#character growth is positive even when the character's actions aren't

[mikkeneko]

Have been pondering, following the latest round of "But why don't authors LIKE it when we leave unsolicited concrit on their stuff? :|a Don't they want to IMPROVE?" discourse:

How do fan authors improve? Because it's not, by and large, through concrit. Some authors have never gotten any kind of concrit, and still improve. I've gotten some in the past, and it definitely was not helpful towards improving my growth as an author. Some authors never have a beta, and yet they still improve.

So. If not through a workshop devoted to the process, or a classroom style series of lectures, or a dedicated editor, how do authors improve over time?

I would say, based on my 20+ years of experience and observation, that improvement as a writer comes in three ways: Practice shaped by self-observation, practice shaped by non-critical feedback as positive reinforcement, and observation of other authors.

Fandom has always been a space where people of different ages and skill levels interact. How it works, generally, is that a new author comes into the scene and presents their work. Readers -- some of whom are authors themselves -- will leave feedback praising the parts they like. Writers will then adjust their style on the next piece geared towards eliciting more of the things that readers said they like. However, in a vacuum, they won't necessarily know what to adjust towards, or what new things to try that they aren't already trying.

But at the same time, these young authors are usually (though not always) reading works by more experienced authors in the fandom. They can see, based on popularity stats and feedback left by others, what people like. If they want more of that attention themselves -- or, just generally, if they want to be part of the community -- they will adjust their works to incorporate more of the parts they perceive as successful with the audience.

They will also -- the more they read, and the more they write -- come to internalize an understanding (often, not even a conscious understanding) of the moving parts that go into a story, of what makes the work work. How to pace a scene, a chapter, or a longer work. How the characters talk, and how different characters talk in ways that distinguish their voices. What sort of language works well to describe an action scene, and what is confusing and uncertain. What words are sexy and what words will jar you right out of the mood. They will pick up these tools by observation, and hone them through practice.

The down side of this, of course, is that sometimes the authors they are observing and imitating may have... less than ideal writing habits themselves. Certain tropes, flanderization, headcanons divorced from the original canon, or various other things can become endemic in a fandom due to this -- but also much simpler and more straightforward writing quirks. (The infamous oh is an example of these.) Sometimes things that I won't necessarily say are bad, I will just observe that they are not correct.

And this is how you got an entire generation of fanfic writers using strong endings on verbs that, in modern English, take the weak ending.

[mageknight14]

I think an interesting thing about both TWEWY games after replaying them is that, when you look back at them, Neku isn’t really punished for his flaws in comparison to Rindo and when he does suffer, it’s mainly through external factors that’s tied to his development as a person. On paper, it's pretty clear that Rindo is punished more heavily for his flaws (or at least more severely near the climax): his bouts of insecurity and fear of accountability made him the perfect candidate to be Kubo's puppet, and as such, he relies heavily on the Replay to the point where he basically assists in creating an all-powerful noise that is beyond their ability to erase, all but guaranteeing Shibuya's doom sans Haz's interference. Neku’s flaw of being tactiturn isn't something constantly producing conflict for him throughout the game; he overcomes a significant portion of his flaw by week 1; and the rest of the punishment he receives mostly comes from the reapers being unfair dicks to him. Neku does struggle emotionally during week 2 and 3, but it has less to do with his flaws and more to do with him having legitimate reason to doubt whether or not he can trust Joshua and Hanekoma. Throughout the game, his doubts are articulated very well through narrative action, but these doubts aren't a result of his own isolation and delusions, you know?

The closest it gets to that point is where Neku heavily blames himself for not trusting Joshua more when he chooses to "sacrifice" himself for Neku’s sake, but that whole instance actually makes Neku more retroactively justified when he finds out the truth about Joshua’s true nature. Not to mention Joshua was giving him plenty of reasons NOT to trust him so mistrust wasn't really a product of Neku's loner demeanor; Joshua was legitimately gaslighting him throughout the entire second week.

But I actually don’t think that’s a flaw within the narrative. Quite the opposite, in fact. The thing to keep in mind about Neku was that he was essentially having his character arc in both directions. He was both having to learn to be a better person and directly confront his propensity to shut people out and refuse to rely on external help, while also trying to piece together who he even was before the Reaper's Game. He’s not given enough of a foundation to lay out who he was and what his deal is to the same degree as Rindo because for both Neku and the player, things start in medias res. He literally has no idea about who he even is as a person besides his name at that point of the story.

I don’t think Neku’s flaws not really affecting him is a problem with the narrative itself considering how people do call him out on his behavior and he does change immensely throughout the game. One could argue Neku becomes nicer a little too quickly given his few days with Shiki, or that in week 2 onwards, his distrusting personality isn't as prevalent; but on the other hand, Neku's growth from week 1 is challenged and put to good narrative use, because now he has to be willing to exercise patience and understanding with other people, especially since he has something worth fighting for that isn't just himself. W2 with Joshua is meant to teach Neku that not everyone is going to be sweet like Shiki, but regardless, you should at least make an attempt to understand such people, even if you end up never really liking them. Expand your world to include people, even if they think or act differently from you. By W3, Neku is now put in a position where he has to learn that caring about people isn't just about being nice to them or trying to understand them; it's also about being dependable enough to support others in need, which he develops into with his time with Beat. From that sense, OG TWEWY doesn't present Neku's flaws as a constant force he has to battle throughout the game, but flips this concept on its head and instead presents his arc as having to learn how to practice being an empathetic human being; something he shut himself from trying to do after the trauma of his best friend’s death.

Neku doesn’t really hate people like he claims that he does at the beginning. He actually loves people. And he fucking hates that because it just leads to him getting emotionally hurt. He doesn't want to get hurt more than he already has and that’s the reason he pushes people away because he's scared he'll end up caring about them and getting hurt again and it’s why he’s heartbroken after Rhyme’s erasure and when he finds out the truth about Joshua.

I think that's really interesting in itself. By the rules that the Reaper's Game is supposed to usually operate by, Neku won with flying colours in week one, but because of circumstances being what they were, Kitaniji had to cheat and keep players from getting their resurrection wish. So Shiki is whisked into reaper-jail as a new entry fee, and Neku is forced into yet another game, even though he should have qualified for another chance at life as he was. The development of his character from amnesiac misanthrope into someone who actually trusts another person is so stark that it feels like you're playing as a completely different guy... but then week 2 rolls around and Neku's partnered with Joshua, who very intentionally pushes his buttons ceaselessly and tests him further.

Rindo on the other hand, has his flaw presented as a constant force throughout the narrative, and presents his growth through it more organically. Everytime he does Replay, he’s essentially forced to take charge of his life and grows more confident and assured in his capabilities as a leader while also becoming more and more heavily reliant on his time-travel abilities to carry him throughout the journey, acting as a double-edged sword in that sense.

He also begins to grow out of his paranoia in regards to other people, having a habit of riding others' coattails and seeing them for their performance value first, personality second (Minamimoto, Beat, Neku when he was seeking him), especially if it's something he's heard about them (Neku the 'Legendary Player', Nagi having a 'bunch of pins') AKA, again, others' opinions.

He slowly gets better with his willingness to take accountability for his choices, but even in the final week, you still see that while he's made strides, he hasn't quite nailed the confidence just yet, and he even still relapses from time-to-time. Some people seem to look at this as a flaw of the game but I actually quite like this and I think it makes Rindo an interesting contrast to Neku as a protag.

His arc shows that you even if you are changing, change isn't like a switch; you don't just all of a sudden stop making mistakes tied to your flaw and it shows when he starts to delegate towards Beat and Neku’s judgement when they come by to start taking a load off of his back. He basically falls into a cycle of:

>improves

>falls into old habits

>improves

>does bullshit again

>improves

Until it culminates into Neku officially joining the team and unofficially taking Rindo’s role as the leader, telling him not to time-travel since it might cause more Dissonance only for Rindo to actually break this cycle and go against what Neku says in order to not fall for Susukichi’s trap.

