming the trip to be a quick one. When you left your flat you had gotten a text from Steven, telling you he had been in the shower and was gonna try to go to bed. You even had the impulse to ask for a pic, of course, you didn’t. 

You groaned, something felt like you were about to start your period thanks to how ‘needy’ you were feeling. Or so you wanted to believe. 

Suddenly you felt your phone vibrate on your back pocket, you reached for it and looked at the screen. 

Unknown. Hesitating for a couple of seconds, you then tap the answer icon, bringing your phone to your ear.

‘Hello?’ You say.

‘Oh, so it is you.’ You feel your blood run cold, stopping in your tracks. ‘I thought you had given me the wrong number, well you sort of did, one of the numbers was wrong.’

Jake’s voice was deep, raspier than you remember. Your heart started beating like crazy, your grip on the phone tightened.

‘I did?’ You say softly, blinking as you try continuing your walk.

‘Sure did. Your fours looked like nines.’ He says a little annoyed, and you can’t help the laugh that escapes you.

‘Sorry about that, I was in a hurry when I did that, remember?’ You dig, getting a scoff from Jake in return.

‘How could I forget, I was called a dick for it.’ Maybe it was the wine in your system, the late night air, or hearing Jake’s voice so close to your ear that got you feeling ballsy.

‘Aww, never been told that before? Was I your first?’ To your tease, Jake laughs, just a deep-dark laugh, your bones shake as you try walking some more.

‘Been called worst sweetheart, and I sure as hell can take your worst.’ 

‘Don’t make promises you can’t keep. If I remember correctly, I gave you my number once you knew how to act like a grown up.’ You could see the store now, but you stopped dead in your tracks.

There you saw the back of a white limousine with ‘SPKTR’ as the plate, one you knew too well by now. On the right side of this one, you saw a man with an Flat hat, and soft dark curls. Jake was standing with his right side facing you, smoking outside the store.

‘Only children apologize through the phone. I wanna see you.’ You could hear his voice faintly. 

He hadn’t seen you, all you had to do was to just turn around and walk away. But you stalled for too long, keeping yourself so quiet it seemed to worry Jake. He drops his cigarette, and looks at his phone, making sure the call was still going. But you tap the screen and end the call, this seems to confuse Jake, he furrowed his brows.

“I guess there is not a better time than the present.” Your voice surprises Jake, his eyes wide in alert, quickly relaxing once he sees you next to him.

“Gotta put a bell on ya’.” He says as he looks at you, really taking you in. His eyes going further down, he raises an eyebrow, not too happy to see your outfit. “You trying to catch a cold or something? What are you doing out this late?”

You roll your eyes. “What are you? My father? I came to buy some wine.”

Jake scoffs, clicking his tongue.

“Long day, huh? Hop in, I’ll get the bottle for ya.” He reaches the car door, opening this one. He gestures for you to get in.

“I can get it myself, Jake.” You tried telling him but he was already walking into the shop.

“Red or White?” He stopped to look at you and ask, you sighed.

“Both.”

After a couple of minutes of waiting inside the car, the door finally opened. Jake got in and placed the wine bottles between you and him, shutting the door. You had already started the car, allowing for this one to heat on.

“Thanks, how much was it?”

“None of that, take them as part of my apology.” You look away and out the window. Jake put on his seatbelt, then he cleared his throat. “Gonna say what got you so stressed out?”

“Old ladies who wanted things their way. Too many demands that were impossible to meet.” At the memory you sighed, closing your eyes. 

“Want to head home?” His voice was hard to decipher, you turn to look at him. 

Strong nose, clean shave, thick full lips. His eyes were looking straight ahead, the cap casting shadows on them.

“Are you free right now?” Your question makes him look at you, brown eyes even darker.

“Got an opening just for you.” He grins, you roll your eyes. “Where do you want to go? Your wish is my command, sugar.”

You looked away from him, staring at the windshield. The rain hadn’t stopped, nor did it seem it would any time soon.

“Can you drive us around?” Your voice came out softly. 

“Sure can.” Jake shifts the gear and the car starts moving.

The two of you drive in silence for almost 15 minutes, you steal a couple of glances every so often. His features looked rougher than those of Steven, your eyes then fell on his hands; concealed under his leather gloves.

You imagined how the material would feel on your skin. The texture would probably be soft from all the use.

It was then you reached for one of the bottles, grabbing it blindly from the paper bag. Suddenly Jake reached into his jacket, pulling out something and handing it to you. You grabbed it confused, it was a swiss army knife.

