#he can make a compelling antagonist i think

[thedemonsurfer]

Back on my bullshit with trying to guess character motives feat. Dark Sun

Sooo Dark Sun (or 'Just Sun') finally rolled up to talk to Sun in todays SAMS ep, and naturally I'm putting him on the high-speed cycle in my head trying to parse what his motives are. What does he GET out of this?

Because he was leaning on Sun really hard to kill Nexus-- specifically, he wants Sun to see Nexus as a representative of the worst kind of person Moon can be, and to recognize that as a threat that needs to be killed.

But-- why?

Roll back a bit: Dark Sun has been involved in every step of Nexus' fall from grace.

He did something to New Moon at their very first meeting.

He provided Eclipse with the means to bring back Solar, and then prevented him from acting until Dark Sun wanted him to.

He dropped Ruin off on New Moon's doorstep when Moon was at a point where he could have accepted Solar's death, causing Moon to double down on his efforts.

He plucked New Moon out of space and pulled the chip containing Old Moon out of his head and left it for Monty to find.

He's provided Nexus with a new base of operations and enables his monkeying around with dark energon dark star energy, despite the damage it's doing to Nex.

Dark Sun needs Nexus to make himself into a threat. Because that's what he does, he sets up the dominoes and pulls the strings, but he doesn't outright tell others what to do (unless it's bossing Ruin around, but Ruin is his bitch so he doesn't count.)

And today, he was leaning real hard on Sun to see Nexus as a threat. to see all Moons as a threat (though, curiously, not mentioning Old Moon).

So what is he getting out of this? Why does he also need Sun to see Nexus as a threat that needs to be stopped? Why does he want Sun to 'understand' that he has to kill his brother?

Dial back the motives. The most compelling and strongest motives are Simple and Selfish: Eclipse didn't actually want power, he wanted Moon to pay attention to him. Ruin did want to prevent a total catastrophe, but he also wanted revenge on the Creators for destroying his life and world.

(As an aside, this is why I feel that Bloodmoon didn't make a good antagonist, and why Ruin's initial appearance was kind of boring. 'I'm here just to fuck shit up' isn't a very compelling motive.)

What do we know about Dark Sun?

He lied about having killed his Moon and actually kept him to torture-- or he DID kill his own Moon, and the one Ruin met was a substitute

He never gets his hands dirty, he gets others to act for him

He's obsessed with Sun

He fucking hates Moon

Dark Sun tells Sun that 98% of dimensions lose their Sun, and Moon is often the one that kills them. But it's not exactly that straightforward, is it?

Atlas points out that Dark Sun is counting dimensions where Sun was reset as him being 'dead'. Dimensions where Eclipse has a hand in Sun's death could be considered Moon's fault, since Eclipse is a byproduct of the killcode. Ruin's situation resulted in the ego death of both his Sun and Moon, on his Moon's suggestion. Ruin also wiped out 5000 dimensions and I think that's gonna skew some of the numbers.

And... how many dimensions have we seen a dead Sun in the show? Two, I think? The one where they never split up and Moon consumed Sun after the killcode took full control, and Solar's. And in Solar's, that Moon went mad trying to bring his Sun back.

Almost every instance we've seen, Sun and Moon coexist just fine once they're in separate bodies.

And I think that's what Dark Sun wants. I think he's trying to justify killing his own Moon before they ever got a chance to get along.

Moons MUST be evil and unable to change, they MUST be cruel. It's impossible for a Sun to get along with a Moon for any length of time, and that Sun is in the right when he has to kill his Moon.

And he's going to use Sun and Nexus to prove how right he is.

[chancerei]

I caught myself thinking earlier about the themes of MHA (crazy, I know) and in specific, just how well "the past never dies" sums up everything I love about the show. there's a kind of beautiful duality to the statement.

obviously, when Dabi said it, he meant that your actions will always come back to haunt you, that they were and always will be right there with you. your past transgressions are inescapable. it's kind of his entire thesis as a character, and it's what makes him so compelling as an antagonist: he's not seeking destruction for its own sake. he is retribution for society's ill deeds.

but the opposite of this idea is also embodied in those same words. the past never dies, because how could it? the past is always right behind us, literally. the past is as recent as you reading this sentence. it's always changing, always showing us how we differ from older versions of ourselves. it's an ever-living, ever-changing document we can't stop writing. it will never die, and as long as that's true, we can improve, we can grow and change and fix ourselves as much as we want and that will always be who we were and it will inform who we will become. the past never dies

