#and will play an antagonistic role to serve the plot if needed to the other characters

[perenlop]

maybe this is just me but to me grumpy dickhead characters that are intended to be endearing only really land if they have one character that actually grounds them whether that be through them being very nice to balance it out with cute banter or them also being snarky so they can have fun banter. if a grumpy character is just an asshole to characters we dont know as well, are literally children or people who otherwise cant fight back, then like. they dont vibe with me

[bobbile-blog]

Okay so my addition to the extensive list of “Tiny world building things that Arknights consistently gets really right” is not having binary, two-sided conflicts.

Like, yeah, okay. Everyone knows that having a multi-sided conflict is generally more realistic and makes for a better allegory and helps motives seem more real or whatever, sure. But that’s haaaard, and it takes forever to world-build and set up stuff that you’ll probably never use again anyway, and do we really need hyper-realism for this one character’s side plot anyway? It’s fine if we don’t have that here, right? This sort of world-building, while good, is usually not worth the effort you put into it because not all conflicts are important enough to justify that level of detail.

To pull an example from another mobile game, Honkai Impact does this in a perfectly serviceable way. While the story as a whole has a number of factions that interact with each other, there’s usually only one faction in the role of “major antagonist” and which faction it is shifts over the course of the story. You’ll sometimes get more than two groups at play, but that’s usually only used to set up the next major antagonist and they’re rarely on even footing and given equal focus. And that comes out fine! It works great for the pacing of the story and serves its purpose perfectly well.

With Arknights, however, they have consistently refused to write stories that are just a two-sided A versus B conflict. From way back in Grani and the Knight’s Treasure up to the political clusterfuck of the more recent story chapters, Hypergryph just doesn’t write stories that are black-and-white protagonist-antagonist. Off the top of my head, the closest we get to that is in stories like Lingering Echoes and Guide Ahead where a single character disrupts a protagonist-antagonist plot. The two stories share a lot in common, actually - there’s a two-sided protagonist-antagonist story that is disrupted by a protagonist-aligned figure, Czerny in the former and Fiametta in the latter, that refuses to be bound by the said simple conflict. Both stories are also complicated by B-plots that don’t have nearly as simple resolutions, which are tied closely enough into the A-plot to make it more complicated.

All of the events are like this - as I write this I’m looking back through the event records for something I’ve missed because there’s no way they’ve been that consistent with this, right? But they have, and it’s staggering how consistent they are with it. There are all sorts of factions lying around that just get picked up again on the whims of the writers (like AUS or the Browntails), and it does wonders for making the world feel more complex and more alive.

[queen-breha-organa]

So the first two episodes of Kenobi are out and I just wanted to make a quick post with my overall thoughts so far.

I had to put most of it under read more, but I just needed to discuss a few things right away.

First, I wanna say that so far, I am enjoying this show much more than other recent Star Wars projects.

That being said, it’s still far from perfect and definitely suffers from the Disney echo-chamber. Star Wars projects have been getting a bit stale, and a lot of that comes from a lack of diversity in the writers room. You can kinda tell all these recent projects have been overseen heavily by Kathleen Kennedy, Jon Favreau and Dave Filoni. They all have a very similar production style, and it ends up making shows very bland and predictable, not to mention white centric.

The main place this is apparent is in the characterization of Reva. Reva is a former Jedi turned Inquisitor, and is written as the youngest of the group.

She’s portrayed as hot headed, impulsive, loud, brash, reckless and is called The Lesser of the Inquisitors by another member.

Now, I don’t think there’s anything wrong with having characters with these traits, HOWEVER, this is where the white centric and tone deafness play a role.

Reva is the ONLY main Black character so far, and seeing these traits on the only Black woman in this show feels very much like playing into stereotypes. She’s overaggressive and hated by the Empire and the Rebels alike. Shes a shallowly written villain that only serves as a writers room punching bag.

We’ve already heard that Disney warned actress Moses Ingram about fan backlash, but writing her into this role reeks of racial ignorance and internal bias. The other inquisitor’s constantly talk down to her and are seen as the calmer and more rational ones, often holding Reva back from killing characters.

This characterization and display is ignorant at best and malicious at worst, and I’m very unhappy with it.

The other inquisitors are sorta nothing characters, with no motivations or anything really. They’re sort of blank slates and uninteresting. I know this is only because Vader is the main villain and they’re simply minor antagonists, but the writing falls flat.

The shallow writing is also seen in many other places, including Kenobi himself.

The character motivation is murky and the timeline itself seems convoluted. Though this series takes place a decade after Revenge of the Sith, the world doesn’t feel “lived in”. The Empire still seems new and unsteady, and Kenobi’s motivations and arcs don’t fit a man who’s been at this for ten years. He still seems very uncertain and uncomfortable in his new persona.

I think Jedi: Fallen Order executed this idea much better, as those characters genuinely seemed like they were in hiding and adapting.

Kenobi just feels like he’s only been at this a few years. And I understand his compassion plays a huge role in that, but I wasn’t really sold on his new character arc.

The cameos were fantastic and I really enjoyed seeing Breha and Bail again, both those actors are phenomenal and very believable as a family. I think their delivery and lines felt natural and their roles felt lived in. It is strange however that the side characters feel more natural than our main character.

This isn’t a slight at Ewan, I genuinely think he’s very good and I’m super interested to see where this show goes, but the plot and writing do fail him at times.

Overall, I am hesitantly enjoying this series, but It needs vast improvements, mainly in the case of Reva.

I’m hoping perhaps the show will get better as it goes on, but we’ll see.

[eldritchships]

2, 7, 15, and 16 for any Flatline of your choice :D

I picked TFA because I've been thinking about that one lately

When in canon does your self insert come in? Do you have a scene in mind for your entrance?

TFA Flatline first appears in early season 1. I haven't figured out all the details but I think Flatline's entrance scene has him semi-crash land on the outskirts of Detroit, then take in his new surroundings as he checks his scanner for resources. His crash is framed as a 'comet', which the morning news will report as somehow missing from the giant impact crater it left behind

Would any other characters (besides your f/o) have a crush on your self insert?

Lockdown seemed to have a thing for him when they interacted briefly, although his interest might have been in Flatline's injector modification more-so than the person attached to it. I need to make more random characters have a crush on Flatline, I think it's really funny.

How does your self insert play a role in the plot of the story? Do they help directly defeat the villain, support the heroes, etc.?

Flatline is a secondary/tertiary antagonist. He shows up periodically throughout season 1 and the start of season 2 to antagonise Team Prime, until he's successfully captured and sent back to Cybertron. Flatline meets and eventually ends up joining Longarm Prime/Shockwave, and serves as his ally for the remainder of the series

Freebie! Name a fact about your self insert you want everyone to know.