“Don’t think you can open that with your mouth.” He says plainly and you laugh.

“You would be surprised.” You tease and quickly find the wine opener amongst the many gadgets. “Where exactly are we driving? Or is it just a mindless route?”

Jake clears his throat, adjusting himself on his seat. “Have anywhere in specific?”

“No, just wondering.” Pop. The cork popped, you quickly took a swing from the bottle.

The bittersweetness of the wine immediately hits your system, a sigh of relief leaves you.

“It’s not just those old ladies that have you like this, is it?” Jake asks, you let the bottle rest by your thigh.

“Good observation, Lockley. But you don’t want to hear about it.” You take another sip.

“Sugar, I could have you talk my ear off all night.” The pet name didn’t go unnoticed.

Once more, you let the bottle rest on your thigh, but this time, you turn to face him. Eying his side profile as he drove, there was a glint in his eyes that told you he was enjoying this, more like he was enjoying messing with you. He was getting too comfortable, acting like things were good once again.

“I’ve been debating whether or not I should sleep with Steven again.” The car almost makes a full stop. He tenses at your words. “What? Thought I could talk your ear off.”

Jake pulls over, you feel your blood pumping fast as the car comes to a full stop. There he sits in silence, hands gripping tightly at the steering wheel, he finally sighs.

“What do you want me to do?” The question confuses you. His voice came out deep, raspier. “Want me to get on my knees to beg for your forgiveness? Say the word and I will. I know what you think. That Steven is all sweet and nice, a perfect little boy. You wanna bring him home to mama? Go ahead. But we both know he can’t give you what I can.”

His sudden outburst surprises you, not once did he look you in the eye. Your eyes widen, breath catching on your throat.

“And what exactly is it that you can give me?” You tried to look unaffected, but the liquor was already making your body buzz, warming your skin. 

Jake turns to look at you, eyes blow out as his lids are heavy.

“Hop in the back and I’ll show ya’.” His words are laced with lust, you feel your body respond to the insinuation, your falls pulsing with an unspoken promise.

You stare at him, his eyes shifting from yours to your lips, creating a path. “What if I don’t?” 

“Tell me to fuck off and I’ll take you home sweetheart.” Unconsciously, you lick your lips, attracting all of his attention to them. 

“Is this the other part of your apology?” You tease, causing him to chuckle.

“If you want it to be, it will make a hell of an apology that’s for sure.” He responded.

You take a deep breath. It wasn’t like you and Steven were together, there was never a talk about being exclusive, if anything you and Steven were becoming friends who started under different circumstances. You simply wanted to lay off some steam, all you had been thinking for the past week had been Jake and Steven.

“Better make it worth it then, Lockley.” At that Jake wolfishly grins, turning the engine off.

“Mejor de lo que esperas, ya verás.” He opens his door; you quickly place the wine bottle on a cup holder before opening your door as well. (Better than what you expect, you'll see.)

You quickly get out, soft rain falls on you as you walk towards the back of the limo, it was already getting late, the street was dead at this point. You open the door and step in, sitting down on the comfy seat. Jake closed the door behind him, quickly turning around, his right hand coming towards you as his lips clashed against yours. Immediately the kiss was returned with the same passion, your hands coming to pull the hat off and dropping it on the floor of the limo. Your hands found his hair, gripping it between your fingers as you let out a moan.

Jake pulls away, looking at you. “I’m gonna eat you up, sugar.” His voice came out hoarse. He starts kissing you again, but begins to kiss your jaw, slowly kissing your neck biting at the flesh.

“Got tired of sweetheart? Or simply wanted to try something new?” You say breathlessly. You feel him smile against your neck.

“Can’t a man say things as he sees them? You are addictive, I already can’t get enough of you.” Jake pulls down the zipper of your jacket, tearing it off you.

One of his hands takes claim at the back of your neck, the other on your waist. Quickly, Jake pulls you towards his lap making you straddle him. He bites at your collarbone, the hand on your waist squeezes the flesh there, before sneaking below the hem of your shirt. The leather was cold against your skin, but soft.

You pull on his hair, a breathy whine leaves your lips when he bites you one more time. His other hand squeezes your ass before he smacks it, making you jump.

“What sweetheart? You want gentle? Wrong fucking address baby.”

With his two hands, he grips your hips, pushing you down. It’s then you feel him, hard as he makes you grind against him. He pulls away, resting against the seat as he looks between the two of you. You moan at the friction, breath hitching.

“Jake.” His name leaves your lips, he grins proudly at you. 