It’s why his convo with Haz and his final choice is so impactful for his growth; with no outside influences, he has to make one of the hardest decisions of his life and he works his ass off towards making the second chance he got count.

Rindo isn’t the easiest protag to like as a person even in spite of how seemingly more well-adjusted he looks to be compared to Neku. He constantly fucks up, acts really passive-aggressive when confronted on his flaws, and said flaws don’t immediately jump out like Neku’s did. The last part might seem confusing but people tend to attach themselves more to a character when they let you know what they’re about upfront, which is what Neku did quite bluntly at the beginning of the game ("all the world needs is me.") And if you’re not reading into Rindo’s actions and his head, a lot of his characterization can fly over your own head.

It even plays into the themes of both games. Even when Neku got screwed over by the machinations of the game, he was at least able to make some semblance of a difference throughout each week such as taking down the respective Game Master. But with Rindo and the gang, almost every victory they earn gets taken away from them due to another factor out of their control.

"Oh, you took down Susukichi? Too bad, Shiba says fuck you, start the Game over. Oh, and Sho is gone too."

"You took down Motoi? Congrats but he was actually a victim of the same system that you’re all a part of and is basically a desperate man on the brink of despair, which Rindo is forced to acknowledge, especially after Motoi himself passes away the next day."

"Speaking of the next day, you’re starting to form a counterattack and actually fight back against the system but oops, Shiba is here yet again to say, fuck you, do it again. Oh, and Susukichi was just playing pretend the entire time."

Not even taking down Shiba himself is enough to give them a reprieve because Kubo shows up to immediately undercut that sense of relief by revealing himself as the true villain and having Rindo’s very own powers kill his friends. Ain’t that a bitch?

But I think that in itself makes Rindo an interesting protag, at least to me. He’s the epitome of an NPC who got stuck with the protag role that he wants absolutely nothing to do with in spite of the world itself telling him to get his shit together. Hanekoma even initially writes off him at first due to only having average Imagination. But, after everything he’s been through and his character development, he’s finally able to find his own footing in the world and stand tall as the leader of the Wicked Twisters, ultimately saving both his friends and the city.

The main point I’m getting at here is how both games play with each protag’s arc in a way that neatly contrast one another and show off their respective writing styles quite well. TWEWY as a duology is fascinating to dig through and I really appreciate how multi-layered the games are.

[writingquestionsanswered]

Hi there,

I have a nasty habit of falling too in love with my side characters and making them protagonists, expanding the plot to involve them more. I started out with two POVs and now I'm wanting six, which is just way bigger of a project than I was hoping for.

Is there a way to properly tell the story of a side character so that I can scratch that itch without making them a protagonist? And/or a way to decide when a side character *deserves* to be a POV character?

Thanks!

Side Characters Keep Turning into Main Characters

I think it's worth starting with a quick refresher on different character types...

Protagonist - The protagonist is the primary character responsible for driving the plot, whose growth or change is most important, and who has the most at stake in terms of whether or not the goal is reached. Most stories have one protagonist. Some stories have two or more, but it's extremely rare. Even in ensemble stories and stories with multiple POV characters, there's usually a single character whose choices, internal conflict, and change arc play a stronger role in driving the story... and as such, that character is the protagonist. In the original Star Wars trilogy, Luke, Leia, and Han Solo all played an important role in fighting the empire, but it was Luke whose story and actions played the biggest role in driving the story. In the Six of Crows duology, Kaz, Inej, Jesper, Wylan, Nina, and Mattias were a team, all with POV chapters and their own important roles in the plot, but it's Kaz's story, choices, and change arc that are most central to the story and drive the story forward. In the Raven Cycle (or at least most of it) although the story is about Gansey, Blue, Ronan, and Adam--and they all have their own internal conflicts and roles in the story--it is Gansey's quest and his steering of that quest that these characters are primarily united behind.

Main Character - Technically, a "main character" is one who serves as the audience surrogate as we experience the story through their eyes. This would be the case when the protagonist is not the main POV character, such as in The Great Gatsby which is about Jay Gatsby, but the story is told through the eyes of his friend Nick. Whereas Jay is the protagonist, Nick is the main character. In The Raven Cycle, Gansey may be the protagonist, but Blue is the primary main character... or, at least, the first three books all begin with her POV which positions her as the audience surrogate.

However... like it or not, the use of "main character" has evolved to mean "the most important characters" of a story. The characters the story is mainly about. So, Luke, Han, and Leia. Kaz, Inej, Jesper, Wylan, Nina, and Mattias. Gansey, Blue, Ronan, and Adam.

POV Characters - Any character, technically, can be a POV character. POV characters are simply characters whose POVs are used to tell the story. Stories can have one POV character, like Bella in the Twilight Saga, or two POV characters like Sean and Puck in The Scorpio Races, or four POV characters like Gansey, Blue, Ronan, and Adam. Or 24 POV characters like in A Song of Ice and Fire.

Typically, though, POV characters are main characters... both in the sense that they're the characters who are telling the story, and in the sense that they are (usually***) the most important characters in the story. (*** Though occasionally you may have an errant POV from a non-main character for various reasons...)

Side Characters - Any character who supports a main character and/or the protagonist of the story.

Background Characters - Characters who exist to fill a small role, such as the protagonist's teacher or a parent who appears periodically.

Another way to look at it: primary characters (protagonist/main characters), secondary characters (side characters), tertiary characters (background characters.)

Now, given all of that, I'm guessing your side characters aren't becoming protagonists, but rather main characters. And yes, because of the definition of a protagonist vs a main character, that does matter and is helpful to know in understanding how to unravel and prevent it.

When you say you're "expanding the plot" to involve them more, that's concerning, because if you're adding plot points simply to include these characters and not because they're crucial to the structure of the story, that's just adding filler.

So... is there a way we can tell the story of a side character without giving them more focus than they need? Yes...

Weave the Details In - The most common way to do this is to simply weave their story details into the larger narrative. You can explore their internal conflict through conversations with other characters, how they support the protagonist and interact with the other characters, their thoughts and feelings, their personal goals and dreams, their behavior, and the decisions they make. For example, Haymitch is a side character in The Hunger Games trilogy, but we learn a lot about who he is and why he is who he is, because of his own experience in the Hunger Games and as a victor of the Hunger Games.

Write a Companion Story - If you're writing mainstream or genre fiction, you might consider writing a companion story for these characters. Companion stories often center on secondary characters, giving them an opportunity to shine on their own outside the main plot. Companion stories can take place during the main story's narrative, filling in "off-page" details of the secondary character's story.

For example, in the Twilight Saga: Eclipse, Bree Tanner was a young vampire turned by Victoria to serve in her "newborn army." She is first encountered in Eclipse when she surrenders to Carlisle and Esme after surviving the defeat of the newborn army. To Carlisle's dismay, the Volturi show up and have different plans for Bree... rules about child vampires and all. Bree's story... being turned, being part of the army, and her ultimate fate, are explored in more depth in the companion novella The Short Second Life of Bree Tanner.

Depending on your publishing goals, companion stories can serve a variety of purposes. Like TSSLoBT, it can simply serve as another book to be released, but some authors use companion stories as newsletter bonuses, special edition bonuses, tier benefits for crowdfunding... the sky's the limit.

And finally...

How to tell if a side character deserves to be a main character: It isn't about "deserving" so much as it's about the importance of their role in the story... or the importance of their potential role. If they can serve as the audience surrogate, or if you can give them enough things to do that help to drive the story forward, they can be a main character. But unless they serve that pivotal role that makes them crucial to the events of the story, they're just not a main character.

I hope that helps!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[pikahlua]

Give one reason how Deku is a good character. He went so trash after his dark arc, where his self destructive tendencies that I thought would lead to an actually good character arc is cured by a bath, Deku has ZERO thoughts or introspection. His anger at Bakugo’s “death” doesn’t show any growth, it turns into a moment for Mirio. He was only a character, when he dragged by Toga and that’s not even his villain or plotline. Then, he turns into a ridiculously OP gary stu that’s UNEARNED & RUSHED!!

