#and that’s okay. it’s part of their arc it’s part of them growing up

[asidian]

One thing I haven't seen talked about is Crystal's character arc, and specifically the way the timing of it interacts with Charles' arc. They stumble over each other in the worst possible way en route to their respective character growth, and from a narrative perspective, it's absolutely genius.

I'm going to preface all this by saying: none of this is a criticism of Crystal. Part of what makes her such a dynamic, refreshing character is that you don't get to see women in fiction written the way she's been written. You don't get to see women with her flaws that aren't throw-away mean girls or villains. You especially don't get to see women with her traits who learn and grow and become better people. So yeah, I'm going to talk about Crystal's character flaws. No, this isn't Crystal hate. We love our girl in this house. Okay? Okay. Let's start.

Crystal's character arc, at its heart, is all about her learning to be a better person because she has good influences that love and support her for the first time.

When the show starts, Crystal is not a nice person. She's abrasive in a way that's specifically designed to push people away. She's used to getting her own way, and it shows. She's used to having no meaningful connections with anyone, and it shows. She's breathtakingly selfish, in the very literal sense of the definition. She is focused on her self. Her problems are front and center to her; everything is about what she needs, and what she wants, and how she's struggling.

Jenny calls her out very early on. In episode one, Crystal is complaining about the boys, and Jenny, for all her cynicism, strikes right at the heart of the problem. She tells Crystal, "Everybody is always thinking about themselves, all the time." People only care about their own problems. And she says, correctly, that that's what Crystal is doing, too.

This moment is a revelation for Crystal. For the first time, she considers what her behavior looks like from another person's perspective. As she says, she gets mad at herself over it, and that awareness allows her to do something selfless for the first time in the series. She takes a step back and insists that instead of focusing on her problems, they go to help a little girl. It's a big moment for her.

But importantly, she's not done growing as a character here. She's only just getting started.

On my first watch through, I didn't realize how often, over the next few episodes, Crystal redirects things to her problems during conversation, but it's quite a lot. She's still focused on herself – selfish, in that most literal definition of the word. The issues most important to her are her issues. She's starting to learn to think about other people, but she's not there yet. The process is still underway.

Which brings us to Charles.

Charles' arc is a different sort of self-reflection. He's terrified that he's a bad person the way his father was and the way the boys that killed him were.

During the course of the show, he gets systematically stripped of his confidence and made to feel helpless, and just like Crystal needs outside influences to help her reach a more stable place, Charles does, too. He desperately needs reassurance that he isn't everything he's afraid he is.

But my goodness, the timing in their arcs is such a trainwreck when you put them together, and it is brilliant.

Let's start with the Devlin House.

Crystal has some amazing character growth here. She displays genuine concern about Charles, makes an attempt at comforting him, and learns to work with Edwin even though she still doesn't particularly like him at this point.

Charles, meanwhile, is beginning to fall apart. He's just had the worst night of his afterlife. He's been viscerally reminded of how helpless he is. He couldn't stop the Devlins from being killed over and over, just like he couldn't stop his own father's abuse. He messed up his attempted rescue so badly that he was completely out of commission until the case was finished. He managed to help not one single thing. He made no impact at all. He couldn't help those girls any more than he was able to help himself, while he was still alive.

So they get back to the butcher shop, and what do we see? Monty immediately coopts Edwin. Niko doesn't know what's happened because she wasn't there and Charles has been all fake smiles with her. And Crystal goes off with Niko, leaving Charles to flounder on his own in the wake of everything. She's still learning how to support other people. She isn't there yet, and it's extremely on display in this moment.

Then we get the lighthouse episode, and they both get put through the wringer here. Crystal gets her hopes and expectations jerked around by the Night Nurse in the very worst way, and Charles gets hit with a whole pile full of trauma. All that helplessness wells to the forefront again. Combined with being forced to relive some of his worst memories and the desperation to keep Edwin safe from hell, Charles lets himself act on his anger for once.

And what does he get in the aftermath? Horror.

Everyone who cares about him is horrified by what he's done. Edwin goes so far as to call it extreme. They don't know the half of it, of course; they haven't seen what the Night Nurse just put him through. But in this moment Charles is at his absolute lowest, and all he sees is confirmation that he's exactly as terrible as he thinks he is.

That's why Charles shrugs off Edwin's attempt at comfort, here. When he needed to be able to do something to protect Edwin and also himself – when he needed to believe that he could be better than what his father always was – all he sees is the confirmation from the people he cares about most that when push came to shove, he really is a bad guy.

Then comes the aftermath. And this moment is such a brilliant, awful clash of both of their character arcs. It is so delightfully messy.

Because Charles starts to open up to Crystal here. He starts to lay himself bare, the way he ends up doing with Edwin in episode 5. He's on the verge of admitting something that he's been worried about for literal decades. He tells her, "I've been angry for such a long time."

And what does Crystal do? She's still in the midst of her own character growth. She's still struggling to support other people. She's still learning how to. In a lot of ways, though she's made progress already, she's still that selfish girl that Jenny called out in the very first episode.

And she shows it here it with the absolute worst possible timing. No sooner has Charles started to talk about what's bothering him than she cuts in with her own problems. She's tired of riddles and spirits and demons and not knowing who she is. And the look on Charles' face. The moment when he visibly sets aside his own problems, because Crystal doesn't need any more disasters on her plate? It's heartbreaking. You can actually track the subtle change in his expression there. The actor does a phenomenal job.

And then comes the kiss. And what spurs it? Crystal saying she needs something real.

This moment isn't about light-hearted attraction, the way the earlier flirting is. It's Charles setting aside what he needs – comfort and reassurance and a moment to talk through the things that have been tearing him apart – to give her what she says she wants. He can't even feel it. And Crystal isn't far enough along in her character growth here to realize how selfish she's being. Like Jenny said way back in episode one, she's only thinking about herself.

And then comes the absolute unmitigated disaster of episode 5.

Straight out the gate, Charles leans in for a kiss. From his perspective, they have something together; there's affection there. Charles "I think I'd miss kissing" Rowland, who has been starved for meaningful physical contact for thirty years, is not in a hurry to give this up.

But Crystal is fresh out of a nightmare where she conflates Charles with her abusive ex. She withdraws; she calls what they had a distraction. She cuts it off almost as soon as it's started, so focused on her own worries here that she misses how damn fake Charles' smile is, to cover up that he's coming to pieces.

To be clear, she's absolutely not in the wrong here. It is 1000% her prerogative not to jump into a relationship again while she's still struggling to work through what happened with David. But the arc of her narrative is still early enough that she does it all without so much as the awareness that her focus on her own issues has hurt Charles terribly.

And then the episode really kicks off, and both of them are in shambles in very different ways.

Crystal is projecting her issues with David onto Charles. She has a lot of history, and David seems as though he's exactly the right sort of toxic to leave lasting a lasting impact. But Charles hasn't done anything to deserve her assumptions, and he takes the brunt of her temper here and throughout the episode.

Charles is desperately projecting onto the dead jocks. He very badly wants them to be good guys, because he sees himself in them and he needs himself to be a good guy. He snipes back at Crystal for the very first time in this episode, and he does it in the worst way possible, accidentally prodding her where it will do the most damage.

They're both hurting. They both say some truly painful things to one another.

She does not need to hear that she has unsorted hangups about David still plaguing her while she's unable to move past them. He desperately does not need anyone to tell him that he has rage issues while he's still struggling to think of himself as a decent person.

They apologize, in the end. They start to move past it.

But it's telling that Charles doesn't try to open up to Crystal again. He goes to Edwin instead, even though Edwin is the one who called his actions regarding the Night Nurse extreme. He gets the reassurance he needs so badly; he gets the connection he was looking for with Crystal from Edwin, instead. (I have a lot of thoughts on why Charles initially tries to open up to Crystal so quickly, but it is very much an aside, and this is already extremely long, so it will have to wait for another write-up.)

But the important thing here is, Edwin is the one to offer Charles what he needs to overcome the self-doubt eating him alive. Edwin provides the physical affection Charles was seeking in the form of that long-overdue hug. Edwin is the one who's able to reaffirm for him that he's not just a good guy, he's the best person Edwin knows.

And for all intents and purposes, Charles' major character arc ends here.

Charles has a few last little moments to go on the path to rebuilding his own self-image, after this, but for the most part his concerns have been resolved. He saves Crystal in episode 6 and Edwin in episode 7, proving to himself that he's able to make a difference in the face of overwhelming odds. He's not helpless, no matter what the Night Nurse told him; he can be a force for good in the world. By the end of the series, his crisis of self-doubt seems to have been largely overcome.

But it's the conversation with Edwin at the end of episode 5 that really allows him to work through his most pressing issues. Edwin is there to help support him when he stumbles. Edwin provides him the comfort he was looking for while Crystal was too worried about her own problems to notice how badly he needed the help.

Crystal, meanwhile, still has a ways to go after episode 5. The last three episodes are where she does her most important character growth.

In episode 6, she learns some hard lessons about keeping secrets and letting people help and appreciate you even when you can't offer them anything in return. And Charles, importantly, is there for her every step of the way. He consistently offers her physical and emotional support. He models for her, in a very real way, what it looks like to have someone prop you up when you need the help.

And in turn, Crystal steps in to save the boys. She's the big damn hero at the end of this episode.

The breakthrough continues into episode 7. She's so intent on helping to get Edwin out of hell that she literally goes to face her own demons, not for herself for once – not for her own purposes or needs or wants – but because she wants to help someone else.

And episode 8, at long last, brings her to the culmination of her character arc.

Crystal is at her absolute lowest here. Her family, the people who were supposed to love her unconditionally, didn't even realize she was gone. Her precious memories, that she's spent the entire series trying to regain, have showed her that she's not the person she hoped she would be. She's overwhelmed enough that she means to flee, to cut herself off from her new friends entirely.