“Come on, move those hips a little. Show me just how much you need me.” He shifts his hips up, making you hold back a moan. “If you do a good job, I’ll eat you out, just like you deserved.”

You start grinding against him, moving your hips in slow motions as Jake continues to guide your hips. His jaw tenses, with heavy lids he watches you move, a wicked smile on his lips as he does.

He rubs circles on your hip bone with his thumbs, applying small pressure that is almost uncomfortable. Your hands find his jacket, gripping it tightly as you start feeling your body growing hot, heart quickening as your wall flutters against nothing. Your head falls back, trying to grind faster against Jake groin, you are so close you can almost feel heaven, but he stops you from doing so.

“Someone’s needy.” He says, his voice so deep you shake. Jake stops your movements all together.

“Jake please!” You whine. “Please, I’m so close.” You grab his face, leaning in and kissing his lips. “Please.”

“Fuck, never knew I would like to hear you beg this badly.” Suddenly, Jake hugs you, bringing the two of you to the floor of the limo, laying you down slowly.

He pulls away and sits on his heels. Jake tears his jacket off, revealing a white button up shirt underneath. He then grabs his black tie, losing it before pulling it off with both hands with little care. He unbuttons the sleeves of the shirt, rolling the sleeves up to his elbows taking his time as he looks at you, eyes traveling down your figure.

“You’re such a fucking tease.” You spat, eyes his body just the same. 

Jake tilts his head to the side with a shrug.

“Just trying to enjoy the view, is not everyday I get to see you like this, do I?”

You roll your eyes, laughing. 

“Never knew this was the only way to make you talk this much.” You tease, but are quickly silenced when Jake’s gloved hands make their way to the elastic of your shorts.

You lift your hips, letting him pull them off you leaving you in only your panties. When they were off, he whistled, running his gloved hands up your things, squeezing the flesh as he went. His eyes were heavy, a glint of something on them as he admired your thighs. You watched him lick his lips, the wetness it left on them making you squeeze your legs. 

Jake then seems to look beyond you, gaze lost for a second. He seems to space out, the subtle change making you reach for his hand, squeezing it gently.

“You alright?” You ask but the question didn’t seem to reach him. You tried sitting down, your hands going up to his forearms and massaging the skin.

He closed his eyes and took a deep breath, Jake opened his eyes. His eyes made your body tense, he frowned deeply and his jaw tightened before he crashed your lips hard, the motion making you yelp. He pushed you back on the floor of the limo, the kiss becoming more heated, his grip on you possessive.

“Time’s runnin’ out.” He groans, his hands take your knees, spreading them apart to position himself between you. He starts to lower himself, getting closer to your pelvis.

Jake pushes your panties to the side, immediately going in and licking your clit. You moan, one of your hands flying to his head, grabbing a hand full of his curls. Your skin feels hot, a thin layer of sweat forms as your head falls back, the windshields are foggy as the two of you are surrounded by your breaths, your eyes rolled back as your mouth hangs open. You let out a breathy gasp, your stomach tightening as you feel your heart beat faster. 

It’s exhilarating, the warmth of his breath against you as his mouth is enclosed around your clit, tongue licking quick little circles. His grip on your thighs is strong, bruising them as your back arches, air leaving your lungs as you start to feel the rise of your orgasm start again. 

You looked back down with heavy eyes as you locked them with him. A dark gaze looks at you from between your legs, his curls soft when your hand runs through them, moving his hair away from his forehead. The action makes him bite your inner thigh, a yelp falls from your lips, he smirks as he kisses the teeth marks. 

“You taste like heaven, my pretty little angel.” He places one more kiss. “So fucking wet, all of this for me.”

He pulls away and sits on his heels, hands going to his belt to undo it. He gets his jeans unbutton, pulling his zipper down. Jake hovers over you, leaning on one forearm as you hear him pulling himself from his briefs. 

“Open your legs wider, sugar.” You do as he says, feeling the head of his cock brush against your clit, making your body jolt.

His hand grips your thigh, bringing it to wrap against his back. Jake kisses your lips as he pushes himself in you, the stretch making you grip his shoulders tightly. You gasp against his lips.

“Jake, fuck.” You shut your eyes as your head falls back, Jake’s nose brushes your ear.

“I’m gonna need you to work with me. I’m on the clock, next time I’ll take my sweet time with you.” The promise of a next time makes your walls flutter, making Jake let out a breathy laugh. “Yeah, you like the sound of that? I’ll fuck you nice and good, make you forget all about Steven with my cock sweetheart.”