Flatline's favourite music is slower, sadder songs, ballads and things like that. He enjoys getting to sit back and like, simulate feeling miserable for a while, it's a good outlet

[alatismeni-theitsa]

Any guidelines for incorporating Greek legend respectfully as a person with zero Greek heritage? I’m trying to build a sorta hidden urban fantasy setting, hidden in little settlements throughout our world, mostly focusing around where I grew up, which happens to have a lot of Greek Americans. Legends from many other cultures will also be incorporated, as a reflection of how many different ethnic groups are a part of the region. Not trying to specifically milk Greek culture for money as a non-Greek, just want to accurately depict a magical otherside of the place I grew up.

What specific sort of changes do you find most egregious, as a Greek person? Especially when not all people of Ancient Hellas held many of their stories as 100% true, I believe Plato in “The Republic” said that he thought that depictions of the gods committing crimes should be outlawed, in his perfect society.

Just trying to determine where the line is, in terms of what in Classic Greek literature must be held true and what might’ve just been someone’s personal ideas of Greek religion that happened to get written down and survive until today. Thanks for your time!

Hello! This is a big discussion because - first and foremost - if you want to make an urban fantasy, your Greeks are gonna be mainly Orthodox Christians or Atheists. 😅 Ancient legends are important to us, surely, but 2.000 years of myths and legends came after them and they play a bigger role in our life. We have tons of folklore and stories in each region created these 2.000 years and these would be the legends that would be more relevant to us.

Of course I am not saying to disregard ancient Greek myth completely. I am the first one to ask for Greek cultural representation in foreign media when Greek gods are involved. At the same time, in a "modern-ish" setting you need to take into account people's current culture and not just skip millennia after the period that interests you. There is room for antiquity in our modern lives but if you skip the steps in between it's going to feel disconnected and inauthentic.

If you make your Greek characters Polytheists/Dodekatheists you need to be take into account that they grew up as the 0.0001% in a culture that has been overwhelmingly Eastern Christian for a very long time. That doesn't make them Christian, of course, but the current climate would affect how they worship and perhaps some local Christian beliefs brushed onto them after 2.000 years.

To ignore Orthodoxy is to ignore Hellenismos (Greekness/Greek people) since this religion has been synonymous with our identity for millennia. Even the Atheists are cultural Orthodox Christians to a point. Understand the current Greek mind through our literature and customs and then you will get how the Greek characters would view these legends and gods.

That being said, I'd personally rather not see our gods depicted as criminals. They have been figures deeply revered for centuries and in our modern era from the Greek public and when they get turned into villains to serve the plot, the mark is missed by kilometres. For villains you can have the different monsters of Greek myths, or known antagonists of the gods (people who disrespected them in a serious way).

Representing another culture isn't easy and takes years of research. (You need to accept it's going to take years, please don't hurry). I recommend you read the posts in the following tags, where you can also find what things to avoid and "where the line is".

#writing #greek speaks #greek diaspora #representation #greek customs #greek literature #greek orthodox #ancient greek religion #greek gods #hellenismos

As for your ancient sources:

Avoid Ovid. Seek ancient Greek sources. Pausanias, although a bit later, is fine, from what I've seen. My recommendation is to choose a period to focus from ancient Greece because beliefs and folklore change over time.

Feel free to send me another ask or message any time!

[aphantpoet]

Boba Fett

When looking at fans reactions to the series “The Book of Boba Fett” I was surprised by the number of people who's complaints hinged on the idea that the series is some sort of redemption arc that should take a long time  I will admit, I haven’t got the chance to watch the series yet as I do not have Disney plus and have not found a way to watch it elsewhere,  but I have found in these reviews that people seem to have a very one dimensional view of Boba Fett as a character. 

When we first meet Boba Fett he’s a minor antagonist in the original trilogy. Less of a character and more of a plot device. His armour aside,  the most notable things about him is that he’s pragmatic “He’s no good to me dead” and a bit of a ladies man [the scene in Jabba’s palace]. That’s hardly any nuanced characterisation. He “dies” as he lived, an ultimately one note but cool antagonist  that provides some colour between the grey, black and white of the Empire.

We see him next in the prequal trilogy where, despite the relatively small screen time, Daniel Logan is giving it his all. We see him in his father’s apartment on Kamino ,when Obiwan Kenobi goes to investigate the planet and we are introduced to the clones. Young Boba is shown in this first scene to be a smart kid who distrusts the Jedi [or at least strangers]. We see him observing his dad’s interactions with the Jedi, We’re also shown that despite him not having the inhibitor chip, he still listens to his dad with Boba closing the door to hide Jango’s armour. When Obiwan leaves before Jango can order Boba to pack so they can get away Boba’s the one who prompts his dad. This first scene shows him as a kid who  is observant, smart and cares  about his father.

During the confrontation and chase with Obiwan Boba plays a mostly supporting role. He is only seen actively engaging when he scrambles into the ship and fires the guns at Obiwan. He manages to fire impressively well when you conside that he;s can’t even see over the steering wheel. He’s also the one who points out that they’re being tracked. he’s not shown to be especially ruthless except when he laughs at Jango’s “we’ll have a couple of surprises for him” comment. other  than that he mostly spends that scene in the cheap seats. This shows him a proactive and demonstrates that he is still learning from his father, still a far cry from the feared  bounty hunter he’s shown as in the OT. 

He’s next shown at the execution of Padme, Obiwan and Anakin, where he cranes his neck to have a look. He doesn’t really say anything during that scene or during the ensuing battle. His only major appearance after is when he holds his father's helmet and rests his forehead to it. during these scene Boba does not play a major role, presumably because George Lucas thought having the heros’ fight a ten year old would be a little too far. 

During TCW, Boba is shown in three arcs, playing a relatively minor role in two of them. His first major appearance is when he is trying to kill Mace Windu. Boba executes the plan quietly and efficiently , in a way that minimises damage to the crew. It is not until Mace Windu asks a clone to put something in his room because Anakin needed him that things spiral out of control. 

Aurra Sing is the one who orders him to blow up the reactor rod. Boba protests “But the crew, this isn’t about them”. He is still ultimately persuaded to do it. When he’s caught Boba easily slips into the “vulnerable cadet “ role and tricks the trooper into handing over his blaster. While Boba has no problem fighting the trooper when the helmets are on  Boba hesitates when the helmet comes off and he’s faced with his father’s face staring up at him in fear and confusion. It is only with the assertion that he and the clone are “brothers” that Boba is able to follow through with stunning the solider. This sequence of events shows Boba's competence as well as his moral compass, It also serves to demonstrate his complex surrounding the clones. 