Then the boys get kidnapped. And just like that, she makes up her mind.

For the first time since the start of the series, she sets aside her most important issues in order to let what other people need take precedence. She disregards all of her own personal concerns and focuses instead on others. She's finally stepped out of those selfish impulses that Jenny calls her out on, all the way back in the first episode. She's finally learned how to support other people when they need it.

Crystal has finally figured out how to be there for others, despite having troubles of her own.

It's a lovely arc, and it's beautifully done.

Charles' is just as touching.

And god damn, but it was a brilliant narrative choice to have their character arcs line up in exactly the wrong way.

[anxiously-sidequesting]

Since we're talking about Grandfather Spider can we Girls please just take one single moment of the day to remember and think about his, "I am beyond angry with you, but I could never hate you." quote to Grandmother Raven please. Please. Please can we do that? I will become sick as fuck if someone doesn't acknowledge this with me

[kaidanalenkosprmanager]

THE BEST OF PRIORITY: TUCHANKA (PART 2)

Featuring: Cmdr. Sophie Shepard, Lt. James Vega, EDI, Urdnot Wrex, and Dr. Mordin Solus With: Urdnot Bakara And a Special Guest Appearance by: Kalros, Mother of All Thresher Maws I MADE A MISTAKE! I made a mistake... big picture made of little pictures- too many variables. Can't hide behind statistics... can't ignore new data- my responsibility. Need to go- running out of time. Not your work, not your cure- not your decision. Had to be me- someone else might have gotten it wrong... Mass Effect 3: Legendary Edition (2021)

[llycaons]

im finally feeling awake now so @pharahsgf this is the post I was talking about

foolish. reductive. immature. disrespectful. willfully ignorant. WRONG

[arminsumi]

First request ever: Can you make a story about Gojo, where their both in a relationship but gojo had to end it because he was afraid that she would be in danger?

Thank you! Keep up the good work, I love your stories!!!

LET ME MARRY YOU

↳ GOJO さとる + fem!reader

The risk of dating you his too much for him to handle, so he breaks it off, only for him to come back to your doorstep years later and ask: "Let me marry you."

2k

Note : istg each time i edited this... the wordcount grew lol. i hope u enjoyyy 🥹💗 tysm for enjoying my work it means everything

Warnings : angst -> fluff (?) -> happy ending trust me, Shibuya arc spoilers (Ep 9), manga spoilers (chapter 221)

🍒 More from Jay : Gojo works / Gojo fave works / JJK works / oct. reqs open

The risk of dating you is thrilling when Satoru's just a teenager in puppy love. But as he grows older, and heads into those dreaded 20s, the risk makes him more and more nervous.

What if something happens to you?

He presses kiss after kiss to your forehead and feels his chest tremble, feels his lips quiver, as he refrains from telling you the truth about the Jujutsu world. Satoru just can't do it.

There are so many instances of him saving you from curses that you're oblivious about. He just smiles strangely, and you wonder why he looks like he's just seen a ghost. Because he has, those pretty eyes see ghosts. But those pretty eyes also see you, "What am I looking at?" he responds after you ask why he's looking at you so tenderly, "I'm looking at my future wife." he flirts just to fluster you.

That's at the cafe, when things are still simple. He keeps thinking to himself, as he lays with you in bed some nights;

I want to marry you.

I'm going to marry you.

Please let me be your husband one day.

As if he's trying to manifest it.

Everything is okay-ish... until he gets pangs of fright when your name starts to be known outside of his closed circle of friends.

It's October 11th.

Gojo Satoru breaks up with you.

He leads you to believe that the two of you are just "right person, wrong time". It all hurts an incomprehensible amount for him, to finally cut the string that tethers the two of you together.

He sits on the stairs, head in his hands, mourning.

He starts many mornings with crying spells that last until midday.

He destroys evidence of you and him. In case anyone ever finds it and thus finds your apartment, or work, or college... or anything.

But he can't part with a very special photo. It's you and him in Okinawa, sharing a cheesy kiss at the beach. In the moment this photo was captured, Gojo remembers having whispered some dirty joke in your ear and that's why you smiled so big into his kiss.

He drifts to sleep to the lullaby lovesongs that defined your love.

Years pass, he refuses to even talk to you. The heartbreak worsens with time, he laughs when he realizes that on his 27th birthday.

Isn't time supposed to heal all wounds? Someone said that to him once. Well, they must have been lying without realizing it.

The day Gojo Satoru is sealed, he looks into Suguru's eyes, and remembers you through them. When he resides in that awful prison realm, he only thinks of you you you you you you you oh god he misses you so much that it feels like the very thought of your smile stabs his chest. Every memory is painful. Every flashback puts one more crack in his heart.

"Can't I ever catch a break...?" He laughs to himself, chattering skeletons making their eerie symphony around him.

He thinks. Ponders. Wonders. Broods. Daydreams. All about you. Always about you. Never anything else. Just his first love, from the late spring of his 17th year.

His earthly goddess.

The purpose of his benevolent actions.

He cries. And sobs. And weeps. Because no one can hear him but the skeletons and he's sure they don't mind the sight or sound of a 27 man howling in pain over a lost lover.

It's not just your relationship that he's mourning. But the fact he can't feel you in this cube... that he can't feel your presence in the world... that's worse than the heartbreak. At least through all these years, he's been able to sense your existence. Feel the subtle ripples of your soul no matter how distant you are; you'd be stood in a coffee shop, he'd be at Jujutsu High teaching, and yet feeling you.

Because as he promised to you at 17, "Half my soul is yours. And half your soul is mine. I'll always be with you even if I'm not there."

He has the biggest breakdown of his life in that little cramped suffocating claustrophobic eerie creepy box.

It's 19 days later. He's out. He's back in the world. And he feels the sense of you, your existence, swelling in his chest, tickling his mind, prodding his heart.

"Gojo sensei, where are you headed?"

"I'm gonna go find my other half." he says cryptically.

It's a stark bright day.

Gojo Satoru knocks at your apartment door.

You open it.

He looks at you, and you look at him.

"Hi."

"...hey...? Wow. Haha... you grew into your features, huh?"

Your voice fills his heart with life.

"You too... glad you still live in the same place... I was worried you might have moved out..."

"... Ah, Satoru, you'd be able to find me no matter what corner of the world I resided in."

Your laugh fills his mind with pleasant memories.

There's an a magnetism between you and him just like there always used to be. It feels like two magnets connecting at last, after feeling the distant attraction throughout all these years of distance.

"You're right." Satoru says after a silence of just staring into your eyes.

"I'll always find my way home."

A silence ensues after he says this.

"...haha... don't cry... or I'll cry..."

"... Satoru... I thought of you every day after you left me at the station."

"... me too."

"... why did you leave?"

He stares at you.

"... I was scared of you being in danger."

He gulps.

"Me? In danger? But you're the strongest, why would it matter."

Oh god that's right. You said it then when you were 17, "You're the strongest" and he carried that title with him from then. And now you've said it again. He's reminded. He feels a bit stupid. A bit ridiculous. A bit...

"You're right..." he chokes up. "I am. I could have protected you I guess..."

"... yeah, duh."

He smiles meekly.

It was more complicated than that, sweetheart. But I won't tell you.

He hesitates. He contemplates.

"I have to tell you everything... will you promise to believe everything I say even if it sounds insane?"

"Of course. What is it?"

He inhales deeply. And instead of blurting out his whole life story of being a sorcerer in the Jujutsu world, he just leans in and kisses you hard and truthfully. Cups your cheeks. Closes his eyes. Tastes you like a sweet from his childhood that he hasn't had for years. Presses to you. Takes in your scent.

Yeah yeah... he'll tell you everything in a minute.

But for now just let him kiss you until he runs out of breath.

Let him just...

"Hey..." he pulls away, gasping, "Let me marry you."

"Haha, Satoru..." you take it as a joke and laugh, because it sounds as bizarre and unexpected as one. Then you realize there's that serious look on his face. "... Satoru?"

"Can I?"

"... what?"

"Can I please?"

"... huh??"

"Can I marry you, please?"

He looks at you and waits for your answer. His poor heart. It's palpitating. His whole chest cavity inspires with love for you. This man that you haven't seen in years has just asked if you'll let him marry you — with very specific wording.

Can he? Will you let him?

It's funny in a way, because you think to yourself; this is such a Satoru thing to do... show up unannounced years later on your doorstep and ask for your hand in marriage as if no time has passed, as if you know the full story.

"Satoru... what happened to you throughout these years for you to come back to me and ask for my hand in marriage?" you ask, genuinely baffled.

He swallows slowly. "I know I sound like I've lost my mind. But I promise I haven't."

"That's hard to believe. The Satoru I remember was always on the brink of mania. A bit insane but not quite."

You make him laugh. "Yeah..."

"So are you asking to marry me out of insanity?"

"No."

"Well alright then. I guess I'll marry you."

You make him laugh again, with that funny tone. He hasn't laughed genuinely in years... it's always been that plastic laugh. But this is his genuine laugh. Silky and quiet. The opposite of his demeanor.

"I guess I should be explaining everything to you properly... before I ask you something like that."

"You're damn right..."

"... don't scold me too hard when I tell you all the reasons I left. Or, if you do, then at least hold me while you scold me. And run your fingers through my hair like you used to."

"Satoru."

"Yes?"

His heart throbs. He looks at you.

"Stop standing at the doorway and come inside."

"Oh."

You sigh. He smiles. Then he bows his head so it doesn't hit the top of the doorframe. Damn tiny Tokyo apartments. Your archway always had it out for the crown of his head. You laugh when he bumps into it just like he always used to.

So the two of you sit down and just talk. And talk. Maybe cry a bit. Actually, you cry a lot. And he holds you. And he says he's sorry. He says sorry over and over, as if the word is a bandage he's trying to wrap around all your heartbreak wounds that he caused.