“Don’t talk about him.” You moan as you feel his cock pulsate inside you. His pace is starting to speed up. 

“Why not? Afraid I’m right?” He thrust hard at that, the hand on your thigh squeezing hard. “Sweetheart, fuck him as much as you want. We both know you’ll come begging for me when I’m done with you.” His thrusts are faster, deeper and harsher. You can feel the limo start to shake at the same rhythm. He starts hitting the spot that makes your body tingle, your eyes roll as you feel your orgasm start to build up. 

Your hand flies to his hair, fisting the strands between your fingers as your breath hitches, mouth open wide as you pull Jake’s hair. He thrust faster, the limo shaking as he did, the motion making him go deeper as you feel your walls tighten around him. The sound of skin hitting skin, jagged breaths, moans and whines filled the vehicle. You arched your back, eyes shut tight as you pull even harder on Jake’s hair.

“I’m coming.” Your voice comes out hoarse, throat dry from all the breathing. “Jake.”

“Hazlo.” He says against your ear. “You deserve it, you take me so fucking well. Me vuelves loco, muñeca.” (Do it. You drive me crazy, doll.)

You feel your lower stomach tighten before you feel your high hit you. Your body tensed, shaking from the stimulation as you came around Jake’s cock, screaming his name breathlessly. While you felt it pulsating, Jake’s pace became messy trying to work with your fucked out state.

“Perfecto, justo así.” Jake’s face comes into view, one of his gloved hands comes to your jaw, making you look straight into his eyes, his mouth is now a thin line as he frowns in pure pleasure, a moan comes from the back of his throat. “Mira qué maravilla, tan perfecta. Estas hecha para mí.” (Perfect, just like that. Look how wonderful, so perfect. You are made for me.)

Then he pulls out quickly making you moan at the sudden emptiness. You remove your grip from Jake, allowing him to sit on his heels once more. It’s then you see him pump his cock at a fast pace, eyes not leaving yours as he comes, his spend landing on your belly.

His frame shakes slightly, body slouching forward as he takes deep breaths, both of his palms on either side of your waist. His curls flow down, you bring your hand towards them, pushing them aside, you can feel the sweat at the root of his scalp. When you do that, he looks up at you, his features slightly softer and you feel your chest tighten.

He looked just like Steven for a brief second, for a second you thought your mind was trying to play a mean little joke with you. You tried seating down as Jake pulled away from your touch, putting his cock back inside his briefs and started to zip down his jeans.

“How was that for an apology?” He teases, buckling his belt.

“Not bad, but you do need to stop bringing Steven into things.” You reach for your shorts and put them on. 

“You started it, I just went along.” Jake fixes his curls, pushing his hair back before putting his cap on. You look at him, ready to defend yourself, but you stare instead. 

With only his white dress shirt sleeves rolled up, his black gloves, cap and black tie undone makes you want to burn the image into your brain. Store it for another of your restless nights.

“Take a picture, it’ll last longer.” He chuckles, grabbing his jacket from the floor and opening the door. “Vamos, que te tengo que llevar a casa, muñeca.” (Come on, got to take you home, doll.)

Add yourself in the taglist!

Taglist: @22carolina08 @wandasupremacy @jesusbussy420 @ninebluehearts @whitearmsredhands @silversweetpea @siimiasoi @stuckybarton @jbearre85 @virgin-mojitos @theking-arthur @btsluvr1 @belladri @amasdaydream @bt21tatakey @kittytiddywinks @yuukiyoko @laaundromat @fanfichotel @insomniacfigure @philiasoul @magicwithaknife @spidey-3 @chaimantis @username21mk @yoshidoes-stuff @deadbirdcz @the-rabbit-king @poppyflower-22 @blueflowerhat

[commsroom]

i think one of the boldest and best moves wolf 359 makes in its character development is that, in terms of the major defining events that led him to where he is, eiffel doesn't have a tragic backstory so much as he is responsible for the tragic backstory of someone else.

(the archetype of the everyman protagonist who copes with past trauma via humor does in many ways describe eiffel, but like with every character in wolf, it's the complexity of their circumstances that make them feel like real people with believable inner worlds. they don't subvert the archetypes they represent, exactly; they're just people, complex and contradictory, who ultimately can't be constrained by the expectations or defined lines of the narratives imposed on them.)

eiffel believes this is an intrinsic part of who he is, that he was "just those mistakes"; he externalizes his desire for redemption and that manifests as lenience towards people who lack his fundamental desire for growth. and in failing to recognize his own ability for growth, he presents himself as a doomed character archetype more than a person; he sidelines himself as an observer within his own story. his guilt and self-hatred allow him to in some way abdicate responsibility, to see his failings as inevitable, and it's only accepting his own complexity and capacity to be more, the human quality he recognizes so fervently in others, that frees him from those self-imposed conceptions.