Why are you coming to me about whether or not Izuku is a good character? Do you know who you're talking to?

Why aren't you asking an Izuku stan this question? And if you do, be fucking polite about it. Yeesh. Your attitude is why I have no compunctions responding in kind.

For what it's worth, it's not a good argument to say a character is bad just because their arc didn't go the way you expected. That's a position I have definitely said before. Try learning about the diversity of character arcs. Lots of Japanese media utilize circular rather than linear character arcs. I don't know if that's how Izuku will end up, but it's absolutely a viable path if that's what Horikoshi does.

But if you're gonna try to argue with me about something, you better make it clear you're doing so in good faith. "Self-destructive tendencies cured by a bath?" What, did you sleep through that whole Class 1-A vs Izuku bit?

His anger at Bakugo’s “death” doesn’t show any growth, it turns into a moment for Mirio.

No, it's a moment for Mirio AND it shows Izuku's growth. What else would you call the difference between Izuku's reaction now versus in the Paranormal Liberation War?

Plenty of good characters have zero thoughts or introspection. A character doesn't have to be a POV character to be a "good" character. Izuku shows his thoughts through actions. I'm grateful we don't have to hear most of his thoughts this arc because they would just be painfully repetitive exposition and fluff such as a moral stated so many times it comes across as desperate. Such a thing would only have served to make this arc longer and slower for no good reason.

What you're really complaining about is that Izuku's depiction has changed. You liked the way he was written before better than how he's written now. Good for you, you care about execution. You're a small details person. Execution is not the only thing that goes into making a character though.

And way to ignore all the other things Izuku did this arc, like the sass with Kudou as he flew over the ocean; the fight with Tomura where Izuku maintained that Tomura is human despite Tomura's professing; the reveal by Kudou of Izuku's core since childhood; the pain of losing OFA he felt that Nana recognized; his stubbornness pushing past Tomura's defenses to get to Tenko's traumatic memories; his insistence to keep holding Tenko's hands despite the damage it caused himself; all of his actions fueled by his desire to understand Tomura.

Y'all seriously just throw around words like Mary Sue and Gary Stu without actually knowing what they mean, don't you. Honestly, whenever I see anyone use those terms, that's a huge red flag for me. It's just a nebulous catch-all term you're using for a character you don't like. Congratulations, you don't like him. You're totally within your rights to dislike him. Don't make it my problem though.

[plantsjustwannahavefun]

I am once again begging Ed stans to understand that it's possible to love Ed and believe he deserves love AND also admit that he mistreated and tormented the crew during the Kraken era. Not only is this possible, this is the position the show wants you to have. You think Izzy deserved everything he got? Fine, whatever, forget about him for a minute. There's a whole crew in there you're supposed to empathise with and feel sympathy for, too. The six of them that Ed actively tried to kill or left for dead, for starters. Pay attention to the crew's experiences and reactions. They're shown to be traumatised, grieving, clinging to disassociation (Frenchie) and nihilism (Archie) as coping mechanisms and suffering from PTSD flashbacks. And, since this type of fans constantly go on about how it's racist to think Ed did anything wrong... what about the fact that a lot of the crew are PoC too? What then?

If you've watched the first 3 episodes of S2 and there was only one person on that ship you felt sorry for, then you're not a fan of OFMD, you're just a fan of Ed in isolation. And if the only way you can love Ed is by denying that he ever did anything wrong, then you're completely missing the point of the show. OFMD never said that people only deserve to be loved if they're morally perfect and flawless. The show doesn't subscribe to the dichotomy of Good vs Bad. Good people can do bad things. They can hurt the ones they love. Even if they didn't mean to, even if they themselves were suffering at the time, it doesn't mean they don't need to take responsibility for their actions or avoid the consequences. Stede didn't mean to hurt Mary and his kids when he left, but he still did. He had legitimate reasons for leaving, he didn't just do it for the lolz, but it was still wrong and Mary was right to be angry at him. And Stede needed to face up to this - not just for their sake but his too. Even though it turned out their lives were better off without him, reconciling with Mary was still crucial for his character development.

It was the same for Ed, it just didn't get handled quite as well due to lack of screentime, but the idea was the same. When Ed realises he'd been cruel to Fang and apologises, he isn't sinking into self-hatred and despair. Quite the contrary, this is a moment of growth for him. Because the fact is, just because you as a human being are inherently worthy of love doesn't mean you can go around hurting everyone and expecting them to put up with you. That's just not how it works. You don't need to be perfect, but you do need to listen to people when they tell you that you hurt them and apologise genuinely and try to be better. The show is very sympathetic to Ed but it does NOT excuse his actions. The crew aren't portrayed as villains or antagonists for being scared and angry at Ed for what he did to them. Even Stede was on their side with this one. If even Stede is able to see things from the crew's POV and have sympathy for them, then you should too. Stede doesn't love Ed because he sees Ed as a pure uwu angel. He loves Ed... because he just does. He loves being around him. They really click together. They have so much in common. That doesn't mean he approves of literally everything Ed has ever done. It just means he loves Ed despite that.

[mysteriouslybluepirate]

Just did a rewatch of OFMD S2 Eps 6/7 and: (Yes, it DEFINITELY got better)

*All pacing issues and some cast being in scenes when others aren't is the fault of the studios being cheap and not the writers/creators. :) Flying the cast to New Zealand + housing them for filming meant some crew just couldn't be there (Fang, Roach, Olu) or mostly written out (Buttons, Swede).

The reason this season feels *weird* is just that. It is not the fault of the actors or any of the workers in New Zealand who got jobs because they were the cheaper, nonunion, option.

I was mainly mad due to some pacing things that, after I thought about it, I don't think *I* was ready for them to make jokes about, if that makes sense. Izzy is such a personal character for me that some of the stuff they joke about just...hits.

*While the show kind of blowing off Izzy's repressed feelings for Ed did originally piss me off (the 'jealous' comment from Ed in ep 7 especially), reframing the scenes as Izzy letting himself mourn this and seeing how easily he lets Ed go does make me happy. He will love Ed. That's just a fact. But he is not his relationship with Ed he is defined by what he does with it. Yes, they can joke about it. Izzy has probably defined their relationship as something that just can't happen. Either by thinking Ed could never love him or that Ed never cared. Izzy knew Ed's attention was always fleeting and MAYBE that's some BS way we can say eps 5, 6, and 7 happened within a few days of each other. Because...if Izzy is just repressing everything again. I swear. This show will not give me the polycule I want.

*Stede and Izzy work so fucking well as friends. Like. Izzy knows how Stede will use the bar as validation and is READY to fight for him. Stede knows Izzy will stand to fight with him. The way Izzy looks so DONE when Stede starts to fight? Izzy just lost Ed god damn it. That, and the thigh grab will be in my head forever... stizzy fans also win.

*Imagine having sex with the only person you've ever loved and they ditch the next day. Add that to Stede's own insecurities and it's like the writers had a checklist on how to break Stede Bonnet.

*Ed is leaving a manic period (started maybe ep 2), and entering a depressive period in episode 6 where he remembers 'oh yeah, I fucking hate pirating'.

*Both Stede and Ed want very different things in life and this conflict was always going to happen. But at the begining of ep 6 we see Ed replaying the abuse he's caused/experienced. He's mentally framing himself as a hazard. Stede enjoys the life Ed is desperately running from. This is why Izzy is so quick to grab Stede I think. To help him understand that Ed is just...a complicated man.

*Izzy was right about Ed needing to give Stede some time to sit with the death of Ned Low. Ed barging in allowed Stede to put his negative feelings into something positive, not fully allowing him to process his actions. Ed then uses their first time as an excuse to run away.

*Izzy is hot in both episodes :) End note. But for me, the reason the Drag scene felt weird on first watch is just that I can't read half the cast's face soemtimes. Its a me thing. On this rewatch I noticed them cheering and generally being more supportive, lol.