"I'm sorry."

Satoru's apologies aren't easy to come by, and when you receive them, they nurse your heart. It's the gentleness with which he says it, and earnest too. Each successive sorry means more than the last.

"My angel..."

When you call him this after he vents to you about his time in the Prison Realm, and his overwhelming duty of being the strongest, he breaks down completely and just weeps in your arms.

He sobs like you've never heard him sob before, like a dog.

Finally. At least for a moment. He could be weak. Let down his guard. Be raw. Be emotional. Not a teacher. Not a sorcerer. Just your boy. Your Satoru.

Your consolation is all he wanted throughout these years. He looks up at you, eyes red and sore, nose sniffling, and stares at you like he can see your soul.

"...Satoru?"

"Marry me."

You chuckle again.

"If that will stop your tears..." you joke.

He sniffles loudly and swallows, composing himself.

"I thought about marrying you so much when we were together... 'n I tried so hard to bite my tongue when your name nearly rolled off it while talking to my students some days. I was always..."

On the verge of saying your name.

He sniffles long and hard and waits for your hand to weave into his hair.

"Will you think about it?"

"I will."

There's a silence. Satoru feels hopeful. He lays on your chest, arms around you like you're his whole world that he won't dare let go of again.

"There." you say with finality. "I thought about it. Let's get married."

"That took you, like, ten seconds."

You laugh with him. "Yeah... I already knew in my heart when you asked me at the doorway... you know... Satoru... it's funny. When you left, it felt like half my soul was gone. And when you knocked on my doorstep, it felt like I was whole again. Does that sound freaky, or does it tie into all this... Juju... Jujutsu stuff?"

He's silent.

"I have no idea."

"Wow. My future husband isn't knowledgeable at all." you joke.

His heart flutters at 'future husband'.

"Sorry." he says, smiling softly, "My mind is blank when your fingers are running through my hair."

The two of you go on and on, until you're laid in bed sleeping at each other's side. Resting. And god, did Gojo Satoru need a good rest.

In your arms, he's no longer an insomniac.

© arminsumi

Do not plagiarize / repost / translate / copy layouts / etc.

Do not steal what I've worked hard to create.

[irisintheafterglow]

um blah blah blah something about knight!katsuki tearing through panicked crowds to find you slumped behind a knocked-over table, paling when he sees the growing red patch under the hand on your side.

"shit," is all he manages to force out, and it's all he can say for the next thirty seconds while he tries to figure out how to get you out of here. "no, no, no. you're not fine, dumbass," he snaps when you insist that you're fine. he registers a figure sprinting towards him with an axe and throws a dagger from his belt without even thinking, the assailant falling onto the dirt. "this is all your fault," he mutters as he pulls you from under the table and into a nearby alley.

"i can't believe you're blaming me for my own assassination attempt," you exhale shakily, your breathing too uneven for his liking. "all i wanted was to pick some flowers."

"we could have had the flowers brought to the palace," he argues, raking a nervous hand through his hair. "but you wanted to see them straight from the farmer's market."

"there's not much we can do now that i am bleeding out," you groan, fighting down the bile in your throat when you see how red your hand has become. katsuki's hand gently but firmly grips your wrist, forcing it out of your field of vision.

"don't look at it. just look at me," he commands, scarlet eyes revealing his panic. for the first time in your history together, katsuki looked scared. "just keep looking at me, okay? i'm gonna move you to a safehouse a few blocks away."

"no, please," you plead with him, grabbing his wrist before he can loop his arms under your legs. "it hurts when i move."

"the other option is for you to die, princess, and i'm not letting that happen," he swears. "i shouldn't have ever let this happen to you in the first place."

"it's not your fault," you whisper, your thumb smearing red across his cheekbone.

"isn't it, though?" the expression of pure grief on your knight's face disappears in an instant and, before you can protest, katsuki lifts you from the ground like you weighed nothing at all. you muffle a broken cry into your hand and squeeze your eyes tight against his chest, shaking from the white-hot arc of pain cutting your side. "just stay with me, princess. you're gonna be okay."

"it hurts, kats," you sob quietly and a part of him dies. "it hurts so much."

"i know it does, baby. just stay with me and the pain will go away soon."

katsuki isn't there when you wake up in the palace infirmary, but the news of the pub bloodbath where several members of the criminal underworld were being investigated reached you eventually. your knight was supposed to be leading the investigation, but dragon keeper kirishima revealed that, after the attack in the market, he had taken matters into his own hands.

he had a single thought as he inserted his dripping sword back into its sheath. long live the princess as long as he lived.

[writingwithfolklore]

Writing Character Arcs

                Here’s an easy secret about character arcs—they fit the same structure as plots (that’s because your main character’s arc is the main plot, but I’ve already talked about that here).

                That means, your character arc will somewhat follow this structure:

Normal world

Inciting Incident

Big thing happens 1

Fun and Games

Midpoint

Things get worse

Big thing happens #2

Crisis

Climax

Resolution

It begins with your character in their ‘normal state’—who they are from their backstory. They have some sort of problem that they aren’t addressing, because why would they? Change is hard.

Then, inciting incident. Something happens that sends them into a “change spiral”. They’re forced to face something they’ve been ignoring or avoiding. This incident can be just about anything that turns their world upside down—a new person comes into their life, an old person they left behind reappears, a close one dies, or a friend moves on. Etc. Etc.

Big thing #1 is the first action they take to “right” what happened in the inciting incident. An old flame reappears in their life, maybe they decide to meet up with them. A close friend dies—maybe they decide to take a trip away for a little while. It is an action taken by your character because of what happened in the inciting incident.

Fun and Games is the part where things seem to be going okay for them. Or things can be going terribly for them—it’s up to you. Either way, it accumulates to…

The midpoint. Something happens and it’s terrible and probably their fault. The old flame reinforces why they stopped going out by breaking your character’s heart again. The funeral for the friend is happening and MC missed it. Etc.

Things get worse is just hammering home this point. From their actions, things are going downhill.

Big thing happens #2 is the second action they take to right things again. This time they’re changing strategies from the first thing they tried. Maybe if they tried avoiding their problem first, they’re going to confront it (for better or for worse).

The crisis is the recognition of their initial problem or flaw. Leading to:

The climax, in which the character either chooses to change or to stay the same. Grow and do the right thing knowing what we now know, or stay stagnant and do the thing they would have done in the beginning. What you choose here depends on if your story is a tragedy or a comedy—tragic characters don’t recognize their flaw and grow from them.

Resolution is the consequences of their actions. For tragic characters, things are probably bad and remain that way—we need to show the readers their choice was the one wrong. For characters who do grow, we see them begin to thrive for the first time in the story. They’ve achieved what they wanted, though maybe not in the way they thought they wanted it.

(Pair this post with Character is Plot to flesh out your characters.)

[ambrosiagourmet]

Hey, Kabru and Mithrun spend some interesting time together, don't they?

With Mithrun having just officially premiered in the anime, and a lot of discussions swirling around about him, I've been thinking a lot about that section of the story quite a bit. These chapters - Roasted Walking Mushroom and 6 Days - are some of my favorites. For a lot of reasons, really. Not only are they are a huge turning point for the story as a whole, but they have some excellent character work, and represent an important shift in Kabru and Mithrun's individual arcs and relationship to each other.

The chapters are also kind of a fully contained story arc just on their own, which is an impressive bit of writing, and makes them super fun to analyze. So that's exactly what I'm going to do!

This will be structured as a close reading of chapters 61 & 62, with some asides for additional important context. I'm going to talk a little bit about a reading that I disagree with, but for the most part I just want to focus on how Kabru and Mithrun's relationship progresses during these two chapters. In particular, the ways they both grow from the time they spend together.

Also I just want to quickly note that this isn't written as Ship Content. It's meant to be an analysis of their relationship as presented in the text - layer whatever additional meanings and filters on top of that as you'd like, but please respect that my intent is not to talk about or champion a ship, or frame any of this content as romantic.

So, with that all being said:

How do Kabru and Mithrun help each other?

First of all, I think there are two important pieces of context that inform the Kabru & Mithrun Dungeon Adventure chapters. Both are related to Kabru's state of mind, and both are set up before or during the chapters in question.

The first is the context of what happened just before Kabru and Mithrun fell into the dungeon. Specifically, the events that led Kabru to make them fall.

Kabru, essentially, gives up his life at the end of chapter 55. When he stops Mithrun, and when they both plummet with the collapse of the first floor, he is okay with dying. Mithrun warns him that they will both die if Kabru doesn't let him go, and Kabru accepts this as a worthwhile exchange.

Why?

Well, because he doesn't want the elves to take over the dungeon. Throughout the last 3 chapters, the Canaries have been effective, but they have also been cruel in their efficiency, and they have made it clear that they don't care about collateral damage. They lured people into the dungeon specifically to provoke a violent reaction from it, without regard for who might get hurt by the violence.

What's more, they are keeping important information from Kabru, and he knows it.

He's not just looking for a solution, he's looking for the truth - a truth that he believes that he will only find through conquering the dungeon. With good reason, to be fair! The elves make it very clear that they aren't there to treat the other races on the Island as equals.

So Kabru uses the only tool he has available to him - his own life. It won't get him the truth, but it at least gives a chance for another person from a short-life species (namely, Laios) to earn it in his place.

This dovetails nicely with the more thematic context that's introduced in at the start of chapter 61: the room where he could eat all the cake he wanted.

This place, a place that Kabru never wants to go back to, is a place where he is safe, and a place where he is ignorant. A place where he is sheltered from danger, but also from the truth. The same place the Island would become, if the Canaries had their way. He doesn't just want to be safe, and he doesn't even just want the world to be safe, though he does want to be able to protect people from what happened in Utaya.