This moral compass is further challenged when he sabotages the escape pod  and Aurra Sing intercepts them to pick him up. Boba is more than ready to just leave and even suggests to her that they let them go. Aurra Sing is the one who asserts that the have to be jettisoned into the unknown. he only leaves with her  after this threat is applied to him. He walks away telling the cadets that he’s sorry and, as Aurra demands, lets them loose. Through this arc Boba is shown acting with competence but anger, displaying instincts that were likely taught to him by Jango. When speaking to the captive clones Boba removes one of their gags and tells him that this isn’t what he wanted. It is only when the clone reminds him that he is also a clone that Boba hardens up, though not enough to hold back a wince when Aurra slaps the clone and by the time shooting the hostages comes around Boba is not angry enough to go through with the threats. This shows that despite his quest for vengeance he is still an immature and insecure kid in a galaxy where there are thousands of him made everyday. The only thing that makes him different from the other clones is that he ages normally and was chosen by Jango, one thing that is not unique to him and another that says nothing about his accomplishments. He is still far from revenge and from living up to his father’s legacy. 

Through the following scenes Boba slowly becomes disillusioned with the quest as he sees Aurra shoot a member of their crew in cold blood and is threatened by her. He still tries to hold onto the moral high ground and insists that “i’m not a murderer, but I want justice ” even when that drive for “justice” has flown way out of his control.  He is eventually left to the mercy of the Republic. Plo Koon  brings Boba to Hondo Onaka to get him to tell them where the remaining hostages are. Boba protests that he has no one so why should he help?,  it is only when Hondo, the only person at this point who has treated Boba’s loss with any respect convinces him that it’s the honourable thing to do and that it’s what his father would have wanted that Boba caves and expresses genuine remorse for his actions. Despite his age and arguable part in the carnage as a whole, Boba is sent to prison.

There is not much to be said for his appearance when Obiwan goes undercover but his actions after getting out of prison, either by release or escape show how he has hardened and stayed the same. He is tasked with bringing a bride to a warlord, for this mission he is teamed up with newcomer to bounty hunting, Ventress. Boba is short and demanding to the Dathomirian, claiming that's she’s a “rookie”. Neither seem to know that the other s  in fact overqualified. It is worth noting however that this same energy is also given to him by Ventress so he is hardly the only one acting like this.  It is also worth noting that Boba is not incapable of taking advice from others. This is seen when he questions the need to subtram travel, when he thinks that just using the ship would be easier. When the reason why is explained to him Boba has no problem with the direction. Boba comes out of prison much harder than he was when he came in, having  no problem with making himself bigger or dishing out violence where he has not changed is seen in his actions later in this event.

When Boba and his crew are attacked the chest they were keeping the bride in comes open Boba’s first instinct is to run to her and assure her that he’ll protect her from the attackers. The dubious honourability of him delivering a slave bride to a warlord aside, it is clear that Boba has internalised Hondo Onaka’s lesson on honour. It is only when he realises that she’s on their attackers side that Boba orders they be tied down so he can get the mission done. Ventress subsequently switches him with the girl and delivers her home.  Boba is not seen after that but it is in this scene that his portrayal as a ruthless bounty hunter makes more sense. even still, during this arc Boba is not seen being especially bloodthirsty. He’s ruthless towards the people who stand in the way of his mission but for innocents, those he cares for or assumes he’s being paid to protect  he’s especially careful. 

Boba has no other major appearances in the shows or movies until the Mandalorian. When he saves Fennec Shand he has no connection to her, he is not even aware that she once hunted the closest thing he has to a biological sister in canon.  Despite seeming to have softened Boba prove this not to be the case. He threatens Grogu to get the armour back and fights well against the troopers. he is also the first to suggest that there’s not need to fight and they they put down their weapons. During the fight Boba gets his armour back. Boba honours his deal with Din Djarin and joins in the mission to get Grogu back, one again showing Hondo Onaka’s lesson about honour has made an impression on him even all these years later.

When Bo Katan starts to insult him Boba is not quick to violence. It is only when  Jango Fett is brought into it that Boba brings put the threats. He then fights Bo’s sidekick before she agree’s to help Din Djarin because Grogu’s involved. After the mission he ruthlessly shoots down Bib Fortuna and so begins his hostile takeover of Mis Eisley. Looking at some scenes he seems to be going a good job, having mellowed while retaining his fire and sense of honour.

So, looking at all that together, there is no reason why the arc set out in Book of Boba Fett cannot work. While I’m sure some of the criticism I’ve seen is valid, I do not think the  assertion that Boba Fett  should remain a ruthless killer is one of them, nor do I think that this is part of some moralist agenda to make villains not evil anymore . 

[somegirlontheinternet135]

*Sigh*

. . . I'd never thought I'd do this. . .

A few months ago, I said that I could never pull off proper fanfic because my fear of it not getting attention. But here I am, with several WIPs, taking a break from playing video games to create content along with other things, so it made all the weirder when I decided on what I wanted to do. . .

Folks, after a bit, I decided to make write my first ever, proper fanfiction. I'm not talking about just visual storytelling like my other AUs, I'm talking about actually ao3 level fanfic, except on tumblr. Unfortunately, I can't force on this entirely, due to having such a cramp schedule and my other WIPs

Till I finish those, I hoping I can begin work on the prologue before anything big happens. What exactly is this chunk of fiction about? Well don't ask. . .

Might you be interested in. . .

⏰Anything And Everything, All Of The Time⏰

~A Cookie Run Kingdom AU, Created By Mei_TheBear~

For those who don't know about my recent ramble, the plot of this AU is such; The Five Ancient Heroes accidentally summon our favorite sci-fi eldridge being and cyprid, Timekeeper, and have to be their main sources of entertainment. Originally, I made this AU to comeback the lack of content we've been getting with these six, and it ended becoming way bigger. I had so many other ideas for this AU, one of making TK Pure Vanilla Cookie's long-lost siblings. But after a few tweets, I ended up with something I'm generally happy with

But that, however, is now why I made this. I made this post to explain major factors in the story (roles, etc.) That without, may confuse first-time readers. So, if you're reading this now, you're in luck. Let's get into it!

Millennia Tree and the other legendaries probably plays the biggest role in the main plot. MT was also the closest with Timekeeper before the "incident." Key word here is "was," in my AU, they have an ex-boyfriend/crazy ex-girlfriend relationship.TK is obsessed in MT, in more ways than one, wanting to do more than put his head on a spike

Twizzly Gummy plays a major role in the story, starting the domino-effect that led to the Timekeeper being freed. Other than that, Twizzly is going to be the "Sammy Lawrence" of the story, influenced by TK and treating them like a god. Clotted Cream Cookie will also play a big part in this. Playing as our antagonist, he became fixated on the Timekeeper and wanting to know to anything and everything about them, nearly being driven to break of insanity trying to find a possible weakness. Characters like Gingerbrave won't be as important, but will serve as support for Clotted Cream and will make appearances

Anyone that exposed themselves all types of different media be prepared, there's going to be a lot of references to different songs, movies, musicals, tv shows, even other video games, all of which well be tied into the story. Speaking songs, I have tons of songs planned for this AU, we are talking about the Timekeeper; hard to say they wouldn't be a fan of musical theater

Another thing is slight similarities between the backstories of Timekeeper and Dark Enchantress, I'm saying "slight" because I've recently done a bit tweaking to TK orginal story. Timekeeper, becoming the way they are through boredom, whilst White Lily Cookie turning into DE was an act of curiosity

Speaking of curiosity, the first half of the story I view as a cautionary tale in two ways:

1. The dangers of curiosity

How we as a society try to find logic in what is unknown. We a need to question every little detail to have a better understanding of it. And how some are better unsolved. . .