[leiawritesstories]

stay a while, it's safe here

Rowaelin Month, Day 8: Single Parents

Word count: 3,070

Warnings: angst, references to past abusive and toxic relationship, big heavy emotions, few scattered swear words

A/N: I'm both apprehensive and ready to share this, because it is...heavy. it's angsty. it's not a fluff fic. it has been in the works for a while now, though, and being able to share it means the world to me, so thank you deeply if you choose to read :)

also, i'll be taking a few days off after this, partially because the fic drained me a bit and partially because i've just started a new semester of college classes and i have a big fat paper for constitutional law class that's gonna require hella research

You only feel it when it's lost Gettin' through still has a cost Quietly, it slips through your fingers, love Falling from you drop by drop

~ Hozier, "Who We Are"

@rowaelinscourt

~~~~~~~~~~~~~~~~

Night had fallen over Doranelle when Aelin finally pulled off the interstate and slowed down as she drove up the ramp and turned into the slumbering city. The streets were nearly deserted save for a handful of other late-night drivers, probably travelers like herself, their vehicles chugging quietly through the gentle drizzle drifting from the skies. The light rain dusted a soft sheen of crystals all over the city; the drops glittered faintly in the yellow hues of the streetlights.

After what felt like an eternity, Aelin turned into the parking lot of a simple brownstone building whose sign labeled it "Mistward Hall Bed & Breakfast -- Your Home Away From Home." She found an open spot, parked her car, turned off the engine, and exhaled a soul-deep sigh of pure relief.

For at least a snatch of time, she was safe.

She glanced into the backseat, eyes locking on the small figure slumbering peacefully in the bright purple booster seat that had been installed in the car after multiple screaming tantrums. Four-year-old Alanna Galathynius was fast asleep, her mussed blonde curls squished against the side of her head where she'd leant into the carseat's headrest, her little button lips dropped halfway open as she slept.

"Mama will be right back, my little love," Aelin whispered. Grabbing her purse, she ducked out of the car, locked it, and kept one eye on the vehicle for the whole of the three minutes it took her to enter the B&B, check in, and return to the car, which was conveniently parked right by the entrance. Lana was still there, still peacefully asleep.

"Come here, little love," Aelin murmured, carefully unfastening her daughter's seatbelt and lifting the small child into her arms. "Shh, lovey, it's alright, Mama has you." She cuddled her daughter close, whispering softly to her as she took the overnight bags out of the backseat, arranged them so she could carry both the luggage and her daughter, and headed inside.

It was only a short walk to the suite where she and Lana were staying for a few nights, and Lana was still fast asleep when Aelin unlocked the door, entered the room, and laid her daughter on the smaller bed. Gently, she unfastened and took off Lana's shoes and jacket, slid the barrette from her unruly hair, and decided not to try and change her into pajamas. "You're safe, baby, I swear it. Rest now, Lana love," Aelin murmured. She kissed her daughter's forehead and tucked her into bed. Within fifteen minutes, she too was burrowed into the comfort of a warm bed, and sleep claimed her almost as soon as she had closed her eyes.

~~

It started with a collision and a smile.

Aelin was twenty years old, a senior at Adarlan University thanks to AP credit and accelerated courses, and she was walking back to the campus apartment she shared with Elide, Lysandra, and Nehemia when she collided with a body that had come out of seemingly nowhere.

"Oh god! I'm so sorry," she gasped, stumbling over herself, her feet, and her words as she picked herself up and scrambled to collect the notebooks she'd dropped all over the sidewalk.

"No, no, it's all my fault for not paying attention to where I was going." The guy she'd just run into--a few inches taller than her, standard athletic build, brown hair, brown eyes, khakis and a fraternity polo shirt--offered her a charming smile. "I'm Chaol Westfall, and I have no sense of direction."

That got her to crack a smile. "I'm Aelin Galathynius, and I really need to look at my surroundings once in a while." She shook his hand.

They exchanged idle chatter for a few minutes before Chaol flashed another of those polished, charming smiles and hit her with the unexpected, but not unwelcome, question. "Could I have your number, Aelin? I know we've just met, but I really want to get to know you better. Maybe coffee? Lunch?"

The warm, tingly feeling of being appreciated and asked on a date spread through Aelin's limbs. "I'd like that," she agreed, typing her number into Chaol's phone. "I have an insane schedule, but I'm always free on Tuesday afternoons."