But he doesn't just want to entrust that safety to the paternalism of the elves (especially since he is all too aware of the ways they can fail, or the people they are willing to sacrifice in the name of that "safety"). He wants to be given the agency to seek safety and peace for himself.

He wants to understand. And he wants the chance to act.

This is the context we have, going into the arc of 61 & 62. But before I talk about how the chapters build on this context, I want to take a step back and look at what else the chapters establish early on, before delving into their exploration of Kabru's agency.

First of all, I kind of want to challenge the framing of Kabru and Mithrun's relationship as solely that of a caretaker and his charge.

Obviously, Kabru is forced into a caretaker position - at the threat of his friend's safety, no less. (Okay, it's actually Toshiro and Namari that are being held, but still. There are hostages involved in this) But I do think it's important that Mithrun isn't the one who puts Kabru in this position - Cithis is.

Before this conversation, Kabru and Mithrun are already exploring the dungeon together. Mithrun doesn't threaten Kabru, or force his hand. He kind of just assumes that Kabru will join him. It's rude, and not particularly respectful, but given the dangers of navigating a dungeon alone, I don't think that's really an unreasonable assumption. And it certainly isn't the same as Cithis' approach.

If they were left alone with no intervention, they probably would have ended up in a similar position to the one that Cithis leveraged them into. Kabru is smart, and he could have figured out the things that Mithrun needed help with. And, to be clear, those are things that Mithrun needs help with not because he is selfish or thinks they are owed to him, but because he is disabled. It's not unreasonable for him to need that help, and it's not unreasonable for Kabru to provide it, under the circumstances.

Besides, they both need each other down there. Kabru wouldn't have survived without Mithrun - he doesn't know enough about monsters, and isn't familiar with the deeper dungeon's layout. And Mithrun wouldn't survive without Kabru - he isn't able to notice his basic needs and would burn himself out without food or rest, making him an easy target for the monsters he could otherwise take care of on his own.

Aside from both needing each other, another interesting layer to their relationship, which is established right away, is that Kabru doesn't have to - and literally cannot - put on a mask of social niceties around Mithrun. He can't suck up. It doesn't work.

So Kabru, who spends so much of his time concerned with how others perceive him, and who compromises his own comfort in order to become the most appealing version of himself at any given time, has that tool taken away. He has to help Mithrun, but notably, he can only help Mithrun to a certain point. He cannot compromise his open and honest feelings to help maintain someone else's view of the world - or at very least, it doesn't benefit him at all to do so.

Instead, they sit together, in the same position, share the same shitty mushroom dinner, because they both have to:

And that's notable, too. They both have to. Cithis' demand is most specific about the need to eat. Three meals a day! But this is something they both need, not just Mithrun.

Still, their relationship at this point still isn't exactly supportive, or even respectful. Kabru may have realized that he didn't need to keep up an act around Mithrun, but ya know, he still turns around an immediately try to, with that shitty mushroom dinner.

(The 'badly drawn shapeshift Kabru' gag here isn't just funny, imo, it's also a reminder of the thing he JUST LEARNED. Mithrun is immune to the Kabru smile anime sparkles filter.)

Mithrun also doesn't tell Kabru any helpful information at this point, and doesn't really put much effort into helping him at all. He slaps him awake out of a Nightmare, and treats him with the same disregard he did at the start of the chapter, focused entirely on moving ahead.

But then Mithrun collapses, and the current structure of their relationship collapses with him.

I think it's interesting here that the shift in their dynamic also includes Mithrun explicitly noticing Kabru's desires. Obviously it's not actually like some kind of I truly see you and recognize your humanity moment shared between them, but I do still like the way that it pulls Kabru's internal wants to the surface. Kabru not voicing his desires doesn't mean they don't exist, and Mithrun recognizes that the same way the dungeon does.

And then Mithrun does, in fact, grant one of Kabru's deepest desires. He tells Kabru the truth.

Just like how they are working together in the first place, this truth is as much a necessary concession to survival as anything. But that doesn't mean it's not impactful for Kabru. This is the thing that every other elf in his life has kept from him. A secret foundational to his core belief that long-life and short-life species can never come to mutual understanding.

And Mithrun isn't just giving him the bare minimum information here. What he shares isn't just a truth, it's his truth. It's a level of complete and total vulnerability that few people share with each other. And again - some of this may just be coincidence and necessity. I imagine Mithrun is so open, at least in part, because he doesn't have the same barriers that other people do when it comes to sharing these things.

But, then again... we see Mithrun at his most vulnerable and empathetic when he is talking to dungeon lords & potential dungeon lords, and trying to convey to them the truth of the trap they are walking into.

This face:

Is very similar to this face:

These are some of the few instances that we see Mithrun emote in this way, and his story does come just after he notices the dungeon responding to Kabru's desires.

But, no matter if Mithrun's openness is in response to Kabru being tangled in the dungeon's hunger, or just part of his nature (or, maybe, a little of both), his story changes things for Kabru. It gives him the chance to make actual choices, now that he understands the truth. It gives him a chance at agency in the story.

And he immediately turns around and uses some of that agency in an interesting way:

When asked about why he can't sleep, Mithrun says he needs to be magically compelled. Being magicked to sleep is simple, and it is efficient, but he doesn't even just say it's the best option. He seems to believe it is the only option.

So much in Mithrun's recovery has been framed through how it will let him fight the demon. Recover so that you can return to the dungeon. Sleep so that you can return to the dungeon. Eat so that you can return to the dungeon.

But rest, much like eating, isn't just about achieving the bare minimum required for efficiency. And as Senshi would probably say, the easiest path isn't always the best.

I don't think that the Canaries are intentionally running Mithrun ragged or anything, but as I mentioned earlier, they are very focused on efficiency, with little thought spared to what is lost or hurt in the process.

And there is something different about Mithrun's time with Kabru in the dungeon. Lycion even notes it, when they finally connect back up.

I don't think it's a huge leap to say that how Mithrun falls asleep here is emblematic of that difference. When Kabru helps Mithrun to sleep by massaging his feet, rather then using magic, he is explicitly taking a step beyond the minimum. He is providing comfort to a body that has been given only necessities for a long, long time.

These two events - Mithrun sharing the truth of the dungeon with Kabru, and Kabru choosing to help Mithrun to sleep through a foot massage - shift their relationship. There's a clear difference in how we see them treat each other, and especially in how Mithrun treats Kabru.

Before, Kabru provides food that he has gathered himself (okay, it was a mushroom he put his foot through on floor one, but the point still stands that Mithrun offered no help at all with getting food).

Afterwards, they gather food together.

Before, Mithrun teleports Kabru towards a monster, using him as a weapon when he can't find anything else.

Afterwards, he helps Kabru escape monsters, and fights them directly.

Before, he slaps Kabru awake after 5 hours of uncomfortable, Nightmare-filled sleep. A rest which, notably, Kabru didn't even intend to take for himself.

Afterwards, we see Mithrun keeping watch while Kabru sleeps in a bedroll.

I don't necessarily think that all of these things are choices that Mithrun consciously makes. Like, after 6 days, Kabru would have to get some actual sleep eventually, and Mithrun would pretty obviously have to keep watching during that time.

Nonetheless, there's still a difference in how these scenes are framed, and the fact that it is these things that are used to portray their journey together. Kabru is not the sole person providing food and sleep and safety - they provide these things for each other. Kabru eats alongside Mithrun, hunts alongside Mithrun, and he sleeps in the same way we see Mithrun sleep, laying down and resting deeply enough to be groggy when woken up.

What's more, during their time together, there are even a couple of instances of Kabru being more willing to care for himself and accept care. The sleeping is one example - note how he is surprised at having slept "that long" when told he was asleep for less than even the minimum recommended amount of nightly sleep - but I think the pattern of his eating is even clearer. In making sure that Mithrun eats regularly, he is forced to eat regularly too.

And I especially like the progression with the Barometz meal. After Mithrun has fallen asleep, Kabru thinks about wanting to "give [Mithrun] something nice to eat," but also notes that Mithrun's lack of desire "means there isn't even anything he wants to eat." So what does Kabru do?

He makes Mithrun something that he wants to eat.

I've already talked a bit about the ways that Dungeon Meshi depicts people finding support through "borrowing" the desires of the people who care for them, and I think this scene is a great example of that idea. Especially in the way that it pulls an expression of desire from Kabru, who is so prone to ignore his own hunger and needs. The meal may not end up anywhere close to the flavor intended, but it's still a far cry from the roasted walking mushroom.

All of these pieces come together at the end of chapter 62, resulting in a pivotal choice that could only happen because of the ways Kabru and Mithrun have, at least a little bit, grown closer to each other.

As they are preparing to leave, Kabru hears a bell ringing in the dungeon, just as he hears Toshiro's matching bell on the other side of the portal. Realizing Laios is nearby, Kabru hesitates. He knows the truth about the demon, and how he has a chance to act on it.

Cithis, the person who extorted Kabru into taking care of Mithrun in the first place, pushes for Mithrun to follow along with the plan.

(okay a quick aside here I just want to say I do love Cithis and I'm not trying to bash on her here. I just think it's interesting that she is the one to establish the terms of Mithrun & Kabru's cooperation, as well as the one who tells Mithrun to leave the dungeon at the end of the chapter)

But Mithrun doesn't go along with her command. Instead, he does something unexpected:

He asks what Kabru wants to do.

In contrast to Milsiril's smothering comfort,

and in contrast to his Mithrun's own assumption that Kabru will follow him, when they first wake up in the dungeon,

Mithrun follows Kabru's lead.

This, right here, is the change between them. Not only that, but it's a shift in the entire balance of agency in the dungeon. For what might be the first time in a very long time, Kabru - a tall-man - knows the truth, and is acting on it. He makes a huge decision purely on his own judgement. He is not trying to appease or coerce anyone, and he doesn't win Mithrun over by hiding his true intentions.