2. Don't be cocky

Doesn't matter who you are, your status, how many weapons you have or how much a$$ you kick on a daily; they'll always someone bigger and stronger, ready to take you down. Whether that be from jesus christ or time itself, they'll always someone after you

Tldr: 'Anything and Everything, All of The Time' will officially become a fanfic on tumblr, not ao3 though- I made this post to prepare you for the possible sh*t storm you'll read. I do plan on making and posting a prologue the next month given the chance, so that's something to be on the lookout for

And as always, stay tuned^^

[unovasrose]

This post is meant to serve as a starting point for potential interactions and is not all-inclusive! If you have any thoughts or want to suggest something that’s not on here, please feel free to bring it up! I’m certainly open for things not on this list.

Dynamics That I’d Like To Explore*

Professional Friendships / Acquaintances - with other Champions, League Trainers, Frontier Brains, etc. (It’s worth nothing that she does her research so she’s usually up to date on who the League-affiliated trainers are in each region). It would be neat to figure out what the different regions can learn from each other. If our muses are both part of the Unova League, I’d love to explore their dynamic (which will be based on Rosa’s view of them before she became champion, and which can definitely change based on present interactions). Also, any muses that are in the show business, as she is a famous actress (and I don’t get to do enough with that). Maybe our muses are playing parts in the same movie or play? Or maybe your muse is into contests (of which Rosa knows next to NOTHING about) and they want to show Rosa the ropes?

Recognition - Rosa has plenty of star power in Unova due to her work with Pokéstar Studios and her status as Champion. Her movies are broadcast in other regions as well, so it’s entirely possible for a non-Unovan muse to recognize her just from seeing her on the silver screen. I’m open to her meeting both fans and critics alike. Additionally, she has recently become a Pasio Ambassador (more on that soon), so her face might be recognizable that way.

Rivalries - with other trainers of equal caliber. The other muse doesn’t need to be a Champion-level trainer for this dynamic to exist. There are plenty of powerful trainers out there that just don’t bother with League challenges and Rosa would be excited to come across them.

Former Plasma ties - whether that be former grunts that have had a change of heart like her or grunts that stuck to it and followed Ghetsis to Neo Plasma, relationships of this nature can be either friendly or antagonistic. Additionally, she holds great respect for some former Plasma members (such as sage Rood, Anthea, Concordia, and N) and disdain for others (like Zinzolin), as well as fear of the Shadow Triad and Ghetsis himself.

Antagonistic - this goes hand in hand with the second half of the above, but it can obviously extend to other villain muses (though she would only know that villain muses outside of Unova are villains if it’s something that the mun agrees would have been all over the news at the point in time that interactions occur). Her views of Interpol are also swayed toward the negative, based on her past experiences with Agent Hale Foster and her mother being placed under house arrest briefly during the events of B2W2. Additionally, she has pissed off many a pokémon poacher in Unova due to her efforts to eradicate them from her region (which is actually important to an upcoming plot I have planned out for her).

Found family - her own blood family isn’t very big (reserved mostly to her mother and some family in Lentimas Town; her father is back in Paldea) so I love the idea of her coming to love her friends like family

Mentor/Mentee - with Rosa filling either of the roles at the corresponding points in her timeline. If she meets trainers from newer generations, she’s bound to take them under her wing. Likewise, if she meets more experienced elites and champions, she will welcome the idea of learning from their experience.

Simple friendships - maybe both our muses are into some sort of common hobby or enjoy the same type of music / movies or maybe they just like to get together to gossip or enjoy dessert together, lots of slice of life stuff.

Romantic relationships are not completely off the table but they require an extra layer of development and comfort between Rosa and other muses (and good/regular communication between myself and other muns).

Places Where Rosa Can Be Found*

Hoenn - she has to travel to Hoenn occasionally for the hot springs to ease the lingering pain from Kyurem’s unmelting ice-induced wounds. She loves to explore the Hoenn wilderness, though… and Meteor Falls is one of her favorite places ever.

Anywhere around Unova - she doesn’t spend all her time in the League. She constantly bounces between the preserves she established (White Forest and Icirrus), the Bring Us Together Foundation she established to help return Plasma-stolen pokémon to their previous owners (Driftveil), and Pokéstar Studios (Virbank). Her primary (but not public-known) residence is in Village Bridge and her secondary (but officially known) residence is in Nimbasa. Sometimes she goes as far as the Trainer’s School (Aspertia) to talk to younger would-be trainers and tends to take some of Cheren’s classes to capture their first pokémon in Floccessy.

Kalos - she spent some time training in Kalos prior to challenging the Unova E4 and Iris. She also occasionally travels for film-related business or gets dragged along to Lumiose by Blue ( @evoblue​ ) on shopping trips.

Galar - after a few years of championship (and an unwanted encounter with an obsessed fan that COULD have been bad), she takes a sabbatical and decides to disappear from the grid. She travels to Galar to train and explore the area, and also to spectate on the gym challenge.

Paldea - after learning from her mother that her father is of Paldean origins, she embarks on a trip to learn more about her father’s country of origin in an attempt to understand the man whose absence has always been a painful void in her life. Her mom claims he was a good man, though, so that counts for something.

*While Rosa has never officially been to Kanto, Johto, Sinnoh, or Alola, she is open to visiting any of these regions. Johto in particular calls her interest due to the rich history and lore behind all the legendaries (as history and mythology were part of her studies while growing up).

Timelines

For the most part, Rosa’s threads will happen in the post B2W2 timeline / during her time as Champion. If you have a Unovan muse and are interested in writing something taking place during the plot of B2W2, I am open to discussion!