"Tuesday it is, then." Chaol's parting smile stayed at the front of her mind until their first date. Which turned into another date, and another, and studying at his frat house, and visits to her apartment, late nights and exhausted crashes and everything.

His only potential flaw was how oblivious he was to when she was really, deeply struggling. But Aelin hadn't spent years fortifying the barricades around her mind and memory for nothing.

~

She graduated, and he was there for her, smiling his whitened smile and holding her close to his side, the perfect proud boyfriend. She got a job in the city, and he offered to let her move into his townhouse, even declined her repeated attempts to contribute to the rent. Let me take care of you, he insisted.

Being young and foolish and fancying herself in love, she'd acquiesced. Lost in the throes of young love, of first love, she hadn't recognized the warning signs until it was too late.

"What do you mean, I shouldn't drive myself to work?" Aelin literally couldn't understand where Chaol was coming from. "Babe, I've been driving myself around in this city for years, and everything has been perfectly smooth and safe and fine."

"You don't understand, Aelin, babe," he sighed, rubbing one hand over his face in what appeared to be worry. "The crime downtown, it's grown so massively in these last few months--there was a goddamn scene only a few blocks from your office last week!" He grasped her hands, running his thumbs soothingly over her knuckles. "I can't keep going through my days wondering if you'll leave work and find your car stolen or broken into or compromised and if you'll never make it back home." The anguish in his voice, in his face, was so convincing.

She stepped closer and looped her arms around his neck. "I can change my parking permit to one for the garage. It's not that much more expensive, and it's definitely safer than street parking."

He shook his head, pulling her closer as if in protection. "It's still not enough, babe. I...I need to drop you off and pick you up, otherwise I'm afraid I'll go fucking insane."

"Babe," she whispered, sympathy glowing in her still-innocent eyes, "is that the only way you'll feel safe?"

"Yeah," he murmured.

Aelin exhaled deeply, choosing to cede this battle. "Alright. You can be my chauffeur."

"Thanks, babe." He kissed her gently. "It's for the best, it really is."

For a while longer, she believed it.

~

A little over a year after she moved in with Chaol, Aelin went out with Lysandra and came home to an empty house, which made her stop for a moment. For as long as she could remember, Chaol had been home whenever she returned from going somewhere, or he'd been the one going with her, so he was there with her when she returned. So, the empty house threw her for a loop.

As did the lingering stench of cheap beer.

Still, like she'd become accustomed to doing, Aelin texted her boyfriend once she'd set down her purse. I'm home, babe. Simple and direct, the little heart punctuating the sentence a reminder that she was there and waiting for him.

He didn't respond.

It was late, later than she wanted to be awake, when he half-stumbled through the front door, the faint but unmistakable sheen of alcohol glazing his eyes.

"Hey, babe," she greeted him, tentative.

He blinked, slowly adjusting to his surroundings. "Aelin? Babe? Where are you?" His speech was clearly enunciated--perhaps he wasn't that drunk after all.

"Right here," she responded, coming to stand in front of him. "I texted you when I got home, just like you want."

"How long were you'n Lys out?" The question was casually asked.

She shrugged. "Oh, probably longer than we meant to be, but I haven't seen her in ages since we've been so busy, and I--ah!"

The sharp, burning sting of his palm across her cheek stunned her into silence.

He stared at her with huge, disbelieving eyes. "I'm so sorry, babe," he breathed, immediately folding her into his arms and spilling apology after apology. "I'm so sorry. I think I'm drunk, I don't know why I did that, god I'm so sorry, babe." He went into the kitchen and grabbed an ice pack out of the freezer, wrapped it in a towel, and settled it gingerly against the blazing red imprint on her cheek. "I'm so sorry," he repeated.

She believed him when he said that, too. She kept believing him the next time, and the next time, and the next time. He loves me, she told herself as she concealed the bruises with artistic makeup and stylish clothing. He isn't himself. He's drunk.

Are you sure he isn't himself? pushed a tiny little voice in the back of her mind. Or are you just believing him because he'll hurt you worse if you disagree?

She told that insidious, dangerously true voice to go fuck itself. Even if it was right, even if she was making excuses for a boyfriend who was a completely different man now that he was when she'd met him two years ago, he was still her boyfriend, and he still loved her. He said so himself.