Rather, it's the honesty between them that builds to this moment. Mithrun's honesty earns Kabru's trust, and Kabru's honesty earns Mithrun's respect. They bond not because they are forced to spend time together, but because they choose to spend that time giving each other more than the bare minimum - even when they are both people used to accepting the bare minimum.

It echoes Laios' argument with Toshiro, in a way. They eat three square meals a day (Cithis mandated admittedly), they get plenty of sleep, and in doing these things, they take each other seriously. They treat each other as more than just a means to an end.

I don't necessarily think it's a flawless, unbreakable bond that's built during this time - hell, they both kind of revert back to their old behavior, once reunited with the rest of the Canaries. People don't completely change their habits overnight, after all.

But it is a shift. It's a shift that gives Kabru the chance to steer the story towards the ending he has fought for all his life, and it's a shift that helps Mithrun find a way to move forward after he loses his own reason for living. They reach their goals, and then they step past them - facing life beyond the moments they thought defined their reasons for living. Facing life beyond the bare minimum.

And that is how they help each other.

[vizslasaber]

UNDERSTANDING ──── echo.

summary: in the middle of the night, echo finds you, hurt and exhausted and in need of an apology.

pairing: arc trooper echo x reader

word count: 1.6k

warnings: none! just a sprinkling of angst and grief.

a/n: i love echo so much & im so glad he’s okay as of the finale!! this takes place sometime around the early seasons, but after the season 1 episode “cornered.” also, i listened to waves by chloe moriondo while writing this!

You’re not sure what to think of Echo.

Most of the time, he’s quiet. When he does speak, it’s usually to enforce a rule, remind the group of their current plan, or to keep Wrecker in check. You’ve seen his softer side, with Omega and occasionally his brothers, and it’s rare but honestly endearing.

The thing about him that most irks you, however, is that he never wants to seem to interact with you.

Officially, Hunter is the group leader; ever since Clone Force 99 accepted you into their squad, that much has been clear. You’re the only non-clone—or “natborn” as the others refer to you—living on the Marauder. It’s been several months since you saved Omega from bounty hunters on your home planet of Pantora, and now, you’re as much a part of the Bad Batch as anyone else.

Except, you’re not a batcher. Not really.

Despite how much you care for your squadmates, it’s easy to feel separated from them at times. Easy to feel different. Most of the others have picked up on this by now, and often go to great lengths to make you feel like one of them.

Not Echo, though. He seems—wary of you, almost, and you’re not sure why. Once, you brought it up to Tech, who simply waved you off with one of his shrewd, knowledge-filled comments. “You are new here, you know. Some people are simply slower to open up than others.”

You, however, know that’s not the case. You’ve seen Echo with his brothers, and with Omega. He can be kind, and funny, and even angry. But to you… to you, he’s nothing but quiet.

For some time, you tried your hardest to be yourself around him—to crack your usual sarcastic jokes at his expense, to be friendly, like you are with the others. But the constant avoidance and clipped answers leave you increasingly confused and hurt.

So you withdrew from him, too.

It still bothers you, sometimes. But you’ve learned to brush it off.

Now, you sit in the cockpit, feet resting against the control panel. A ration bar—one of the good ones—rests in your hand. Every so often, as you watch the blue glow of hyperspace streak past the viewport, you take a bite of the ration bar.

You’re on first watch. Someone has to stay in the cockpit to oversee the ship’s journey back to Ord Mantell—and, since you still can’t fall asleep in hyperspace, you keep volunteering for the job. The cockpit is mostly dark. All the lights are off, and the viewport is dimmed. Anything brighter reminds you of how sleep-deprived you are, and so you’re content to sit in the blue gloom.

Leaning your head against the headrest of the pilot’s chair, you close your eyes. Your entire body feels heavy with exhaustion, but every time you try to drift off, the rumbling of the ship’s hyperdrive jerks you awake.

The sound of footsteps startles you. You open your eyes, leaning around the back of the chair to inspect what little part of the ship’s corridor you can see. You can hear the sounds of someone moving around by the small common area, but you can’t tell who it is.

Tech’s probably experimenting again, you think wryly, and settle back into your comfortable position.

Soon, though, the footsteps grow closer. Someone enters the cockpit with a tired sigh, placing something on one of the chairs nearer to the door. It sort of sounds like Hunter, but with the similarity between everyone’s voices, you can’t be sure.

The footsteps halt suddenly. You look up to find honey-coloured eyes surveying you with apprehension. In the dim light, awash with blue, you register the glint of a cybernetic headpiece.

“Oh,” you say, blinking up at Echo, “hi.”

Echo only grunts.

You frown, looking down at your hands, at your half-eaten ration bar. “It’s late,” you say quietly. “You, um—you should get some rest.”

When Echo answers, you don’t look up. He says, voice low and gravelly with sleep, “I slept for a couple hours.”

Slowly, you nod, fiddling with the foil wrapper of the ration bar. The cockpit falls silent; you wait for Echo to leave, but he stays still, his shadow falling over your tired frame.

You want to ask why he’s still here. You want to be rude, to ask him to leave so you can have some peace and quiet. But truthfully, he isn’t saying anything, or causing any disturbances, so instead you hold up your unfinished ration bar. “You want a bite?”

Echo blinks. It seems to take him a moment to process your question. Then, to your faint surprise, he nods. “Thank you,” he says as you hand him the ration bar wordlessly.

It’s a peace offering, of sorts.

He sits in the co-pilot’s chair and takes a hesitant bite, chewing slowly. You see his expression brighten—probably at the realization that this is one of the good ration bars, the kind that Hunter always says not to hog—then return to his usual neutral one.

You watch as he swallows. He hands you back the bar, holding out his hand, but you don’t take it.

“Why… why are you here?” you ask quietly.

As soon as the words leave your mouth, Echo drops his arm and breaks eye contact, looking almost embarrassed. Or maybe even ashamed.

Still, you wait for his answer. Several long, painful seconds pass before he says anything. When he speaks, it’s like he’s forcing out the words.

“I wanted to—” he pauses. His flesh hand fiddles with his metal one. “I wanted to apologize.”

You feel your breath hitch. Staring, you try not to gape. “What?” you say, whispering without meaning to. “I don’t—”

“I’ve been horrible to you,” Echo continues, voice steadier. “I didn’t mean to be so… withdrawn. I didn’t realize I was doing it. I… I hope you can forgive me.”

Instead of acknowledging his apology, you bite the inside of your cheek with uncertainty, then cross your arms over your chest. One of the others must have put him up to this. Probably Omega, or perhaps Hunter. Raising an eyebrow, you ask, “Who sent you?”

“No one!” Echo replies hurriedly, then presses his lips into a thin line. “I mean, Hunter told me that you—he said that—” He sighs. “I didn’t realize it on my own. But I came because I wanted to.”

You blink, cursing yourself when you feel your eyes sting. With a start, you realize that this is the most Echo has said to you since you joined the squad.

Taking in a breath, you wring your hands anxiously. “I just… I just don’t understand why.” You shrug. “You’re not the same with me. Not like how you are with the others.”

Echo swallows. “It’s not—”

“I just want to know what I did wrong.”

At that, Echo falls silent. Guilt permeates the air, enough that you can feel it.

“Hey,” Echo says, kinder than you’ve ever heard him. “Look at me.”

You do. His eyes, like lava, or maybe liquid gold, bore into you. It almost hurts to look.

“This,” he continues, gesturing to the space between you, “is not your fault.”

Against your will, a lone tear slips down your cheek. “So whose fault is it?” you whisper, barely loud enough to be heard over the ship’s engine

It’s obvious from the look on Echo’s face that he’s thinking of something—or someone—specific. Despite how much you want to, you don’t push.

You just wait.

“It’s my brother,” Echo finally murmurs, and you raise your eyebrows, quickly cycling through the rest of your squad. Hunter, Wrecker, Tech… maybe Crosshair? You can’t think what any of them, even the one who’s no longer a member of your group, have to do with you.

“Your... brother,” you repeat dumbly.

“Yes.” Echo nods. “Fives.”

Oh. A fellow soldier, then. Probably from before the war ended… and probably long dead.

Drawing in a shaky breath, you hastily wipe your cheek with your sleeve. “What—what about him?”

“You…” Echo shakes his head, then lets out a humourless chuckle as he turns to look at the viewport, at the swirling blues and whites and greys of hyperspace. When he speaks again, his voice is barely above a whisper. “You remind me of him.”

You blink.

Truthfully, you have no idea what to say to that. Luckily, Echo continues, saving you from having to come up with an answer.

“Your sense of humour, I mean. The sarcasm, the jokes.” He shrugs, and the light from the viewport catches on his cybernetic headpiece, glinting in the otherwise dim cockpit. “And… and the way you know people.”

“‘Know people’?” you echo, confused. “I’m not following.”

“You understand people,” Echo says, and finally looks at you again, eyes impossibly sad. “Somehow, without ever having experienced what others have gone through, you understand their pain—and you feel it with them.” He closes his eyes for a brief moment, then opens them again. “Fives used to do that too.”

And suddenly, as though a switch inside you has been flipped, it all makes sense. “And that’s why you’ve been avoiding me,” you realize, and Echo winces. “Because I remind you of him.”

“See?” The barest hint of a smile graces his lips. “You’re doing it now. And you’re not even trying.”

“I guess I never thought about it like that.”

“I’m sorry for everything,” Echo says. “I am. It just…”

“Hurts,” you finish, and Echo blinks, surprised. You smile softly. “I know you too, you know.” Reaching out, you take his flesh hand, gently prying it open and taking the ration bar. As Echo watches, you split the remaining piece in half and hand one to him. “And for what it’s worth—I forgive you.”

The shadows colouring Echo’s face suddenly seem lighter. He smiles, then—really smiles.

You take a bite of the ration bar and smile back.