[lemonhemlock]

What do you think about some of Asoiaf antagonists like Euron , Littlefinger , Varys , bloodraven Tywin , Roose?

some controversial opinions!

i like a lot of these antagonists actually! euron is one of my faves, absolutely unhinged and genuinely scary? one of the few undeniably evil characters george included in the books, like, i don't think euron has one redeeming quality to his name. but he's sort of mesmerizing? his actions make me sick but also leave me wanting more?? also he can be really funny and full of shit, which makes characters more enjoyable for me. love euron!!! hope lord leyton whoops his arse!!!! (fervently praying to the seven) euron is The One villain i couldn't possibly woobify even if i tried, so props to him he truly is *the one by shakira starts playing*

littlefinger & varys i can't really stand. i appreciate them for comic relief (always down for a good joke) but their meddling in westerosi affairs i find very exhausting & pugnacious. like, i realise everyone is out here for themselves, so, in that sense, them being self-serving shouldn't bother me the way it does, but i can't with these two. littlefinger is a naked opportunist and, while i can admire that trait in other characters, his sleaziness and lack of charisma put me off, so into the trash bin he goes.

varys i have an even bigger problem with. generally-speaking sanctimoniousness and moral righteousness are triggers for me and i can't really stand characters that are Like That. i legit fight with people who exhibit those traits in real life, like, i am an aries so i do not back down lol you'll die with me around your neck. there has to be something else in that character to balance out these things that annoy me, i guess, but varys didn't manage to make the cut, bc that is the entirety of his personality, i'm afraid. this may ruffle some feathers but i think that his scheme with young griff, real or not, is essentially morally bankrupt, in that he's out there role-playing the head of a research institute sending out his agents into the world to carry out this political experiment that may or may not work, but will have a huge body count regardless. it's very callously cynical to me, but he expects to be congratulated on how ideologically pure and morally unsullied he is - i think that's what drives me up the wall.

i know that people really want young griff to be real but varys' grand master plan is to destabilize a country, intentionally plunge it into a civil war that'll get a lot of people killed, in order to facilitate what would be another war of conquest undertaken under aegon vi's banners. instead of trying to actively improve the lives of the common people, since he's on the small council. he's still focusing on power plays and on plots with this brainwashed belief that he's doing it for the good of the people. but is he? he doesn't even know young griff. what if he turns out to be some bad apple; how is varys to know? idk i just cannot get behind it. and i don't think the author will eventually condone this message or plot as righteous either bc i don't see how aegon's reign will last. i think varys is the type of person dead-set in their belief that their actions are for The Greater Good in a the-ends-justify-the-means kind of way, but, ultimately what he truly cares more about is being Right TM - i.e. having his hypothesis proven to be true. clinical, cold researcher/mad scientist vibes.

for roose bolton i couldn't possibly mount a defense even if i were so inclined, but i do enjoy him as a character. i think he's very funny? lmao this sounds very obnoxious after i just tore varys a new arsehole but roose is unquestionably a villain, so there's no need to pretend like he's contributing to the good of society or anything. whereas with varys there is that element to him, perhaps why i find him annoying and roose i do not. roose has some great one-liners - he was funny in the show and he's funny on the page. absolutely awful but enjoyable for what he is.

for tywin i will not be writing any significant meta until i wrap up my last phd chapter and do a proper re-read bc i do not have energy to get into that disk horse right now. i know people hate him but yes he is one of my faves. with tywin i find that he generates three types of commentaries - either people hate his guts and see everything he does in a villainous lens or he attracts the sort of dudebro fan who idolizes the ground he walks on in a v silly way. the third way is the few people who might want to attempt to see him as more three-dimensional, but, because they don't want to get attacked, they preface their commentaries with disclaimers and apologies and messages that they absolutely do not condone his actions, so much so that the observations kind of get lost along the way. i'm neither. i want enlightened centrist meta on tywin lannister. i'm a chill tywin enjoyer, an aficionado of Machiavelli deconstructions. i'd lighten up the mood a little with my quirky takes. but anyway i don't really have time for that kind of fight and tywin himself would tell me to stop procrastinating and get my work done so i'll have to listen to Daddy i guess!!!

EDIT: oohhh i forgot about bloodraven. i'm gonna be contrarian about this one bc i really don't like it when george shoves his fave characters down my throat. i can FEEL that he really wants me to like bloodraven and the blackwoods, just like he wants me to like daemon the rogue prince. and it's annoying sorry old man. i don't think bloodraven is supposed to be written as 100% evil (george wouldn't do that to one of his faves) so his human life is supposed to be guided by some moral principles - i believe that he believed he was servicing the realm with his anti-blackfyre stance and surveillance regime and i believe that even the author intends that to be true to some extent. however, i can't say the same thing about his time as a magical tree. that's just some creepy AF shit. his luring of bran, i see that as magical corruption. bran is mostly a victim in all of this, but he is kind of tainted for me as a character now, bc i don't see how anyone could be 'redeemed' after dabbling in dark magicks like that, willingly or unwillingly. it would feel like a betrayal to how magic has been approached in the books so far - like a force you have to pay a high price for if you want to access it & not necessarily a bringer of peace and harmony either. that being said!!! if we ever got a blackfyre timeline show & bloodraven was played by this dark, sylphidine, mysterious, brooding albino twink......................i am not immune!

[coffeeandjournaling]

5 Act Play

A solo journaling RPG  by Kaden Ramstack

Materials

game manual

a journal or other recording method

deck of tarot cards or playing cards

(if you use playing cards) 1d6 and 1d20

Premise

Channel your inner Shakespeare! Using a five-act structure, create your very own tragedy or comedy in the vein of the Bard of Avon: populate your play with colourful characters, give them motives and let them loose on each other. Whether you write a modern love story for the ages or a funny entertaining romp is all up to you.

Mechanics

This game is all about prompts inspiring and guiding you through the writing process of a five-act play (or more precisely: a summary of the same). Prompts are generated by drawing cards from your tarot deck or using the alternative playing cards and dice method. With the tarot deck, you alternate between drawing from the major arcana and suits. While the suits are tied to different motives and prompts depending on your progress throughout the play, the major arcana stand for themselves and need to be interpreted to inspire character creation, key parts of the narrative and ultimately the ending of your play. Sounds complicated? Don’t fret: with each step of the process comes a short but precise explanation of each part of the play as well as an example from a tragedy and a comedy each (”Much ado about nothing” and “Romeo and Juliet” respectively).

Thoughts and Examples from my Playthrough

5 Act Play is a clever little game that can entertain you for a lot of playthroughs. All the instructions are clearly worded and each step carefully thought out to enable you to write an actual play summary in under an hour. The prompts are inspired by Shakespeare’s plays and can serve both tragedies and comedies well, still requiring you to put some effort into interpreting and implementing them into your play. This can be a bit of a challenge sometimes: how do you put a death into your light-hearted comedy? Here, the examples come in extremely handy, as they feel carefully chosen to help you solve this exact problem (a death doesn’t always mean someone has to actually die - nothing is more fun than a fake death and a surprise return at just the right moment).

I hate to say this, but as a teacher I absolutely love the idea of mixing literary knowledge with a fun exercise in writing - this can be as much of a learning tool as it is a genuinely fun game. The layout, the explanations, the examples, the prompts all work together to give you a framework for your play and, almost as if it’s magic, you know what a five-act play is at the end, how it’s structured and how the plot usually progresses. I can also see this being a fun group activity with everyone creating plays individually and then reading them to each other or even crowning the Shakespeare of the day/evening. Basically, the role playing aspect is you being a writer writing a play, and there’s no better way to learn something than to try it out yourself.