*I wish we got to see Izzy putting the drag makeup on. Even just a line of concealer. Putting on the character he'd embody for the night. Drag is such a practice of self realizion and community. I wish we got to see Izzy staring at himself, applying the mark on his face that he clearly loves so much.

*The concept of Ned Low- A vicious torture-focused pirate, sadly was handled like a minor inconvenience, and... while I like the masochism joke from Izzy, and the implications for Stede's arc, he felt weird and out of place. Like. Instead of tying Low's bad management to something like the Navy, why not the Kraken? The stuff was there for it. Show how shitty working on a ship that prioritizes violence is, and mirror it with Ed's growth.

*I love the ship design for Ep 6 so much.

*The Ed&Izzy apology still bugs me but I have hope Izzy and Ed will talk it out a bit more after talks with some of the lovelies online

*I love the crew but acknowledge that this season has shafted a lot of stories. Clearly, the writers did what they could.

*Izzy's 'love interest' this season is clearly just the 'community/self' and finding comfort in humanity again...its so GOOD.

*Izzy casually making sex jokes is so weird. Like a coworker you've known for a few years that finally starts talking shit with you on the job. It feels weird to me now, but I also write him like this? So it's a lot of wires crossing in my mind. Like...he FUCKS!

*Same with Izzy smiling. It feels wrong in the best way. Again, I wish we had ONE MORE episode of Izzy being in the middle of healing, but this more self-realized Izzy is lovely to watch.

*They changed the gender of the song Izzy sings so he's singing about a man. I will not be normal about this.

*I'm so happy I caught Izzy's hand being that FUCKING HIGH on Stede's inner leg first watch. It's changed me. Izzy really said 'When the dogs are away the cats are out to play' and POUNCED.

*I didn't catch Izzy pointedly calling Stede captain until I saw it online and now I love it. Stede adopted the stray cat and god damn he'll stay loyal until the day he dies.

*Spoilers for the teaser: If the series Ends and Izzy is in solitary confinement/Izzy is locked away from the others I will scream

*"Hiya, Boys" I LOVE HIM. Izzy confidently grinning and being a prick is my favorite.

*izzy loving Ed enough to let him go is just....so tragic and good. Especially since we know Ed just tried to hold izzy closer in s1

[sixeightsuited]

The Evolution of Aloy

This time around, I want to talk about Aloy herself and how she's changed over the course of the two games.

It's funny how some characters in gaming franchises never change even after decades. World views, personal growth, temperment etc. They stay the same for better or for worse. Often, even after cataclysmic, world changing events, they remain the same.

In Horizon Forbidden West (PC) this does not seem to be the case. Yes, other characters have changed but I want to focus on our protagonist.

It seems to me that in HFW, Aloy has exponentially changed and not in completely positive ways. In what I believe to be a conscience choice by the writers to show this evolution, there are some things she has said where I found myself cringing and saying things like "Hey, easy now" or "Whoa! Come on. Don't be like that!" when she's addressing various characters during interactions that involve spirituality and belief.

I've found myself, without giving spoilers, thinking "Shit. That was a bit harsh!" as she intentionally or not, crushes someone's feelings either by indifference or action/inaction. As someone with Autism, I can very much relate to being perceived as indifferent or uncaring/unfeeling when that is not the case at all.

I also feel like she has become a bit of a chest puffer (gotten a tad full of herself) like when she threatens death to a highly respected Chief. Saying she could just kill hiim and take, instead of waiting to be given; what she wants. These aren't particularly likeable aspects of her growth but they are realistic and understandable given the unimaginable stress of being everybody's "Savior" when all she wants is to be Aloy.

As her knowledge of AI and technology, science, history etc. has grown, she has, as typically has been the case in humanity's evolution, begun to show a sometimes not so thinly veiled contempt for cultures that still practice spirituality and make a lot of decisions based on their beliefs and/or societal hierarchy.

There exists now, at least as I have perceived it, a new aspect to her very complex personality not just in her verbal communication but also in terms of subtle looks of exasperation, eye rolling, and an outright dismissive attitude towards spiritual practices by new cultures she's encountered.

When she meets a character that has far more knowledge and understanding of science, technology and history than her, they in a very Aloy way of doing things, make sure she's aware of that fact.

This is, to me at least, when she (to use a bit of a cliche) suddenly realizes she is no longer the smartest person in the room and she does not like it.

Now, since AI is a huge part of the story, I decided to ask one about this change/growth/evolution that has happened with her and here is what it said:

----------------------------------------------------

"Aloy’s character development in “Horizon Forbidden West” reflects her growing knowledge and understanding of the world’s history and technology. As she uncovers more about the ancient past and the true nature of the machines and AI, her perspective shifts 1. This shift may lead her to view the spiritual practices and beliefs of other tribes through a more critical lens, especially when they conflict with her scientific discoveries.

In “Horizon Zero Dawn,” Aloy is an outcast seeking the truth about her origins and the world. Her journey leads her to challenge the dogmatic views of her tribe and question the world around her. By the time of “Horizon Forbidden West,” Aloy has become a figure of significant importance, and her experiences have made her more confident in her knowledge 1. This confidence might come across as dismissiveness or intolerance, but it’s rooted in her deep understanding of the world’s workings, which often contradicts the tribal myths and beliefs.

Her character’s evolution is a complex interplay between her personal growth, the revelations she uncovers, and the responsibilities she shoulders. It’s a narrative choice that adds depth to her character and reflects the tension between tradition and progress"

--------------------------------------------------------------

Again, the section in quotation marks is the response from an AI and NOT something I wrote. Just making this extra clear.

This is pretty much the point I wanted to make. As an Anishinabe (Ojibway/Chippewa) living on the Rez, because of my people's complex, elemental, natural and spiritual belief systems, I have a good understanding of a lot of cultural practices portrayed in the game.

As a reasonably intelligent, compassionate and empathetic human being, I've also learned that I have to balance my cultural beliefs and practices with the realities of living in "modern" times and that means being respectful of not just my own culture, but to others whose belief systems may be perceived to be less enlightened than others.

This does not make me dislike her or playing as Aloy. It actually makes me enjoy it even more because it makes me feel and accept a lot of things few games do. Like, how we're not infallible. We are flawed. We can get our asses kicked. We have an ego that can get the better of us. it also makes me respect the writers even more for not letting her be a one dimensional, "White Savior"

I like the discomfort I feel playing as Aloy when she's constantly being put on a pedestal as if she had saved the world all by herself when she keeps telling people she was just one of many.

I like the annoyance I feel when someone makes a snide comment as I'm walking by them and I literally stop and turn around thinking "Say that to my face. Yeah, that's what I thought"

I like the frustration of wanting to scream "I HAVE A NAME FFS!" every time someone calls me "Outlander" and wanting to just get on my Charger and fuck off into the wilds and leave the world to it's own devices.

Yes, as she grows she develops some not so great character flaws but that's what is so great about it. It makes her even more real and relatable. After all, she's only human.