Then she found herself pregnant, and everything changed.

~

Aelin had resisted telling Chaol she was pregnant for as long as she possibly could, both out of fear that he would react badly and out of her lingering worry that she had inherited her mother's fertility struggles and might lose the pregnancy. When she made it to the second trimester, though, she couldn't wait any longer, and she told her boyfriend. She was terrified, shaking with nerves the whole time.

Chaol was floored with shock, but he reacted surprisingly well. He swore that he'd clean himself up, that he'd stop going out to clubs and bars and parties with his old frat brothers, that he'd become the man and father he needed to be.

Pretty words. Empty lies, all of it.

At six months pregnant, with her heart just about ripping out of her chest, Aelin broke up with Chaol and moved out of his townhouse into Elide's apartment. He'd tried to sober up--for about two weeks, and then he'd chosen the party life over his girlfriend and unborn child. He'd come home wasted out of his mind. He'd...he'd hurt her, and he'd been completely callous to the horror that he could have hurt the baby.

So she left.

And he followed.

He followed her to work, where he cajoled her with pretty, plaintive words to come back home. He followed her to her new neighborhood, where he pleaded with her not to cut him off from the girl he loved. He followed her on her errands, where he listed all the reasons he was sorry and how he'd do better if she just gave him one more chance. He followed her to the doctor's office when she had ultrasound appointments, where he begged her to keep him in the baby's life.

It took Lorcan Salvaterre--Elide's huge, hulking, and honestly rather terrifying boyfriend--to convince Chaol to stay the fuck away from Aelin, who clearly didn't want to see him any more.

A month before Lana was born, Aelin left Adarlan for good, telling no one, and flew back home to Orynth. She changed her phone number, her email address, deleted her rarely-touched Instagram account, bought a new laptop and wiped the old one clean before discarding it. Her cousin Aedion gave her his spare room, no questions asked, and provided the steady, stable support she needed during the last month of her pregnancy, through her birth, and through her recovery.

Over the flurry of months that turned too quickly into years, Aelin found herself slowly healing, the cracks in her fragile heart repaired with the love of her family and friends and the all-consuming love she bore for her daughter. She grew more secure; she laid aside the tension and anxiety that she'd turn around one day to find Chaol behind her, ready to barge back into her life and steal everything she'd come to love.

She should have known that he would hold a grudge.

~

"What the fuck are you doing here?" The words spilled out of Aelin in a breathless gasp.

Standing opposite her in the parking lot of the grocery store, Chaol lifted his hands to placate her. "I'm not here to cause any trouble, babe."

"Like hell you are." Her vehemence came as a surprise. "I'm not falling for your bullshit lies anymore, Chaol. Why are you here?"

His face hardened. "You've kept my daughter away from me for years, and you have the fucking nerve to ask me what I'm doing?" He laughed coldly. "She's mine too, Aelin."

"She will never be your daughter," Aelin hissed. "You forfeited any claim you might have had when you...when you ab-ab-abused me." The last words came out in a halting rasp.

"Don't be dramatic," he condescended. "I admit I've had troubles with anger management, but I would never consciously hurt the girl I loved, and I'd certainly never abuse her."

Her jaw slacked in disbelief. "You are such a liar," she breathed. He isn't worth your time, her inner voice reminded her, and so she breathed deeply and ended the interaction. "Go home, Chaol. Don't you ever step foot in my personal space again."

Chaol followed her to Aedion's house, because he just didn't know how to stop or when to take no for an answer. He stayed outside the house, too smart to pull into the driveway and trespass on private property, but too stubborn to admit defeat.

"I'm terrified, Aeds," Aelin admitted after dinner, curled up in a tight, tense ball on the couch. "He just...he's not going to just disappear."

"He will if I make him," Aedion growled. "Bastard."

"Language," she chided, shooting a sharp look at Lana, who was happily throwing foam blocks around the living room. "That's all kinds of illegal, Aeds."

"Legal and illegal don't matter when your probably-psychotic ex is stalking you, Aelin."

She was quiet, knowing that her cousin spoke the truth. "I won't let him force me to run."

"But you want to leave, anyway."

"Yes." She nodded, firmly. "Only for a little while. It'll be like a vacation, just me and Lana. It'll leave you and your...friends...free to handle the Chaol situation."