Additionally, if you enjoy reading cards this is a great way to practice it: interpreting the cards based on the traditional meaning or using bits and pieces of their names and illustrations to build elements for your play, both approaches work just as well. I’m not too versed in tarot despite having had a deck since 6th grade, but it does feel like there was some thought put into which elements of the deck are used at each point in the game.

I played two times so far, the first playthrough to create a tragedy (”The Queen’s Right Hand”) and the second one to create a comedy (”The Dressmaker’s Happiness” - look, titles are hard). Now, I’m not a strong writer, so it takes me a bit to get into it and connect separate elements into a coherent story. But by the time I reached Act II the prompts simply fell into place, almost entirely on their own. The tragedy is about a Queen’s most valuable advisor, a reserved and controlled woman with the only goal to protect her ruler. When I created the antagonist, I didn’t quite know what to do with them, but drawing the motive card for “jealousy” made it clear that this is a tale of bitter and unrequited love on pretty much all sides - and then it almost wrote itself.

Is it an actually good play, though? Probably not. But games aren’t meant to produce a perfectly polished piece of writing (although they certainly can), they’re first and foremost meant to be fun. And I did have a lot of fun. So, goal accomplished. As always, you should try and make yourself comfortable in what you do. No one has to see what you write - indulge, be cringey, be cliché. I think that would even be on point for Shakespeare. Certainly by your second round you’ll feel more at ease: the comedy was a cute little romantic tale of deception, accidental kidnappings and a dressmaker who vowed to never marry falling in love with a socialite who lived under the thumb of her seemingly strict and gloomy uncle (with a duel in the middle - that one was a surprise even for me).

If you have trouble thinking of names for characters and places, I suggest having a few online name generators ready to help you out. It also works to use the cards as a guide: I drew “Strength” for one character and named him “Peter the Lion” because there’s a lion on the card...I mean. Do what you must.

I’d like to think Shakespeare would approve of this game. I very much do.

This might be your cup of coffee if...

you like telling stories and creating characters.

you want a relatively short writing challenge or exercise to flex your creative muscles.

you feel better having more of a framework to guide you in your writing.

you want to learn some literary theory on the side.

you are familiar with/want to get familiar with reading cards, specifically tarot.

You can get Kaden Ramstack’s 5 Act Play HERE on itch.io! Make sure to check out his other games as well (I for one really want to get to “Un-navigatable” soon).

[dgcatanisiri]

Foster Addison gets a bad rap for her bad decisions and abrasive attitude, but... I COMPLETELY understand why she's got that attitude, why she's making those choices.

I mean, first of all, she has to deal with Tann, an accountant who was, what, the EIGHTH link down the chain of command, basically trying to run the Nexus as his own private kingdom, that he's going around as if the other administrators should see him as their leader, when the structure of matters has him as a board member, that it's not his say-so that moves things but a collective agreement. That's gonna cause friction no matter how you look at it.

Then we move in to the fact that she's the head of Colonial Affairs, and for the year since she came out of cryo, there's been no way to establish the colonies - the Golden Worlds are a bust, the one that their people could reach, which is a radioactive waste, had the two sites fail, they're also dealing with the kett, who see all non-kett life as something to dispose of (until and unless they can harvest them and make them into kett as well, which *shudder*).

Then, of course, there's the Uprising, which depleted the reserves they had in terms of people as well - everyone who left the Nexus had a role to play in the Initiative, and now the people who were needed to serve these functions is either dead or exiled. Even acknowledging that the Initiative surely planned some margin for error in their assemblage, that's still a logistical headache.

When the Hyperion arrives, delayed by at least a year, to the point that people on the Nexus thought that the arks had been lost completely, Alec Ryder, the guy who sold a lot of the people in the Initiative on the project, is dead, and he named as his replacement not the trained second, the expected successor, in Cora, but his own kid, a decision that surely from her point of view looks like an act of sheer nepotism, that Alec was turning the position into some kind of hereditary thing, since Player Character Ryder is a smartass kid who's got like minimal credentials for the role - I repeat, they were not even in the line of succession for the role of Pathfinder, and Alec just gives them the position, and WE the audience also know that he did that at least partially because he was protecting Ellen Ryder's secret survival, there was no other reason for him to give Ryder the role of Pathfinder but those locks, he could have just given Ryder his helmet and passed the Pathfinder codes to Cora.

So her being antagonistic to Ryder, her hiring the Three Sabers, her overlooking Spender's misdeeds... All of this has to do with the avalanche of problems she's dealing with as she has a seat at the table for the Nexus turning into the largest mausoleum of Milky Way species, as the sleepers in cryo are left to suffer freezer burn and face the same hard calculus question as Vigil did with the prothean scientists and who to let die so others can live, because they can't come out of the pods until there's a legitimate source of food and supply (and we have it as a running gag that Suvi is struggling with Heleus plants being edible - at this point, their only source of food is what came with them and can be grown by them).

Her decisions are about what helps in the short term, because she can't depend on there being long term strategies - she doesn't even know if any of them will be around to suffer the long term consequences, because the game begins with the Initiative at a point where they could all die the next day. If Spender resolves issues before they hit her desk, that gives her time to focus on the bigger stuff. If the Three Sabers offer an alternative to the Pathfinder, there's something being done if and when the reckless kid gets themselves killed (and, let's face it, given just what Ryder has to do in the plot, there was every likelihood they WOULD have gotten killed). If Ryder finds her cold and off-putting and harsh, well, she's not there to make friends, she's there to keep people alive - as Ryder accomplishes things over time, she DOES noticeably thaw around them, as they prove that they're actually up to the task and getting results.

Honestly, I LIKE Addison, because she's got that progression, of starting out in a position where she can't even bring herself to hope that Ryder will be a solution to the problems to actually seeing those solutions come. She messes up, and badly... But I can't imagine anyone in the position she is in throughout the game - not the job she fills but the choices she's had to make - WOULDN'T.

[wondereads]

Personal Review (09/16/22)

Strike the Zither by Joan He

Summary

Zephyr is a strategist, a brilliant one, for Xin Ren, a warlordess. Ever since Miasma, a corrupt official, took on the role of regent for Empress Xin Bao, Ren has been working to gather enough forces to free the young empress. Zephyr knows she's talented, and she knows what she needs to do to win, but the complications are unending. No one is who they seem, not the enemy strategist, not her lost family, and not even Zephyr herself.

Plot 1  2  3  4  5  6  7  8  9  10

On one hand, I loved the political, military style of the story. This is a retelling of Romance of the Three Kingdoms, a classical Chinese work, and I've never read one of those before. The strategy is so interesting to read about, and there are so many good plot twists. On the other, one of those plot twists, arguably the biggest one, seems to come out of nowhere. It totally took me by surprise, but it felt rushed, and the context isn't explained enough. I think an extra fifty or so pages dedicated to contextualizing that twist and the new elements it introduces would have helped a lot.