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[marionettedupaincheng]

id love an arc where your spouse thinks you’re cheating on them bc you visit mr qi a lot for his challenges and its this build up of suspicion.

they see you talk about this elusive mr qi with the wizard and they begin to grow jealous. as the farmer, there are already parts of yourself that you don’t share with them. you have forest magic, you fight monsters, you can teleport from the desert directly back to your house. you’re special.

and only mr qi knows that.

eventually your spouse confronts you and gets angry. and then you’re standing there bc how can you explain the weirdness of the valley with them.

you try to explain but they’re like No. they eventually demand to meet the man himself and ur like aw man.

you go to ginger island, you ask mr qi if it’s okay for a regular person to meet them, you explain your situation. he laughs at u, but he’s okay with meeting ur spouse.

your spouse opens the door and sees this middle aged blue man and realize….okay yeah this valley is suspicious.

[localapparently]

/ Orv novel ch 489 spoilers

[ Story, 'Saviour of the Star', is having a chat with the Story, 'Insect King' ]

Girl i will never recover from this chapter. the whole "gilyoung is jealous of yoosung" and "gilyoung would also put his life on the line and sign a contract with his sponsor to protect yoosung" breaks my heart and im just AUGHHHH SCREAMS

and now I will ramble about sys and lgy under the cut.

THEY MEAN EVERYTHING TO ME. have you guys ever realised how gilyoung was growing to become so fucked up in the beginning of the story? killing monsters and even people without batting an eye, offering to dokja to leave him behind, and even sangah and dokja were genuinely worried about his development. (sangah telling him she'll kill and he doesn't need to kill anything) and the one thing that sort of grounds gilyoung from this taking over his growth is when shin yoosung joins the party

its only after she joins that he's able to act his age like a lil kid, bickering and fighting and just... aughhh,, THEY ONLY HAVE EACH OTHER AS FRIENDS FROM THE SAME AGE OKAY... like having friends your age is so important when you're a kid, they literally stay together all the time. and they argue a lot but they defend each other and hold each others hands whenever the other needs help.

its SO fucking wholesome. NOT TO MENTION, yoosung was the reason gilyoung signed a contract with his sponsor in the jttw arc, (it was never specified why but i think he did it so she would survive and save dokja? Or like so he could have the power to fend off the enemies on his own and keep them occupied away from sys. Maybe I'll go reread that part again) the whole yellow aura thing yknow. and im like half certain they picked up the idiot-calling from like yjh kdj and hsy calling each other bastard stupid and idiot all the time...its kinda funny..

anyway. they make me so ill. SO ILL.

[some-pers0n]

Turtle's arc is so subtle yet so good and I love it a lot, which sucks since I've seen a number of people write him off as just "socially awkward kid who is boring", which?? No??? Gimme a second just to ramble, okay?

Turtle has terrible self-esteem issues and an inferiority complex. He puts himself down, calling himself boring, stupid, and generally useless constantly in his internal dialogue. He's kind and sweet and really well meaning, but he's socially awkward and shy and can't exactly strike up a conversation.

He's like this in due part of being one of Queen Coral's many...many sons. Christ alive this woman had thirty-two sons-- but that's besides the point. He's just another dragon. He's not old enough to be a leader, but not young enough to exactly be any special. He's a middle child. He's a nobody. Just another SeaWing prince who's destined to either run away or to become a military general.

The one time Turtle was ever truly acknowledged was when the night happened with his father, Gill. Gill needed Turtle to fetch one of the royal guards so that they could protect Queen Coral's eggs. But, Turtle couldn't find them. He failed. Gill lashes out, snapping back at Turtle for his inability to do such a simple task and killing the eggs in the process. Turtle internalized this moment. He was useless. He's a nobody, and when he's forced to be somebody, he'll just fail and let everyone down.

Thus, he doesn't see himself as anything special. A fuck up if anything; which makes it all the more ironic that he's an animus dragon. He's literally got the most powerful, special ability in the entire continent, and more than anything he's self-conscious and terrified of it as he would then be pushed into the limelight over it. Because of it, Turtle has made some...rather selfish choices every now and then. The incident with Anemone was created solely because he was petrified of being put on a pedestal. He doesn't want to be some grand dragon. So, he diverted attention away from him and enchanted Anemone to have magic.

Turtle doesn't want to make choices or do anything out of fear of failure and letting others down. Worse is if he's discovered to be an animus, where he's then elevated to such high expectations that he is convinced he will never be able to accomplish. He's held back by his own perceived inadequacy. He doesn't think highly of himself. He doesn't want the spotlight as he's both afraid of being seen and afraid of what those people will say when he lets them down.

He blended into the background in Moon Rising. Moon herself was confused by not being able to read his thoughts, which turned out to be because of the Magic Plot Rock we all know and love as skyfire. However, as the rest of the Jade Winglet ran off when Moon revealed to have been a mind reader, Turtle stuck around. He related to that. He felt pity and understood Moon the most. They are most like one another anyways, with the both of them being ashamed of their own powers and fearing being rejected by their loved ones the most.

He's a deeply kind and considerate soul who wants nothing more than to help people. He cares for Moon and wants to comfort her when she's at her lowest. He is so sweet, but he does it in a quiet, deeply personal way. He doesn't like big gestures or calling attention upon himself. He just likes being close to another. I feel he connected most with Moon because he found his own insecurities and fears in her and related to that. He found another person like him.

The Jade Winglet helps Turtle a lot with his own issues. Slowly throughout the series, he grows a little more confident of himself. His kindness is shown yet again with him becoming friends with Peril. Again, relating and sharing experiences of having powers and abilities that others want to take advantage of and unwillingly push them into roles they wouldn't want. He laughs, jokes, and playfully banters with her. He's getting better and better.

And then...Darkstalker.

Darkstalker throws a wrench into everything. Turtle reverts instantly back to his scared, cowardly ways. He enchants a stick to hide himself from Darkstalker, instantly sensing that Darkstalker hated him. He feels powerless to stop Darkstalker. What could he do?? Well, he could try to use his magic, but that would mean he steps out into the spotlight! He's seen! But this is serious. Darkstalker is massive, has animus magic, can read minds, and can see into the future. Turtle is just a kid. He's a nobody. He can't do anything.

He's scared. He feels useless and afraid. He's no hero. He doesn't want to be a hero. He's nothing like the heroes from legend. He's nobody.

Over the course of his book, we see Turtle quietly observe and stand by as Darkstalker takes over Jade Mountain Academy. He's plotting and planning, feigning his kindness and basking in the praise and worship others are giving him. Darkstalker is the antithesis to Turtle. He freely uses his magic without care and, more than anything, wants to be seen and witnessed by others. He loved the attention that his magic brings him. If somebody doesn't like him, then he either kills them off or brainwashes them into liking him. He's the polar opposite of Turtle in every way.

And you know who else is like that? Anemone.

Anemone is corrupted and warped even more by Darkstalker. Before hand, she was a kid who had just been released from the suffocating life as Queen Coral's only daughter. Darkstalker saw her as a pawn he could exploit. He encouraged her to be more risky and daring with her magic. He whispered into her ear and tells her that she's able to do anything. He's grooming a child he's grooming a child--

Regardless, Turtle feels guilty for everything Anemone has been put through. He doesn't fully understand the extent to which she had suffered as being physically tied to her mother at all times and being trained as a living weapon, but he feels so much guilt over it. Because of his inability to take accountability and risk being seen, he made a selfish, half-formed enchantment that was supposed to be a quick fix. He did not fully think of the consequences, and yet here they are before him.

As the book goes on, we see Turtle slowly but steadily try to form a resistance movement against Darkstalker. He had been watching and eventually found himself alone with Qibli and Winter. Winter, who was still heavily under the "Darkstalker is good :))))" spell, refused to listen as Turtle told them about it. Qibli, who wasn't affected, understood. For one of the first times ever, Turtle used his magic for another. Well, he also enchanted Kinkajou's skyfire so that she would be almost invisible to Darkstalker, but that would require me spending two seconds thinking about where that scene leads to (the love spell) and I'd rather not.

Anywho, Turtle is still insecure and afraid, but he's slowly becoming more sure of himself. He knows Darkstalker is evil and he wants to take him down. He's deeply afraid of him though, as he knows Darkstalker will kill him. He still feels useless and scared.

Until finally he has to act.

Anemone, coaxed by Darkstalker into doing this, goes off to kill Queen Coral and her entire family. Anemone is convinced this is what she deserves after being a terrible mother. Suddenly, Turtle realizes that his little mistake of giving Anemone god powers now has consequences and his family is going to die.

The guilt he feels is immense, but he needs to stand up. He can't sit idly anymore and let the world pass him by. He needs to stop her. He's the only one who can match her power. He has to fight her. He has to warn everyone. He has to do something heroic and terrifying.

He confronts Anemone on the beach. For the first time, he stands up for himself. He doesn't back down when she barks at him and demands he leaves. She tries to kill him, only for him to finally reveal himself. He's admitting to his mistakes. His guilt. He knows that she's not going to have a good reaction. Yeah so Anemone then tries to kill him via animus magic. The pair fight, with Turtle wining in the end.

Yada yada the book ends with Turtle having his magic taken away, but over the course of the book (as well as bleeding into DOD), Turtle has grown significantly in terms of his fears and anxieties. He's able to make a stand for himself and actively try to make things better. He's scared and still socially awkward, but he's, well, a hero in some semblance. Something he thought was the most terrifying thing possible for him he does.

Turtle is a naturally kind and considerate soul. He wants to help others, and when he does hurt them it eats away at his heart. He's afraid of conflict and prefers to be a doormat if it means he can slip through the cracks and come out unscathed.

Through the books however, he grows into a more upstanding and confident character. He's less prone to self-deprecation and letting others take advantage of him. He doesn't let things pass by and get himself into terrible situations through in-action. Through the support of his friends (and going through traumatizing scenario after traumatizing scenario) he is marginally better. Not fixed, but good enough to be happy and still the same, socially awkward but incredibly kind Turtle.