[uselessheretic]

in fandom, often see people mention that izzy is an antagonist and that people need to accept this which always feels very vague. usually coupled with a mention that ed/stede are the main characters and references to the fact that the show is a romcom and izzy the villain of it.

always think that's interesting though because what does that actually mean? that because izzy's an antagonist you're not supposed to sympathize with him? or that you're supposed to ALWAYS view the actions of the protagonists as correct if it's against the antagonist?

beyond the general "it's fandom so who cares what fans do with a character" i feel like it shows a really distinct inability of viewing media with nuance, and upholding genre standards (without even understanding those standards!)

izzy's an antagonist but that doesn't mean you're not supposed to sympathize with him by that fact alone. plenty of things have antagonists within it where the expectation is for the audience to empathize with them, or where that position of antagonist can shift. something like team rocket from pokemon, for example, often has them in a b-plot outside of stealing pikachu. there's whole episodes dedicated to showing their backstories where the expectation is to view them as victims within their own narrative. they don't stop being antagonists, but they're ones that we're fond of. where we don't root for them to beat the main characters, but we do cheer when they triumph against their own villains. it's not a static position even within children's media.

even within romcoms, it's like? within the genre standard, a lot of romcom antagonists aren't villains. sometimes they are sometimes they're not! but it's pretty common for an antagonist in the genre to not be a bad guy at all, they just happen to be against the protagonist. or even if they are mean and bullying to the protag, it's very common in the genre for this to be resolved by talking out their differences and coming to a mutual understanding that often involves the protagonist confronted their own flaws. traditional romcoms rarely have the main conflict that the audience is supposed to care about the most be external factors. they're important and they push the narrative and shouldn't be devalued, but romcoms are general character driven. plot is secondary to the characters' own growth where within the genre, flawed protagonists are common. it just means we get a lot of antagonists who are no worse than the protagonist who occupy a rival position instead of a villainous one. the character isn't always "defeated" sometimes they're just understood.

even characters in media who do objectively bad things as antagonists aren't universally condemned as unforgivable. howl's moving castle is a good example of this! the witch who curses sophie and wants howl's heart is the most clear cut "evil" character in the show. but she's not the main antagonist, and she isn't defeated by the heroes. she's extended kindness and empathy where there's never a moment where the characters ask her to repent to be afforded humanity. by the time we reach the end of the story, she's already a part of their found family. when she gives up the thing she wants most, howl's heart, it isn't from threats or even "nobody will love you if you're mean." she gives it up because she's shown love and that love is something she reciprocates.

none of these have to fit izzy as a character, none of these are the exact same piece of media as our flag means death. but "he's an antagonist and you need to accept that" is always thrown around when it just? doesn't mean anything? he's an antagonist but that doesn't mean that antagonists are barred from sympathy. it doesn't mean you should refuse to consider the story from his perspective or that you should accept the idea that whatever stede/ed does is going to always be right and you're supposed to always agree with them over izzy. even shows made for kids aren't universally this black and white with its roles. i mean, plenty of shows for kids are fully about "sometimes the person doing bad things just needs a friend." this doesn't mean it's an applicable lesson to izzy, but that the role of an antagonist isn't a strictly defined space with strict parameters on how that character can behave and what reactions we're supposed to hold towards them.

but "izzy's an antagonist" okay but to who? towards stede, obviously. at ed, on and off. but those aren't the only perspectives we're meant to take on when viewing the show, and both these perspectives are from flawed people. stede is the antagonist in mary's story. ed is the villain from merchants' worst nightmares. even within the main cast, what position ed holds as the love interest isn't static. ed going against stede would make him an antagonist as well by strict definition, but the role of an antagonist doesn't exclude him from being able to be empathetic or to blur those lines of his position within the narrative.

it's just very? simplistic? childish? acting like "this character is an antagonist" as a statement alone is meant to dictate how we're supposed to engage with their story.

[chryblossomjjk]

bts fic recommendations | 01.10.23

→ hi friends! this is a little segment i do every tuesday (reviewsday get it, aren't i funny, pls tell me how funny i am) where i read and review two-three fics. as a content creator, i know how big of a role other creators play in your growth, therefore, i want to do my part in making sure everyone gets the recognition they deserve! so with that being said, please check out the amazing fics listed below. make sure to like, reblog, and leave feedback! ♡ #reviewsday #kikirecs

pina coladas (pt 1 + pt 2) - @han-nah-banana (jjk x reader | established relationship, smut, angst, fluff)

ok so um... the attention to detail is off the charts! like when the little things you mention about jungkook and oc, like them eating healthy foods, only having sex in the missionary position, etc. tells us so much about them and the status of their relationship. like you showed us that they were stuck in a boring, mundane relationship through little hints and i really love that. ALSO POV SHIFT IN PART ONE WAS SO GOOD! like the way their thoughts mirrored one another was such good storytelling ugh!!! also think you picked a great setting for this type of story, the 80s. it makes everything feel so real, like the sexual repression oof! so glad they got to bang it out in the sexiest way in pt 2! really really good for your first fanfic like WOW! loved it!

i can do better - @here4btsfics (pjm x reader | fwb, smut)

summary: your boyfriend of two years just dumped you and you’re angry and sad. so get hammered with your coworker at his place and eat bad food and watch trash tv which leads to some interesting conversations.

bro all you did is enforce my delusions that irl men cannot compete bc they are not park jimin. men should apologize for not being park jimin at this point. even kim taehyung... anywho lmao. DUDE and then oc listing all the things perfect about jimin. she is just like me fr!!! also like this is kind of how i picture jimin in real life ngl. THAT MAN IS A COCKY CONFIDENT DOM I WILL ARGUE THIS SHIT UNTIL IM BLUE IN THE FACE GTFO! and miss oc... no strings attached girl??? A WHOLE BLUFF. honestly, this entire fic is one of my daydreams when im in a lecture and i fucking loved every second of it bby! so so good. so glad you decided to start writing again, extremely proud of you.

darksided - @eoieopda (myg x reader | established relationship, smut)

summary: min yoongi adored you. he'd simply never hurt you.

i saw someone post about smut where the characters are so grossly in love is their fav genre. this is exactly that. this fic encompasses everything i love in fanfic. i felt like a fly on the wall, being dropped into the middle of the situation where i figure out who the characters are through their actions, words, etc. you do that so perfectly here. like the way i know everything i need to know about min yoongi through the FUCKING setting?? naur this is s tier writing right here. also there's just something you do with words thats v magical. can't put my finger on exactly what it is but here is an example:

"a quick survey of the landscape before you indicated that this was a criminal oversimplification."

LIKE IDK JUST SOMETHING ABOUT HOW YOU STRUCTURE SENTENCES IS GENIUS! like cannot even begin to describe how good this was. would die for this couple honestly. the smut had me clenching too OOF. so cool to see what you've accomplished on this platform in such a short period of time! it's so so deserved and i can't wait to see where you go from here. don't know how you can even get better than this like ur already at the moon um!!! but god it's only going to get better from here. like next thing u know u'll be a famous writer fr. wishing you nothing but the fucking best!!!!

[entomolog-t]

Excuse me I'd like to book a session auahshsh

SO, for the tropes ask, my time to shine hehe boi *inhales* When a human becomes a giant, not due to size-shifting but due to a condition that changes them permanently . They lose normalcy, people they used to cherish now fear them, they lose touch with their humanity, everything is out of place, they feel too big to fit in the world they used to fit in perfectly before. But then, despite this drastic change, there's always those few people who are their friends or loved ones, who'll see the giant for who they truly are inside and who will maintain the bond and the relationship despite the difficulties adapting to the size difference and hhhhh I cry

Time for my early morning appointments.

I think size changing events are such an underrated trope in G/t, so I'm overjoyed they've been brought up in our session today.

You cited growth particular so we will progress with that in mind.

The action of growing has many subconscious meanings that tend to get associated with it such as an increase in strength and power, as well as the more metaphorical notions of growth; becoming someone new, improved, However, not all of the potential meanings are positive. Growth means a change in state. If we think about growing up, it is leaving behind a lot of the aspects of our childhood, namely our innocence. An increase in size and thus power also implies a relative decrease in power in those around us.

The Young Giant archetype ( a giant who has only just become a giant) can be used by the subconscious as a means of expressing fear of change and distrust of those around you.

I would look into what are the specific reasons you project as to why others will fear the Young Giant.

Do they not trust them with this newfound power?

Are they worried that they aren't responsible enough to wield such a power gradient?

Do they not want to be associated with someone so different from the norm?

I would then take the time to reflect and ask yourself; are these things I am worried about others thinking of me, or are these my own fears projected onto an archetype (ie, do you not trust others to wield power responsibly, etc...).

Often times with fantasy there is a very clear narrative that we are aware of, and then a level of projection we don't quite realize (which will normally be found on the characters we don't tend to identify since subconsciously we are trying to separate those negative aspects from the self.)

This trope has heavy themes of change, loss and trust, which is such an age old tale we retell over an over, since these themes are a universal part of the human experience.