(once my friend kit said that eiffel “defines the tone and the moral compass of wolf 359 so strongly that if you put him into any other series he would turn it into wolf 359 too” and i think about that a lot.)

doug eiffel is wolf 359, in all it believes, and despite his perception of himself as the weakest link, he is so interwoven with both the crew of the hephaestus and the themes of the show that he is inseparable from either. he doesn't always embody the show's values or its morals - in fact, he frequently fails to live up to them as much as he'd like - but he is the one who advocates for them. "it's not just about surviving; it's about being able to live with ourselves after we get off this tin can."

it's a show about communication; he is an intermediary, a vessel for communication - sometimes literally, and he's also just a guy who is still trying to learn how to communicate better himself. what eiffel represents is a flawed, contradictory, unpredictable, irrepressible humanity, singular, and so desperately in need of connection. the show's love of humanity is truer for that. he has genuinely done wrong, in ways he may not ever be forgiven for. he has very real flaws, some of which persist through the entire show, even as he's consciously trying to do better. and he is very much human, and very much loved.

[gynandromorph]

I love how your work (especially Fresh Meat) depicts character with such diverse and nuanced worldviews and perspectives on life and morality. But you yourself have a very distinct worldview and are very opinionated in ways that are very different from the characters you write. How are you able to write such realistic and complex personalities that are so different from your own? Are you taking inspiration from people you've met?

it's the dissociation--

more seriously, thanks. some of them are from people i've met, but most of them aren't. it feels a little... strange, shameless perhaps to write fictional versions of people i've known. i find people intriguing. i like observing them and asking them about why they act certain ways or feel certain ways. it can come off as accusatory a lot of the time. i've learned to reframe these questions by asking if an explanation i've assumed is the reason why they've done something. my mind naturally wants to find meaningful connections between seemingly random observations, so recalling things people have said or done clicks on its own. i spend a lot of time thinking about what other people are thinking when they say something, feel something, etc-- when i'm not thinking this way about myself or fictional beasts. more, i think about the shared conclusions different people have had, the logics and beliefs, the different ways they can end up at the same place. i don't want to think that other people have less complex inner lives than myself, but i would hazard a guess that most people are usually focused on themselves and their personal lives, so the habit is probably the biggest difference.

[mrsnancywheeler]

Something I'll never forget is in the lakes how the reader's reaction to Conway getting chosen is immediately how it can work in her favour. I have so much to say about it and the contrast between hers,finnicks and Conway reaction to the reaping and it just crushes my soul. Conway would be so heartbroken to hear her name but when she hears his it's how she got lucky with Conway being her tribute partner :((

i literally love writing characters with moral complexities sm, like I love that they aren't just perfect, they're destructive, and hurt, and so much

reader, especially young reader, has spent her life feeling like she isn't enough, wanting for things and playing her cards to get them, to build connections, to live a more exciting life, not one that's monotone. she loves living in the moment and tries to protect herself. so when she's called and then it's Conway, she knows her way out of this. she knows who she'll have to charm to get what she wants except this time it's to survive. and it does work in her favor, this is something she can work with more then a blank slate. Her inner monologue with the ‘I don't need your pity, I pity you for what I'm about to do.’ in midnight rain. Young reader is a survivor and she hates herself for it, but wants it so desperately. like she talks about hating herself and what she's doing so much, but she doesn't stop, she still goes through with it

and if conway's name hadn't been called he would've spent every day taking care of your family and honestly I think he was so in love that he wouldn't have known what to do with himself. but when he is called, he's so heartbroken, but he's glad to be with you because he'd rather die with you then alone. it breaks him to be in this situation but he just wants to be with you.

And then Finnick who's thoughts are all about how you can win, how he's breaking for you, how he should've kept being with you if this was going to happen, had all your time instead of Conway having it. nobody in this situation thinks about Conway as a person who can win, as himself, he loses all autonomy in their eyes and his own for so long.

please I love all the thoughts sm bc I could explore the complexities forever

[boredtechnologist]

ATLUS's "Persona 2" for the PlayStation console

Reviewing ATLUS's "Persona 2" from a philosophical perspective involves exploring its rich narrative, character development, and thematic elements, and considering their broader existential, psychological, and social implications.