He's a character who I think a lot of people can see themselves in, and his arc in particular is one I feel many should aspire to. To stand up for themselves. To mend and fix the mistakes they've made and try to do better. Problems can't be fixed by some other hero. You have to take initiative. Stand up. Be the hero you need.

[incomingalbatross]

One Piece isekai story but. different

So there's a teenage boy. Reads One Piece. Loves the battles, the characters' strength and determination, the wildness of the world and all the adventures.

One day, as sometimes happens, he gets hit by a bus and reborn into the One Piece world.

It takes some time for him to grow up enough to realize it's the One Piece world - he was reborn for real, and his brain takes a bit to catch up to his first-life memories.

His new home is a small, uneventful village in the East Blue, not brushed by the main plot, and our isekai protagonist grows up wondering what to do with this second chance.

Because on the one hand, just being born into One Piece did not automatically give him main character energy. He doesn't have a Devil Fruit and has not managed to figure out how to become a powerhouse like Zoro or Sanji. Probably the smart thing to do would be to take his out-of-the-way location as a sign and avoid anything that looks like Plot.

On the other hand... he's in One Piece. There's so much cool stuff out there. This is everything he dreamed about the first time around. This is the best chance he'll ever have to become someone like Luffy or Zoro, the kind of person he's always wanted to be. How can he not take it?

This bounces back and forth in his brain the whole time he's growing back up. Even staying home doesn't protect you from loss, he learns when he becomes an orphan - this is both an argument for and against going anywhere.

And then. One day in his teens.

Luffy lands in the village.

Our protagonist recognizes him from hundreds of chapters and hundreds more episodes, with his crew by his side - or the beginnings of his crew, at least, there's hardly any of them. This must be early in canon.

Of course he makes friends with them. How could he not? They're the Straw Hats.

And, of course, they uncover an evil plot threatening his village - and, wait, he actually vaguely remembers this arc? Though it didn't go this way in the manga, because he wasn't there...

Huh. He's getting to affect a little bit of canon. And while our protagonist is more focused on making sure nothing goes wrong for the village and people he's grown to love, part of his brain is fanboying about that. He's gotten his brush with the real Straw Hats! He's gotten an adventure with them!

And he does okay. They save the day, and he even helped, and Luffy calls him a friend and even Zoro gives him approval. The rush is kind of a lot.

It makes things click. Our protagonist finally lets one side win in his mental argument. He'll never be happy if he doesn't go out and experience this world, reborn normie or not. He packs his bags and decides to set out, saying goodbye to the Straw Hats on his way. Maybe he'll even get to see them again--

Wait.

Why are they telling him to board their ship.

Why are they asking him to join the crew.

This is way beyond a little canon divergence, and he knows he should say no, knows trying to insert himself into the main characters is insane...

But they want him. Luffy wants him to join his crew, and even a day in his company has made him feel like not just a character but a friend. Who can say no to Luffy?

...And, actually. He's already affected the plot. They got a ship out of this adventure, and he is 90% sure that didn't happen in canon. They tended to swap their ships out a lot in early arcs, so maybe it won't have a lasting effect, but...hey, maybe he won't either! Maybe this is just a little extension of his brush with greatness.

Maybe he can push his luck anyway.

So, with a laugh and a cheer, our isekai protagonist boards the Going Merry and asks - just to see - if he can be the captain.

Luffy says no, obviously, but that's okay. Usopp knows he was never supposed to be here - he's happy just to get a chance on the crew.

[problematicbyler]

an incomplete history of byler sexuality discourse

and how widespread fandom purity culture and homophobia created a flourishing nsfw sub-fandom

some may call me chronically online, but i call myself a fandom historian. i've been a member of some fandom or another since i was about thirteen, and i've always been interested in the rise and fall of fandom discourse. though it's annoying in the moment it's happening, i think it's very interesting and telling to look back at the overall arcs and trends.

so, let's talk about the many times the fandom has cancelled people over byler sexuality, and how each level of "hornygate" has contributed to the growth of the proship/byler smut community.

(i use the term proship in its intended definition, which is to say, not "problematic shipping," but rather being pro-fiction, anti-censorship, and anti-harassment; it is a position of believing the fiction one creates or consumes doesn't reflect a person's real life beliefs or morals.)

i have been a stranger things lover since season 1, a byler shipper since season 2, and an active part of the byler community on tumblr since season 4. i'll mostly be focusing on post-season 4 discourse because that's what i've really been most present for and that was the period that really marked a turning point in the fandom.

seasons 1-3

i wasn't as plugged into fandom discourse back in the day, but the broad strokes of early discourse was mostly thinly veiled homophobia. claiming that it was sexualization to assume will or mike could be queer despite blatant queer coding, implying that analysts were no better than will's bullies to assume his sexuality, etc etc. people were criticized for shipping byler at all because they were so young (but these people naturally had no issue with mileven, so, again, homophobia).

season 4 (may-july 2022)

now, season 4. this is where byler was brought to the attention of a lot more fans, and stranger things' viewership reached wider than ever. the byler fandom on tumblr booms from 4k to 100k over the course of season 4's release.

this brought a lot of new people who have never been in fandoms before, people who never learned don't like don't read or your kink is not my kink and that's okay or ship and let ship.

or, a lot of times, people who had only been in fandoms for celebrities and bands, which tend to have different rules when it comes to shipping and sex, because they're real people. hence a lot of young antis' conflation of character with their actors, but that's a different rant.

so with a rapidly growing fandom, a show ripe for analysis, and the art of media literacy bleeding out on the ground in front of us, the hellscape of the fandom post-season 4 in 2022 followed as such:

august 2022

jo/kendra gate where two extremely popular analysts were called out for "sexualizing" byler while being adults (early to mid 20s). they were dogpiled and harassed because one of them said that will was giving mike "bedroom eyes" (he was) and one of them said mike was checking will out (he was):

pyshiie and moogate. the proship side of byler twitter rose up and started to divide itself. i'll credit my own joining-the-dark-side to pyshiie and moo, formerly barbjeanisms, who were two popular artists called out respectively for sexualizing byler and generally being proship. similarly, people were called out and criticized for even following or interacting with those accounts after this discourse.

september 2022

hosegate is the most famous across the byler fandom, and it's when some users proposed that the scene in the pizzeria uses phallic imagery to imply mike turns will on (or vice versa) and a lot of people thought that was too sexualized, it caused a divide, and more fanpolicing, etc.

october 2022

the artist noodlesandtea was harassed for having liked arguably nsfw bakudeku art (they were shirtless, it wasn't explicit) on the same account where they draw characters who are minors. they also drew byler kissing, which was a problem for some? anyone who defended them was also called a pedo, naturally. noodles also got called out for having drawn fanart of the popular e-rated fanfiction....

the unmarked mixtape. a massively popular sequel to a massively popular fic, the red envelope. for a long time, those were the most widely recommended byler fics, but it very soon became taboo to even admit to reading them because the sequel has explicit sex and the first has them making out.

sonnet116 gate is another fic that was beloved and then rapidly turned on by byler twitter because it had implied, fade to black sex scenes. it was about them hooking up but had no smut. and even the non explicit idea of that was offensive and pedophilic of anyone who dared read it. around this time, another fic was called out for having will moaning into a kiss, because writing a teenager moaning was also offensive and pedophilic.

i'm told i (jana / troublebyler gate?) may have influenced a lot of people joining twitter for byler smut after writing illicit affairs and some other smutty oneshots in rapid succession, seeing a lot of byler shippers moving to the proship side of the fandom just to discuss and write byler smut. i also hosted a little fandom gossip column on my curiouscat where a lot of folks confessed to reading or writing smut while pretending to be "normal" in the "main" fandom. it basically revealed/implied that a large amount of popular authors, artists, and accounts were secretly pro byler smut, and that many proshippers were "undercover" in the "main" fandom.

the blocklist era. around this time the "main" fandom also created a "st twt safety" account on twitter which was basically targeted harassment and mass reporting of proshippers. the account does warn of some genuine bad actors sending gore images via dms, being racist, etc. but by far, the majority of it was simply calling out proshippers for sexualizing byler, sharing screenshots they thought were "gross," which only resulted in spreading nsfw content to unintended audiences of minors that likely never would have seen the nsfw accounts otherwise.

november 2022

practice kissing gate is where a handful of popular fic writers were criticized for writing practice kissing fics (such as undertow), and in fact, any amount of byler making out, because adults "fantasizing" about teenagers kissing was "gross."

the proship corner of st twitter continued to grow a lot thanks to so many lovely fan creators, all of whom i couldn't possibly list but who have done a lot for the community! but we continued to get bombarded with endless callout posts and block lists and witch hunting. people were unabashedly policing people's following lists and likes on twitter to call people out for engaging with any questionable users or content. (if you search byler twitter now you can still see the wreckage of so many witch hunts.)

onward through 2023

over time things have mostly calmed down, or at least enough of the folks on "opposing sides" of the fandom have mutually blocked each other to survive. this is likely also influenced by the hiatus leaving the fandom to quiet down, the collapse of twitter-turned-x having many users migrate their fandom content elsewhere, and the mass exodus of many people from the fandom for political reasons. if i had to guess, the ramp-up to season 5 will see all new conflict as more "casual" fans return to the fandom. but who's to say.

which brings us to now:

spicybylerpolls gate, wherein the byler tag on tumblr collectively had to reckon with the fact that people want byler to have sex and it doesn't make them creeps to vote in silly polls about it. people criticized the blog for being overly sexualized and pure fantasy versus more "acceptable" analysis, with many making sweeping moralizing statements about anyone who dared interact with the blog.

this has kicked off tumblr's own sort of horny revolution in encouraging folks to be more open on here, whereas previously we were confined to our corner of twitter.