Now this may be personal projection, as I too love to fantasize about this trope, but at times imagining oneself so large makes and everyone else by comparison so small harkens to a feeling of being overwhelmed. There are so many moving parts and changing relationships and one may feel so out of place looking down from up high, wishing to grasp at those that they used to know so dearly now running from them. Loss of relationships due to personal change is quite upsetting, but playing through the fantasy we tend to see an emphasis on faith in others (those who put their faith in us and our character by sticking by us even if we change so drastically)

This sentiment is very much a longing for others to see ones true self. In our day to day lives we mask much of our true selves, but as humans we desire intimate connection and to share our true selves. When we fantasize about undergoing such a drastic change, having those cherished few who stick by is a visual representation of the need to feel truly seen. No matter what form I am (or what mask I'm wearing) someone has seen the true me. They know me, and know I would do them no harm.

This particular example suggests one is not letting enough of their true self be seen, perhaps masking vulnerability, which could be as simply as having trouble with emotional conversation and using jokes to avoid opening yourself up to another person, resulting in a sort of fear of not being close enough to others (a combination of lack of trust and lack of intimacy)

----

I hope you enjoyed today's session. The secretary will pencil you in next week on your way out.

[gust-jar-simulator]

Hmmm. Characterization concept for Four Swords:

Green and Vio play off of eachother as opposites, as do Red and Blue.

Vio is earth, foundation, preparation and knowledge and history. Green is wind, growth, action and drive and improvisation.

Blue is water, physical health, both nurturing spring and crushing tide, hidden depths like Vio and compelling drive like Green. Red is fire, emotional health, lantern in the dark and overwhelming wildfire, cleverly observant like Vio and prone to improvising his own way like Green.

The idea stuck in my brain is that Blue cares a lot and tries to hide it, if very badly. He also doesn't really know how to communicate/express himself. Red, by contrast, could not care at all and hide it very well, because he knows how communication and expression and people work and he's very invested in that.

Red's startlingly observant in the manga. He recognizes Green by his boot prints, despite the fact that they presumably all have the same feet and shoes. He's the first one to notice Shadow's approach in the castle. He's convinced the Vio they meet in the temple is very real, and he's right, despite Blue's insistence that it was just a fake.

I think, perhaps, if he found himself in a position where he's got all of their emotional intelligence, and the willingness and motivation to use it, that doesn't necessarily mean he has to personally have emotions. He understands them, and knows what emotions would be situationally appropriate when, and knows how to use them. He also just happens to lowkey be a little shit with a sense of humor and an undying commitment to the bit: the bit being that he's just a silly little guy. He genuinely enjoys being silly and cute and getting headpats, etc. Emoting in a certain way and adhering to certain behavioral patterns just ensures he gets those headpats. He genuinely doesn't like it when there's infighting, but his reactions aren't real. All of them are, fundamentally, drama kids.

The cartoonish way to express displeasure is either violent bonking or waterwork crying, and that got split evenly between Blue and Red. Blue lets his emotions build up until he can't be anything but violent, and he's violent all the time. Red is dead inside and cries as a stage cue.

Essentially, I think it would be fun to give Red a problem somewhere between Blue and Vio. Neither of them has a great relationship with their emotions. They have emotions, but they're a burden, and difficult to express but for different reasons. Vio, for instance, thinks he actually doesn't have emotions because they're that hard for him to identify, and tends to come off as cold even when he tries. Red, by contrast, could have few to no emotions whatsoever and just fake it really well because he's fantastic at understanding them in general. He's warm and friendly and full of cuddly affection, but mentally speaking he's just reading you and your body language like a grocery list.

I might write something using this character concept as an idea, mostly because I deeply enjoy subverting expectations with The Cute One.

[70s-show-diary]

My one (and only) post about That '90s Show

I used the weekend to watch season 1 of That '90s Show. I ultimately decided to watch it for Red and Kitty, and because I couldn't justify forming an opinion without having first given the show a chance. That being said, as most of my thoughts about the show aren't the most positive, and because I want to respect the fans who enjoyed the show, I decided to compile what will likely be my one and only post sharing my thoughts on the show below the cut.

I will say this: I didn't hate the show as much as I thought I would. I enjoyed the humor and the effort they made to maintain a similar tone and vibe to the original show. Of course, Red and Kitty were the highlight of the show, and I enjoyed seeing them as grandparents. I enjoyed seeing the appearances made by the original cast as well (with the exception of Jackie, but more on that later). I even enjoyed seeing Eric and Donna as parents. The new kids were okay, too. They certainly don't have the same chemistry and dynamic that the gang from the original series had, but when you are limited to ten episodes per season, there's not much you can do to really develop characters and their relationships. With more time and devotion to developing these characters, I believe that I could grow to like them more.

The problems that I had with the show are the exactly the problems that I expected to have, and it all stems from the very existence of season 8 of That '70s Show. I do not consider the end of season 7 and any of season 8 to be canon. In my happy bubble, Jackie and Hyde never break up (or make any of the other poor choices that followed), Eric didn't have to travel across the world and break-up with Donna to find a path for his future, Kelso didn't destroy his future as a cop, and Fez didn't become a creep. I grew up with these characters, consider them my friends, and hate what season 8 did to my friends. (I care waaayyy too much about these fictional characters, but I digress.)

Therefore, I've never entertained the idea of a reboot/spin-off series because I knew better than to hope that a spin-off series would ignore season 8. A spin-off that would've attempted to fix these mistakes, while just as unlikely, still wouldn't have been good enough (for me, at least) because I like to pretend all of that unpleasantness never even happened.

Real world circumstances made me even more wary of a spin-off series. AK and MK being married in real life was a sure sign that Jackie and Hyde would never get back together in a spin-off series. But the real nail in the coffin was the despicable and unforgivable actions of DM. With that, I knew Jackie and Hyde were essentially over and we would never see Hyde again. (Don't get me wrong, I am more than relieved that T9S does not associate with DM, but the loss of the character Hyde was tough for me).

So really, it's not entirely That '90s Show's fault that the futures that I had hoped for these characters was unrealized. However, there is a difference between not getting what I want for these characters and completely disrespecting and destroying these characters who are beloved to me (and so many others who have connected with them for years and years). I would've accepted whatever future T9S offered for these characters had they done it in a way that respected the growth and development that they made in the '70s. Jackie being with Kelso instead of Hyde? Fine. But give me a good reason for it. Not the absolute garbage that is Jackie cheating on Fez with Kelso (of all people!) and going on their second marriage. Eric and Donna having a child (and naming her Leia) essentially as soon as Eric came home from Africa is just not something I believe the Eric and Donna from T7S would have done. (I do however, accept this with a grain of salt, because the entire premise of T9S hinges on Eric and Donna have a teenager in the '90s). While Fez finding success in his salons was cute, him not having found love since Jackie cheated on him also didn't sit right with me. And while the best choice...the only choice was to not include Hyde, what I've read about the decision to have Hyde basically drop off the face of the Earth and cut off all ties to his found family is probably the most disrespectful thing that they could have done to write off his character. All that is to say, I could've taken anything except the blatant disrespect that they gave to my friends.

What I wasn't expecting was the sense of heartache that I would feel watching That '90s Show. As I previously stated, for years now, I never held out for a faithful reboot/spin-off series. But watching this show...it really makes me mourn the spin-off that could've been in a perfect world. I truly loved seeing Red and Kitty navigate a household of teenagers again, but this time as grandparents. My heart squeezed when Kitty hugged Eric in the first episode and when Donna and Eric did that cute head-shove from the original series. I couldn't help the smile when Kelso burst in with a "buuuurnnn!!!" in true Kelso-fashion after all these years. Fez's "I said good-day" in his commercial and rivalry with Fenton. Kitty throwing a birthday party. Red's grumpiness. Kitty's signature laugh and Red's muttered "dumbass" comments. I've seen every episode of T7S (with the exception of season 8) so many times that I have entire episodes memorized, down to the timing, hand gestures, and inflections. So seeing my old friend's back in their elements, doing these things again but in new scenes that I have never seen before was certainly... surreal. But none of that nostalgia is worth letting T9S destroy my friends and destroy all their growth and character development. All it has done is make me mourn the faithful spin-off that will never be.