However, I did overall enjoy the plot. I've said it before, and I'll say it again: I love political fantasy. The way the events of this war unfolded was so interesting, and since the story was through the perspective of an unusually clever character, we as the readers get to be privy to many details we may have missed out on otherwise. The worldbuilding is intriguing, though there's more I'd like to know. There's enough to keep the story afloat, but I do wish there was more about the political system (i.e. how Miasma came to power, who else might have influence over the empress) and the supernatural elements (i.e. the extent of their powers, especially in different forms).

Characters 1  2  3  4  5  6  7  8  9  10

I loved the characters in this book. Zephyr is my favorite kind of main character; calculating, scheming, manipulative, and wholly unashamed of it. She did what she had to do, she was prepared to make sacrifices for the greater good, but that didn't stop her from building connections. Her relationships with other people seem to make her hesitate every once in a while, adding a level of humanity, but there doesn't seem to be the sort of statement that she must choose between being capable of emotions or efficiency.

There are a lot of characters in this book, as there are a lot of moving parts, but the side characters are done well for the sheer number of them. My personal favorites were Crow, Ku, and Tourmaline. Some characters seemed pretty one-dimensional, but I feel like everyone had a little bit of depth to them by the end. Ironically, some characters only got that development after they died, but it added to the emotional weight. The only thing I could say is that Miasma, the antagonist, while she's interesting, doesn't have much depth. It's unclear whether she's seizing control to serve her own, power-hungry ends or if she has a greater reason for her actions.

Writing Style 1  2  3  4  5  6  7  8  9  10

For the most part, I really like the writing, but there were some parts I just couldn't ignore. Most of the book fits the setting, a high fantasy world based on Ancient China, but there are certain lines here and there that are so crazily anachronistic. For example, one of the characters, a more formal one at that, says "Hey, is everything okay?" It's such a modern, casual phrase that it sticks out like a sore thumb, so much so that I was actually stuck on it for a while. If those occasional bits would be fixed, it would greatly help the immersion of the piece.

Also, I briefly mentioned this in the plot area, but this story is pretty rushed. I appreciate when a book is fast-paced, but this just went by way too quickly. For the kinds of developments that were taking place, the story desperately needed to slow down, take a breath, and explain things before moving on. For example, Zephyr plays the role of a double agent for a good portion of the book, but we don't really get to see her earning Miasma's trust. Instead, she's immediately put on the front lines opposing those she supposedly betrayed, and it feels unrealistic. If this book were fifty or a hundred pages longer, I think it would benefit it drastically.

Overall 1  2  3  4  5  6  7  8  9  10

I did really like this book! I'll definitely be reading the rest of the series, and I loved the characters, especially Zephyr. However, there are certain issues, especially with the pacing, that are pretty glaring looking back. I think the overarching plot and characters did a lot of heavy lifting; looking closely reveals a lot of issues in the smaller details. I would still recommend this book—it did a pretty amazing job with the space it had, I just really wish there was more.

The Author

Joan He: Chinese American, also wrote Descendant of the Crane and The Ones We're Meant to Find, started writing fanfiction because of Spirited Away

The Reviewer

My name is Wonderose; I try to post a review every week, and I do themed recommendations every once in a while. I take suggestions! Check out my about me post for more!

[about-faces]

Have you read Harleen and if so what are your thoughts on the Harvey Dent subplot in that?

I read it when it came out, and I keep meaning to buy the trade and read it through again carefully. I have very mixed feelings about that Harvey.

It was interesting how big his role was in the story, and how he served as a parallel to Harley, right down to some wordplay about their names that seems like the kind of indulgent cringe thing I'd write! The idea of him inspiring an army of fascist vigilantes is also interesting, and it's something I'd have liked more if it happened several years ago. Now it just leaves me with a bad taste in my mouth. As much as I want to see Two-Face as an antihero, I don't think my preferred version of the character would appreciate or respect that kind of following.

As a character, he was surprisingly interesting to me despite also being a political jerkass who served as an antagonist for Harley. It helped that Harley's narration also reflected her own sense of regret and empathy for how they both fell from grace, and both with the best of intentions. He wasn't a bad man, but he had to play one in Harleen Quinzel's own story. At the same time, he wasn't particularly likable either, except for the scenes where he starts to hear the other voice. And that was also bothersome, since I don't recall Šejić explaining where the hell his mental illness came from. I'm tired of stories treating Harvey's mental illness like an afterthought.

However, the story committed one of the biggest cardinal sins of bad Two-Face writing: "best two out of three?" Look, the only version of that I can come close to accepting is Batman 89, and even then, I feel like it's more nuanced and complicated that him just cheating.

All in all, it felt like a Two-Face origin that ended up being bigger than Šejić intended (he originally only wanted Harvey in one page, as a patient in Arkham), written by a guy who never particularly cared about the character before this. That was the impression I got from an interview with Šejić I read at the time and now, of course, can’t find. This was a Two-Face entirely created to serve Harley's thematic and plot needs, taking a backseat to her story, and his character suffered for it. Which sucks because I otherwise REALLY REALLY REALLY liked Harleen.

What's worse is that we're seeing it happen all over again in Catwoman: Lonely City, where Harvey is once again reduced to acting out-of-character as a dickhole, fascist politician in order to be Captain No-Fun against a beloved female antihero/antivillain, written and drawn by a masterful creator's otherwise-wonderful Black Label story. And both stories are AWESOME IN EVERY OTHER WAY except how they handle Harvey!

"If I had a nickel" meme and all that.

[petalsmooth]

When you read a long thread about how they dislike Polin and if up to them Penelope would be "independent" alone etc. etc (pretending they want this because they care about the character)...and how they hope another storyline overshadows their story like the Featherington's overshadowed Kate/Anthony and end up with tags for Kanthony.

Way to prove what everyone thinks of your fanbase as being true and invalidate EVERYTHING you said about Polin.

The Featherington's did NOT overshadow Kate and Anthony. Kate and Anthony had the most screen time. The damn triangle overshadowed your precious couple. That isn't Charithra's fault either, she did her job. It's the former showrunner and others who signed off on the plot.

It will never cease to amaze me why that fanbase continues to embarrass themselves claiming the Featherington's impacted in ANYWAY their storyline. They were around in season one you know and Daphne and Simon's story did quite well. Luke, Nicola and the Featherington characters had nothing to do with the mess that was Anthony proposing to the wrong sister while the sister he actually loves denies her feelings most of the timeline and then insists he keep the engagement when he is looking for a way out.

As for a story overshadowing, it isn't going to happen. As bad as that story was, it still was the main plotline. As will be Colin and Penelope. Nothing will overshadow that. Except maybe a Whistledown reveal to the ton but that is part of their story too soo...

However if people enjoy other stories that cool with me because I'm hopeful I will too. Unlike these nutcases, I actually like the Bridgerton's and Will and while I don't love Portia and Prudence (because their characters thus far haven't been lovable) they serve their roles as antagonists/villains/comedic relief well depending on what they are given to play.