1. The Nature of Identity and the Persona: "Persona 2" prominently features the concept of a 'Persona,' a manifestation of a character's inner self or personality. Philosophically, this aligns with discussions about the nature of identity and the self. The game challenges players to consider what constitutes one's true self. Is it an unchanging core, or is it a fluid construct influenced by social interactions and internal conflicts? The personas in the game act as metaphors for the different facets of an individual's personality, reflecting the complexity of human identity.

2. The Power of Belief and Collective Consciousness: A central theme in "Persona 2" is the power of belief and how collective consciousness can shape reality. Rumors in the game world become true, demonstrating the philosophical concept of consensus reality – the idea that our beliefs and perceptions shape our understanding and construction of the world. This theme invites reflection on the nature of truth and reality, and the extent to which they are socially constructed or subjective.

3. The Shadow Self and Psychological Projection: "Persona 2" delves into the Jungian concept of the shadow self, representing the unconscious aspects of one’s personality. The confrontation with these shadow aspects in the game resonates with psychological and philosophical explorations of the self, particularly the parts of our psyche that we repress or deny. The game encourages players to acknowledge and integrate these repressed parts, reflecting the philosophical journey toward self-awareness and authenticity.

4. Ethical Dilemmas and Moral Choices: Throughout the game, players face various ethical dilemmas and moral choices that affect the story's outcome. These decisions force players to confront complex moral questions, reflecting the philosophical themes of ethics and moral responsibility. The game's narrative structure, with multiple endings, emphasizes the consequences of one's choices, underscoring the existentialist idea that we are defined by our actions.

5. The Interplay of Fate and Free Will: "Persona 2" also explores the tension between fate and free will. Characters grapple with predestined events and prophecies, raising questions about determinism and the extent of human agency. This theme resonates with philosophical debates about whether our lives are predetermined or if we possess the freedom to shape our destinies.

6. Social Commentary and Collective Issues: Finally, "Persona 2" offers a critique of societal issues, including the media's influence, the pressures of conformity, and the impact of societal expectations on individual identity. The game prompts players to reflect on the role of social structures in shaping individual behavior and the importance of critical thinking and individuality in the face of societal pressures.

In conclusion, ATLUS's "Persona 2" is a philosophically rich game that engages players in themes of identity, the nature of reality and belief, psychological introspection, ethics and moral choices, fate versus free will, and social critique. Through its gameplay and narrative, it offers a profound medium for exploring these complex philosophical questions, making it a deeply thought-provoking experience.

[nighted-aonaran]

Dispelling Myths: Demons Aren't Dangerous, They're What You Make of Them

In our cultural imagination, demons have long been portrayed as malevolent entities, capable of deception, manipulation, and harm. From ancient folklore to modern media, demons are often depicted as sinister beings intent on wreaking havoc and sowing chaos.

However, the belief that demons are inherently dangerous or deceitful is rooted more in propaganda and superstition than in reality. In truth, demons—like any other fictional or mythological creatures—are products of human imagination and interpretation. How we choose to perceive and interact with them ultimately determines their significance and impact in our lives.

The notion that demons are dangerous or deceptive may stem from a fear of the unknown or a desire to assign blame for negative experiences. Throughout history, demons have been scapegoated for everything from illness and misfortune to societal unrest and moral decay. This demonization has perpetuated harmful stereotypes and misconceptions, leading to unwarranted fear and prejudice.

In reality, demons are neither inherently good nor evil—they simply are. Like any other fictional characters or mythological beings, demons can serve as powerful symbols and metaphors, representing aspects of human nature, psychology, and spirituality. How we choose to interpret and engage with these symbols is entirely up to us.

Rather than fearing or demonizing demons, we have the power to reclaim their narrative and redefine their significance in our lives. By viewing demons through a lens of empowerment and agency, we can harness their symbolism to explore complex themes, confront our fears, and embrace our own inner darkness.

Moreover, the idea that demons send subliminal messages or exert control over our thoughts and actions is unfounded and lacks scientific evidence. While media and popular culture may perpetuate such myths for dramatic effect, there is no credible basis for believing that demons possess supernatural powers or influence over human behavior.

In conclusion, it's time to dispel the myths and misconceptions surrounding demons and embrace a more nuanced and empowered perspective. Demons are not inherently dangerous or deceitful—they are what we make of them. By reclaiming their narrative and reframing their symbolism, we can harness their potential for personal growth, self-discovery, and empowerment.