All that is to say that I think I'll be leaving the ''90s behind and returning to the safety of the '70s.

[stormbabylore]

The final round in this series of love-related asks!

ˋ°•*⁀➷⁠ Round 1 | Round 2 | Round 3 | Round 4

Round 5: makmur, mille-feuille, and pan dulce!

10. makmur - what role does forgiveness play? ─☆─ I haven't yet written out how Aeryn responds to and then addresses the various circumstances in which Urianger betrays her trust, but she spends a very long time just not dealing with it. That kind of betrayal from someone she so deeply cares for is incomprehensible to her: she's experiencing it - and all the pain and anger that comes with it - for the very first time. All those negative sensations exist in direct opposition to the comfortable security of Urianger's nearness, and she still desperately craves that stability - so she shoves all those new, negative feelings away, bypassing the need for forgiveness entirely. Aeryn says she forgives him - and I think she believes she has - but she doesn't yet know what that really means. My tentative headcanon is that she doesn't properly address the initial pain of his betrayal until his later secrets emerge in ShB. Her own potential demise and his actions (desiring to be at her side regardless of the outcome) would force her to confront those feelings and realize she never truly let any of it go. Once she does let it out, she'll begin to comprehend how enormously difficult true forgiveness is - perhaps even recognize that she doesn't know how to forgive. It's something they would work toward together post-ShB: his properly earning her trust, and her properly forgiving him. (All this to say that yes: forgiveness is pretty integral to their partnership and a necessary step in their growth together.) 11. mille-feuille - do they believe friends can become lovers? if so, when does love transcend from platonic to romantic? if not, why? ─☆─ Aeryn's notions about love, friendship, and affection are relatively simplistic (even childlike), so I doubt she'd consider the question with any kind of complexity. Her immediate experience suggests there is little distinction between friends and lovers; but she feels she has no right to define anyone else's experience. She's just trying to become comfortable with her own. Aeryn (in main canon) never really comes to understand what a "lover" (by the standard definition) even is. Clearly she does grow to experience a love beyond friendship, but I think that elevated level of caring manifests differently for her. She would likewise have a very difficult time answering the question of when/how love shifts from platonic to romantic, because to her, they aren't mutually exclusive. She feels that the way she loves Urianger is exactly the same as the way she loves others who are important to her, except there are a few ways she expresses that to Urianger that are unique. They have both platonic and romantic affection between them - but if they ever stopped expressing romantic affection for each other, Aeryn wouldn't feel she loved him any less, because to her the love itself is the same. They're just showing it in a different way. 12. pan dulce - do they have an "i can fix them" complex? or are they one that needs to be fixed? if neither, how do they feel about the idea? ─☆─ I don't think so? She and Urianger both have their issues, but the arc he experiences (and how I have chosen to embellish it) works quite well alongside the arc I've imagined for Aeryn. Neither of them "fixes" the other, but they do grow to be different people along their respective journeys, and that's in part a result of their knowing one another. I guess I subscribe to a school of, "I grew in a positive way because I needed to, and you helped me understand that need," as opposed to, "I was broken, and you fixed me. I changed for you." That being said… Aeryn is wildly over-trusting. (Game lore commands it.) She will repeatedly give obviously untrustworthy characters the benefit of the doubt, even when she might experience wariness or suspicion toward them. I don't think this comes from a place of thinking she can fix broken characters but rather a place of giving them every opportunity to make better choices for themselves - because the alternative is fighting them, and that's generally the last thing she wants.

And that's all of them! 𓆩♡𓆪

[scoundrels-in-love]

🏅, 📝, and 🤔 for the fanfic asks game 💙

Hi lovely, thank you so much for asking!

🏅 What is something you recently felt proud of in regard to your writing (finished a fic, actually planned for once, etc).

Ah man, I am struggling deeply with remembering any positive feelings toward my writing today, so this is a bit of a challenge, honestly.

But okay. I am actually still proud I wrote Holding it together with one loose string (That I can't stop, I can't stop, I can't stop pulling) - the story in which I explore Meryl's Trichotillomania. It was a vulnerable piece for me, in which I tried to honor her character and keep it in tact while honestly depicting some of my own experiences. I had never spoken so openly and in depth about it, not even to my closest friends, and perhaps I never might again. But I did it and I had people come to me and tell me it mattered to them that I had. And that made me very happy. I am glad I did that, I am proud I did that, instead of talking myself out of it for so many reasons, like who needs that or I will depict it wrong or-

In similar vein, I am proud, if scared, every time I use ace or acearo adjacent tags for Meryl or any other characters. I am always afraid that my own experiences aren't 'genuine' or 'true' and that I will be called out for writing 'bad/untrue representation' - but I want to give nyself chance to explore it through characters, give asexuality space to exist in world outside of my brain, even if in flawed way. To be honest and upfront about how I see these characters because they are all very much gray acearo to me, always.

📝 What is one growth area you have for your writing?

I feel like my dialogues and anything describing actions have a lot of space to grow - though I have improved. As a person who is incredibly awkward talker, it shows in when I try to craft dialogues that feel true to character and plausible and I always worry about them losing individuality. And actions are their own horror house. But also, there is always space to grow in every direction, because the potential is an endless field and the forest can always expand.

🤔 What is the hardest part of writing fic?

Writing it. I struggle heavily with things like imposter syndrome, just the most not-functioning executives up in my head that do not let me sit down and actually start writing, the way that the stories sprawl far beyond scope of my skills so quickly, or what I can tackle due to aforementioned and other reasons. Writing... Writing is the bane of my writing, hah. I could talk about things I want to write and their inspirations forever. But to finish the stories themselves.... Augh.

Also sometimes it's just that I am sickly, tired and full time employed so there's not enough time and energy, even if I somehow managed to be able to focus.

Send me a fanfic ask?<3

[shattered-catalyst]

I was just reading this and let's break it down

First of all we have the pit fall and struggle of all real long term relationships. TS doesn't give us bullshit reasoning for a break up. It's a realistic push and pull between someone and their own identity as they struggle to settle down in their mid to late twenties.

Hes not getting what he needs and he doesn't seem to know what he wants: it's natural and human to be confused in relationships. I think a lot of the hate towards this arc comes from the desire to see the ship together rather than to see the characters grow as individuals. Star is still growing in his confidence of his wants and needs and he's allowed to do that. This backwards step is allowed and permissible in character growth. In fact we usually see this right before someone has major changes and makes positive growth in their life.

Characters aren't static tbh I'd rather have a dynamic relationship being portrayed.

And boy is this dynamic because get me a large popcorn Ric is dragging him.

He acknowledges seeing Star earlier when Star stopped by signaling he needed Ric. But he put up a boundary and said no and continued his life.

I could write pages on how great Rictor is at boundaries like he's the king of boundaries when he wants to be (and then sucks when he doesn't tbh but shhh strengths focus here)

I always read that line from rictor about the posters in a teeth grinding annoyed voice. In a: ' can't you see I have a life and you aren't the center of it you asshole.'

It's a push back. Its healthy. It's maintaining the boundary of ' if you say I can't give you what you need then don't come to me when you need things.'

I also love the indication that the power release wasn't intentional because it relates back to the headcanon of ric having a tic disorder and that's dear to my heart. But I also feel it lends some emotional weight to the piece that shows just how deeply he cares and wants to be there for Star- who he is begrudgingly calling Ben and respecting Stars choice to have a new identity BTW like how fucking nice is that?

He isn't making fun of stars new identity or name he's supporting him. Like gdi ricstar is so great. He obviously doesn't like it and has some feelings there but he isn't forcing Star to be Star he's addressing him as 'Ben' with the quotations . Indicating there's a difference in how they've been handling the switch between Star and Ben.