so in summary:

people over and over again put fan creators on a pedestal just to turn on them when they're "betrayed" when a person's views did not one-to-one line up to theirs.

teens in the fandom especially were "betrayed" by adults in the fandom they thought were "safe" (and i would argue that self proclaimed "safe" adults in fandom are far more dangerous to real life minors than the proship fans who sexualize fictional characters but dont interact with real teens)

most everything has been fueled by widespread ageism at any fan over the age of 18, widespread homophobia and puritanism in regards to exploring queer sexuality or discussing sex at all

so much hate has been over what are essentially "thought crimes", with people watering down serious accusations like pedophilia into a petty insult over disagreements on fiction

and the cycle repeats itself endlessly until things devolve back into witch hunting and policing peoples following and likes etc

the best part to me is that every single cancellation just resulted in more people flooding to the horny side of the fandom to post more freely and without shame. every time a person on twitter posted screenshots of my account to say how "gross" it was (while simultaneously exposing my 18+ nsfw content to their audience of minors) i had a surge in followers. the more the fandom squeezes, the more people slip from its hold.

but that doesn't make the harassment campaigns okay, and it doesn't mean the fandom didn't do massive amounts of harm to real people in an attempt to protect fictional characters.

my hope going forward is that the fandom can coexist as a community where people don't have to like or agree with certain content to treat the people who create it with respect and dignity. and i hope that, while this side of the fandom might grow more on tumblr, we don't have to relive the same old discourses and go through the same cycles we went through on twitter.

and remember kids, the block button is both free and fun.

[coffeebeanwriting]

How To Develop Your Characters

1) Reveal your character slowly. If you info-dump too much about your protagonist straight away, there is no more wonder surrounding them. By slowly unraveling details about a character, the reader can understand them more fully and see their growth happen in real-time. When your character begins to open up naturally as the story progresses, they’ll reveal things about themselves through their actions or dialogue.

2) All protagonists should have a goal. When a character sets out to complete their goal, that is when the story is born as well as their character arc. The obstacles they have to overcome and the setbacks they face develop them as the story progresses. When you give your character a goal and make it hard for them to reach it, they begin to figure things out and grow as a person.

3) Create obstacles. And then more obstacles. The more conflict that you shove in your protagonist’s face, the more active they have to be in the story. It’s by actively making choices that someone begins to transform. Give your protagonist physical obstacles to overcome but also internal ones like doubt, regret, anger, confusion, lust, etc. 

4) Let them Fail. Overwhelm your character, push them to their limits, kick them when they’re low, make them feel like their heart will never heal... and then help them overcome the hardship. (Or not, if your story consists of a negative character arc). Regardless, failure is an important part of any story because no one is perfect and readers love seeing a protagonist overcome the impossible. Have your protagonist fail continuously throughout the story... big failures, little failures, half-failures... it all builds character.

5) Enhance their growth by having static characters in the story. Protagonists are typically dynamic characters which means they change throughout the story. It can be smart to contrast a dynamic character with a minor static/flat character who remains the same throughout the story. If two characters come from the same starting point but only one changes, the audience can see the growth that has really happened to them.

6) Give your character a past that they can overcome. A backstory, an origin, a past. We all start somewhere. The way we grew up undoubtedly shaped us into who we are today and it’s no different for a character. Whether your character comes from a backstory of hardships or privilege, you must know the reasons behind who they are at the start of your story. Then, you can start developing them... making them into a better or worse person.

For example, maybe your protagonist has a deathly fear of cars because of being in an accident as a child. Put them and a love interest in a car together or have them take walks by a highway late at night. Perhaps he even shows her what a car looks like under the hood and helps her to understand the safety features. This all develops your character into growing past their fear, which we understand because of their past.

7) Give your character's flaws that are real. I don’t mean little flaws like being bad a math or extremely clumsy. While these are all aspects that are okay to give a character, your protagonist needs a more deep and intense obstacle to overcome. A werewolf who can’t control their anger and transforms sporadically. A cheerleader who shakes so badly from presentation anxiety that she risks dropping a teammate. These traits are realistic and relatable to the audience and can be overcome as the character develops, learns, and grows throughout the story.

Instagram: coffeebeanwriting

[essycogany]

Rare But Not So Rare Sonic Moments

Flaws

This may get controversial.

I welcome anyone else’s view point on this topic. If you don’t agree I’m okay with that. Just because I have a different perspective doesn’t make what I think right or wrong. You don’t have to change your mind. Whatever your opinion is, I respect it. Besides, it’s fun to have different views on something we both love. It gives us a way to see different sides of the coin.

Disclaimer: I’m a person who didn’t grow up with this franchise and only recently got into in early 2022. I have no biases towards any version of this character. Making my opinions about his characterizations mixed.

By the way, I’ll only use Sonic games as examples (for the most part) because this analysis would be too long if I talked about other medias.

In short. Most of his flaws do stir into different medias as well. To be honest, Sonic’s other variants aren’t as different as some may think, but that’s my hot take.

Times The Blue Blur Messed Up

Riders: Sonic lunched Amy along with Eggman into the air with his wind abilities. While knowing Amy’s safety would be at risk. Then left her. Which was the reason she was so angry and aggressive afterwards. He didn’t ever apologize either.

06: Exchanged a chaos emerald for Elise even after Tails warned Sonic not to.

Unleashed: Was distracted by taunting Eggman.

Sonic: “Well, this is new. Showing remorse Eggman? If you played nice, I wouldn’t have to break all your toys.”

Then became the Werehog. All because he wanted to boost his ego.

Secret Rings: Shahra used Sonic to collect the world rings for Erazar Djinn. Even though it should’ve been expected because she said, “They use to work together.” Ended up not being true.

Black Night: Was tricked into helping Merlina who wanted to create a world that would last forever.

Lost World: Tails once again tried to warn Mr.Impatient about the conch in Eggman’s hand, but kicked it anyways. Then warned Sonic about another trap, he didn’t listen, ended up getting the fox captured instead.

Frontiers: Accidentally helped free The End despite Knuckles and Sage’s suspensions. If his friends, Eggman, and Sage didn’t help him…..Well, it’s in the villain's name.

Side Note: In Secret Rings, Black night, and Frontiers Sonic was rude at points.

Sonic Sassiness

Sonic Sassiness Part 2

Sonic’s Overall Flaws/Mistakes

Some may be from his general characterizations throughout his history.

Sonic rushes into things without a second thought. (Impulsiveness) Sonic can be too reckless, brash, or not take situations seriously.

He’s impatient. (Which was his core trait since his idle animation in Sonic 1)

He doesn’t listen to his friends warnings. Sonic can be too cocky at the wrong moments. He causes or contributes to world ending consequences. The blue blur can also be too trusting and naive.

Sonic doesn’t worry about his own physical or mental state and internalizes his emotions. He isn’t able to express himself very well. Therefore doesn’t put the right words together when speaking sometimes.

Sonic can be stubborn and a bit of a jerk.

Sage: “You are short tempered and short sided.”

And that’s about it. If I missed anything, feel free to let me know.

My Thoughts

A few of these can be seen as Sonic’s strength and weaknesses. Like his willingness to harm himself if it means to save his friends.

The reason Sonic never learns from his mistakes in the games is because he gets away with them. Which is not a good or bad thing per say. (Besides Sonic Riders. There’s no excuse for that.)

The stories never really given him an arc. But I don’t think Sonic’s a perfect or flawless character. If the examples I’ve shown are evidence of anything.

I’d say he’s static, but not consistently. Most static characters I’ve seen rarely stays static anyways.

I also don’t believe Sonic himself thinks he’s perfect. Sonic probably thinks he doesn’t have to change because he’s so sure he should be able to manage things without issue. Everything does eventually go his way. Why should he change?

I do understand Sonic influences people, but why can’t there be a balance? It’s been done plenty of times with other characters. In books, movies, and tv shows. Animated and live-action.

Movie!Sonic in Sonic 2 inspired both Knuckles and Tails. Helping them better themselves with advice and encouragement. While also going through his own arc of growing up and being responsible.

Tails:“You’ve inspired me. To leave my village. To find you and help you on your mission.”

Despite him learning how to slow down and plan things out, Prime!Sonic also inspires the different variants of his friends. Thorn, Dread, and Nine. Helping them grow into becoming better people.

Even in Unleashed Sonic was at his most mature, but it was only after his cocky attitude got him into trouble. So, yes. Inspirational characters can have flaws.

I’ll just say this

Everyone has their own views on how Sonic should be characterized, drawn, played, voiced, animated, and showcase.

It’s fine if you don’t like a curtain interpretation of a character, but to say the character (Especially if they weren’t very consistent in the first place) isn’t acting like themselves now, it’s really hard to argue what self there is to come back to. Because even in the games there are so many different selves for these characters in their own canon universe. From Classic to Adventure, Unleashed, Colors, and Frontiers. (If that makes any sense)

It’s hard to find one place to be in because Sonic’s been in too many places at once. He shouldn’t be held down to one characterization if he’s already been all over the place from the beginning of his existence.

AKA Sonic’s first two shows ever. TAOSTH and SATAM. In both shows Sonic had flaws as well, but never learned from them. Which means he’s been like this from the start. Like everything else about this franchise, his personality is an ongoing experiment that’ll probably never be solved. And I kind of love that. Even if it can be stressful and has it’s own up’s and down’s

All of these unique stories from the games, comics, tv shows, and movies people grew up with are what made this franchise so popular. This is the main reason I became a Sonic fan. Because I learned so much about characterization from this franchise and how to love the different variations of its characters. Finding an appreciation for each of them.

Conclusion

Everyone’s opinions are valid at the end of the day. At least we all have a version of this character we can love and appreciate. Whether you agree or not I’m grateful you’ve made it all the way to the end. You’re a trooper!

Stay Creative! 💜