When I say I don't love them btw, mean the characters. I LOVE the actress playing Portia. But like with Marina, she hasn't presented herself yet as a person I could like. I can understand certain motivations driving choices made, but that doesn't mean I have to LIKE you. There are some other characters that do things I may not agree with, but show more conflicted feelings about what they've done. Portia and Marina for the most part never rarely have done so and usually just when caught out. It isn't the same thing.

The first time I felt anything actually real from Portia was the last episode of season 2 when she makes it clear Lord Featherington trying to ditch her daughters was a line not to be crossed. Even if she doesn't always (often) treat well, you did finally see her a mother for one.

And I want Francesca to marry John because I personally like her story with Michael and you can't get to that one without the one with John. Which may sound horrible as means he dies, but this is fiction. Not real life.

And I like seeing Cressida constantly upstaged given the way she acts and Lady Danbury although really I hate the sl from Queen Charlotte for her with Ledger so I'm less enthused because of that....and I love Queen Charlotte and so forth. Personally I think some people need to get over themselves, realize you can love all the characters and otherwise shut the hell up about their narrow view of a Kanthony hour only. Because you will never have that. No "couple" fan ever will.

[bookalooza]

How to craft secondary characters in story writing?

Writing a captivating story isn't just about the main characters; you also need supporting characters who give your plot depth and complexity. The creation of secondary characters is essential to the reading and interest of your narrative. This blog will explain secondary characters, go over the basics of story writing, and offer easy-to-follow instructions for creating these characters.

Secondary Characters: What Are They?

In your story, secondary characters are the supporting cast. Secondary characters are just as important as the primary ones in terms of moving the plot along, generating suspense, and developing the universe of the novel. They could be anyone who interacts with the main characters, including enemies, mentors, family members, and friends.

Understanding Story Writing

The art of creating a narrative that takes readers on an adventure is known as story writing. It involves creating a universe, creating characters, and crafting a story that holds the interest of the viewer from start to finish. A skilfully written story leaves a lasting impression on the reader by interesting, educating, and inspiring strong feelings.

Steps to Craft Secondary Characters

Describe Their Goals

Before introducing secondary characters, understand their role in the story. What function will they serve? Are they there to support, challenge, or guide the main character? A clear purpose will help you develop them effectively.

Create Unique Identities

Secondary characters should have distinct personalities, motivations, and quirks. Avoid making them one-dimensional. Give them their own aspirations and backstories to make them feel real.

Develop Connections

Consider how your secondary characters interact with the main character and each other. Are they friends, foes, or allies? Define the dynamics between them to add depth to the story.

Create Their Arcs

Just like the main character, secondary characters can also undergo personal growth or change throughout the story. Their arcs can provide additional layers to your narrative.

Don't Tell, Show

Instead of describing secondary characters' traits, show their qualities through actions, dialogue, and reactions. Let the readers discover who they are naturally.

Improve Their Appearance

Secondary characters shouldn't overshadow the main characters. Find the right balance to ensure they enhance the story without stealing the spotlight.

Utilise Them to Progress the Story

Secondary characters should contribute to the plot's progression. They can offer guidance, pose challenges, or reveal important information. Make their actions purposeful.

Give Them Flaws

Imperfections make characters relatable. Secondary characters can have flaws, fears, and insecurities just like the main character. These flaws can lead to interesting subplots.

Make Them Memorable

Create secondary characters your readers will remember long after they've finished the story. A distinct trait, a memorable name, or a unique quirk can help in achieving this.

Ensure Uniformity

Maintain consistency in the secondary characters' behaviour and traits throughout the story. Sudden, unexplained changes can disrupt the reader's immersion.

Some examples of Secondary Characters

Let's look at a few examples to better understand the role of secondary characters in storywriting

The Wise Mentor

Think of Gandalf in "The Lord of the Rings." He guides and empowers the main characters, offering wisdom and assistance.

The Comic Relief

Consider Ron and Hermione in the "Harry Potter" series. They provide moments of humor amidst the intense and dark plot.

The Antagonist

Darth Vader in "Star Wars" serves as a formidable antagonist, driving the conflict and challenges faced by the main characters.

The Love Interest

In "Pride and Prejudice," Mr. Darcy and Mr. Bingley play vital roles in the romantic subplots that entwine with the main storyline.

Conclusion: Secondary characters is a crucial part of crafting an interesting story

Creating interesting secondary characters is a crucial part of crafting an interesting story. They give your story greater depth, excitement, and character, which helps readers find it more interesting and understanding. You may write memorable secondary characters that enhance your plot and make an impact by using the easy strategies described in this blog. So go ahead and add interesting supporting characters to your next novel to make your universe come to life!

[k-dokja]

If your not busy I’d like to hear your reasoning on why you believe ptj is sexist (I agree for lookism but I don’t see it as much in htf)

HtF has the same problems as Lookism in terms of the girls acting solely as love interests or supporting cast.

They don't really play a pivotal role in the story aside from being additions to the boys or their eventual prizes. The fact that three girls out of the main cast all crushed on Hobin at some point is already sketchy. At least, Rumi gets a somewhat of a development outside of him. You can't really say that for Bomi or Gaeul, who both mainly jump around in plot device roles or love interest roles. I really like Gyeoul, but she, too, suffers the same problem of being a shallow antagonist who later turned ally for plot convenience. We don't really see any character development for these four girls, save for Rumi.

...Now that I noticed it, the author really likes to show character development for seemingly shallow girls. Which is nice in a way but it really doesn't set up the stage to develop other girls who are already nice to begin with. Even the “bad” ones don't really get character development either, they just side with the protagonist for plot convenience.

We never saw how Gyeoul went from a reserved/abandoned girl to the current her. Meanwhile, Wangguk got all of that plus his arc got expanded upon with his rivalry against the senior in the juvenile prison. That and a love interest of his own which became his motivation to get stronger.

The girls don't get stronger. The girls always get protected. The girls don't really have their own arc beyond their love interest, again, save for Rumi. Women always feel inferior and helpless in his writing, even the ones who are supposedly "in power". Lookism is more obvious with Vivi, Mitsuki, Sowol Jin, but for HtF, we does have Hyeyeon... You know, Ms Prosecutor.

She literally showed up for a few chapters to set up convenience to move the plot forwards then died immediately after with a backstory... about her romance with another male character. She also served to be her father's main motivator for the last arc, too, which, again, makes her no more than a plot device.

The female characters are always overshadowed by the male characters and given very little care for in terms of development. They don't seem to function at all during needed moments either. Even the ones capable of fighting don't often get shown fighting during crucial moments (I’m looking at that one scene where Gaeul and Gyeoul stood in front of the van in battle-ready pose only to get saved by three XJ boys and Gaeul's dad)

It's not outright antagonism, but it's definitely a demeaning point of view.