Trying out different names and identities is very positive and common and I don't think this is a bad thing. I think inherently Star needed to explore life as Ben and that it's beautiful Ric was supporting him even if he personally accepted Star for who he was no matter what name he called himself.

Ric was willing to go with Star with whatever name he wanted to try or use until he was comfortable with himself. He was there to support him. It was Star that iced him out through a trauma response- normal for a real world relationship and great writing for a comic one.

Honestly the nuanced character development here is fantastic for both Ric and Star and pets them shine brilliantly. I only wish we had a Rictor solo series for this timeline to compliment it.

Yeah gasp I would want a Rictor solo series around this timeline or maybe post krakoa or maybe even M day time line.

TS saw Rictors character and gave him the boost up that he deserves and let him shine. He gave him so much development and it's a damn shame it's being overcast by people who are more interested in counting active couples than they are about the personhood of actual Queer characters and their life stories.

I sometimes wonder what would happen if we began to acknowledge the fetishization of two Queer men for being what it is: problematic even if we are LGBTQIA qnd doing the action I ourselves. Gay and Bisexual relationships are not a product to be consumed and the majority of Rictor fans are lesbians (not all but that's the running joke). I think it's important to reflect on how yaoi and Boys love influence how we in the LGBTQIA population view other same sex relationship and view them as a product to consume and fall into the same traps and toxic behaviors.

There's a lot to say on this and I'm not sure where I'm heading. but this one page holds so many little tidbits that show great writing and character building.

It's okay if people don't like the story. There's stuff wrong with it just like there is any other piece of media. But if they don't like it just because the guys aren't together then there needs to be a reflection on how you consume LGBTQIA media. This whole solo series was a love letter for them and a testament to Star building a life for himself and Ric.

[rockinhamburger]

Nathan Shelley: A Defense

Who deserves empathy? Who deserves judgement?

I am not surprised but still disappointed by how much people seem to be really missing one of the central themes of Ted Lasso. It is not as bad as it was back in October when the finale aired, but god, there are still so many people that seem to want Nate to get no redemption and, in various ways, continually express no interest in seeing him become the best version of himself. A lot of people seem to want Nate to get his comeuppance, to see him suffer, ironically behaving a lot like Nate when he got to see the people who had wronged him suffer and receive their comeuppance.

For a show about the healing, transformative power of forgiveness, love and empathy, dang do some people stop short when it comes to Nate, arguably the most demeaned, bullied, downtrodden character in the entire show. Redemption and forgiveness for Rebecca, who tried to destroy dozens of careers and lives, and Jamie, who behaved like shit to the people he saw as beneath him, but none for Nate? So, we have three characters who have used their power incorrectly, but only one of them is the outlier who deserves judgement and retribution?

Alright, got that rant out of the way. Now I want to specifically address a thing I’ve seen that is utterly baffling. I’ve seen people argue that Jamie’s and Rebecca’s respective journeys are different than Nate’s because we saw them get better, whereas we saw Nate get worse. We didn’t see Rebecca and Jamie getting to the dark place they were in by S1; we landed on the start of their positive trajectory. The difference is that we are watching the entirety of that story play out with Nate.

Another argument I’ve seen is that the show hinted at Jamie’s and Rebecca’s good natures in S1, whereas we apparently saw the opposite with Nate. So, basically, Nate doesn’t deserve redemption because he got worse and his truly bad nature was hinted at early on. This implies something utterly ridiculous: that he was always bad, that Nate did not actually have positive traits to begin with. And that’s just… I can’t even cope with how wrong that is.

Selective memory for sure, so let’s go back to season 1 and remember why we love Nate and why his turn is so devastating.

In 1x01, Nate defends Roy’s great legacy as a footballer when Beard suggests his star years might be behind him. He gives Ted and Beard a lift to their places. Nate is loyal and generous with his time. He is also clearly self-conscious and lacks confidence, but he works hard and takes pride in his job.

In 1x02, Nate is still showing surprise that Ted is even deigning to notice him, let alone asking after his opinion. Nate says Sam has been ‘underperforming’ since he arrived from Nigeria. That’s a very generous thing to say; it’s clear he knows Sam has potential, but something is getting in the way of his success. This helps Ted make some great coaching decisions. Nate is smart and good at reading people. He also makes adorable boxes with his niece. A few of the players laugh at him for having done this. Jamie also calls him “bitch boy” to ringing laughter, and it doesn’t seem like it’s remotely the first time.

In 1x03, Nate nervously but bravely shares his idea for a strategy. He is speechless with joy when he gets to see it in action. He also shows that he cares whether the pitch is properly taken care of. He’s the kit man; presumably, he is not responsible for clearing shit off the field, but he does it anyway. We also see tinges of that in his first scene - caring about the field the players use. In the midst of all this, we also see that Nate is being bullied and harassed by Jamie, Colin and Isaac every day, and that no one has intervened, even Ted, who has decided Roy has to be the one to intervene.

In 1x04, when Ted invites Nate to be his plus one to the gala, Nate says, “I’m free every night.” As Jason has said, jokes on this show have consequences. This illuminates for us that Nate spends a lot of time on his own and even suggests Nate may not have many friends. We also learn that Nate can’t afford to buy a new suit. He later shows some gaining confidence when he says hello to Rebecca and a marked amount of grace considering she doesn’t appear to recognize him or realize he works for her. Later, Nate thanks Roy for talking to Colin and Isaac.

In 1x05, Nate encourages Ted to open up about the problems in his marriage by asking about the distance, but he does so in a very gentle way, asking if he can ask something first. He’s also self-aware enough to notice and apologize when he inadvertently provided unsolicited feedback on something with which he doesn’t have experience: “Marriage. Just so, you know, so complicated. So many different challenges and... I think. I don't know. Sorry.” Then he makes a smart conversational move to bring Beard into the discussion. “You ever been married?” After they win the match, Nate also walks Henry on to the pitch to see Ted after the game, reuniting father and son.

In 1x06, Nate participates in the ritual with the team, sacrificing sunglasses that made him feel perceived in a positive way. He is honest and contributes positively to the group.

In 1x07, Nate says he believes Richmond can do anything; he believes in the team and their ability to succeed. He has thoughts about the team, but he is scared to share them because he believes it could lead to losing his job and having to move back in with his parents. He also instantly accepts Ted’s apology, and once he’s finished the roast portion of his pre-game speech (which Ted encourages him to give), he provides Roy with genuinely good advice, not just on the field but in life, to make sure he isn’t keeping his anger inside because of what it might do to him as a person if he holds it in. He cares about Roy and his well-being.

In 1x08, Nate is supportive of Ted’s one night stand, like Beard and Higgins. And when Beard asks if Ted had fun, Nate immediately follows up to ask if *she* had fun. He also comes up with the name for the Diamond Dogs.

In 1x09, Nate apologizes for walking away from Ted over the Roy situation and for his dream self.

In 1x10, he believes he has been fired and lashes out. He is surprised Rebecca even knows his name, an echo of the first episode, and it turns out he has been promoted. He is so excited about this that he keeps blowing his whistle at inopportune times out of zeal. Later, he mourns the loss with the team.

I just have no patience for people suggesting Nate isn’t the wonderful character we saw so many hints of in S1, alongside the signs that Nate might lose his way for a minute. All of us have the capacity to hurt and help within us; we are all struggling with the tug between ego and soul. The idea that Rebecca and Jamie deserved redemption but Nate doesn't is not only a terrible message for the show to end on, it’s also a bleak way to look at the world. Either we all deserve redemption, or no one does - or more accurately, it's not about deserving redemption but about earning it. That is what Rebecca and Jamie have been doing along the way, so it’s not too late for Nathan Shelley. He can, as Rebecca said in 1x09, get on the road back.

We are all worthy of love and empathy because we are human and make mistakes. We hurt people because we are damaged by interacting with a broken, human world. This show presents the central thesis that kindness and empathy is transformative, and that wanting violent revenge and retribution is an ego-driven desire borne out by pain and suffering.

We need to appeal to our best selves, always, by returning to our greatest strength: love.