He propped his chin on one fist and latched his solemn gaze onto hers. "Are you sure, Ae?"

"I am." Despite the deep-seated fear glimmering behind her veil of conviction, Aelin's voice was strong.

"Okay." Rising, Aedion wrapped Aelin into a breath-stealing hug. Just soft enough for her to hear, he whispered one word into her ear.

Doranelle.

The mountain city was just over 500 miles away. It had been on Aelin's vacation bucket list for years, and she'd never made it out there.

"Lodging?"

"Here." He scrawled a phone number on a piece of scrap paper. "One of my buddies always rattles on about this place."

"Okay." She gave him a hesitant but genuine smile and headed down to her room to pack and make a reservation.

~~

Rowan had the night shift at the B&B that week, because he had stupidly gone and agreed to switch shifts with Enda. Lesson learned: never trust a man who says he prefers stay-home nights. Most guests came in and out during the daytime and early evening hours, though, so he didn't entirely mind the night shift. It was just a pain having to stay half-awake in case he was called to the front desk.

As if the thought had summoned it, the buzzer went off. Rowan suppressed a tired sigh and walked out to the reception desk, sliding a toned-down version of his customer service smile onto his face. That smile morphed into something damn near awe when he saw the impossibly beautiful woman waiting at the front desk.

He shook himself out of that highly unprofessional thought. "Hello."

"Hi." Through her exhaustion, the woman could barely muster a tiny hint of a smile. "I'm here to check in. Aelin Galathynius?" She held out her driver's license and credit card.

He typed the name into the computer and nodded. "Three nights, yes?"

"Yes."

"Perfect." He checked her ID. Aelin Galathynius, a poetically lovely name fit for such a stunning woman. "Do we have permission to keep this credit card on file for incidentals for the duration of your stay?"

"Yes."

"Thank you." He typed something else. "All right, Ms. Galathynius, you're all checked in." He passed back her ID and credit card and handed her a key--a real metal key. "You'll be in room 203."

"Thank you." She offered him another tiny, tired smile and went back out to her car. In a handful of minutes, she reentered, pulling two suitcases and a toe bag behind her. And carrying a fast-asleep little girl with the exact same hair and face structure as hers.

Rowan had seen a vast myriad of travelers passing through the B&B throughout the years his family had owned the place--families, single people, friends, students, commuters, the list was endless. He liked to think he'd grown proficient at reading the stories on the travelers' faces as they passed through; he liked to imagine what could have brought them to scenic, picturesque Doranelle.

The woman--Aelin--the exhaustion on her face and the tender protectiveness with which she cradled her child told a story Rowan had never wanted to see again. Hers was a story of pain that followed in her footsteps, but also of the incredible strength it took to push forward and of the powerful love she clearly had for her child.

He didn't know Aelin. He doubted he ever would know her, other than as a guest passing through the Whitethorn family's B&B.

In that moment, though, Rowan knew that he would do anything that that woman wanted, whether his actions would be known or not.

Even make the demons from her past disappear.

"Stay a while," he whispered after Aelin had gone upstairs. "It's safe here. You are safe here."

~~~

[silverskye13]

Trying to analyze the tropes in my own fics to see if I think they're successful as component pieces and getting so confused I give myself psychic damage send help

[valiant-portabella-pirkko]

every now and then I just spontaneously remember that Arkk exists and that he was coded as a member of Scarlet's Army for reasons left entirely unexplained and I just go. huh.

[burntoutdaydreamer]

To Write Better Antagonists, Have Them Embody the Protagonist's Struggles

(Spoilers for The Devil Wears Prada, Avatar the Last Airbender, Kung Fu Panda 2, and The Hunger Games triology).

Writing antagonists and villains can be hard, especially if you don't know how to do so.

I think a lot of writers' first impulse is to start off with a placeholder antagonist, only to find that this character ends up falling flat. They finish their story only for readers to find the antagonist is not scary or threatening at all.

Often the default reaction to this is to focus on making the antagonist meaner, badder, or scarier in whatever way they can- or alternatively they introduce a Tragic Backstory to make them seem broken and sympathetic. Often, this ends up having the exact opposite effect. Instead of a compelling and genuinely terrifying villain, the writer ends up with a Big Bad Edge Lord who the reader just straight up does not care about, or actively rolls their eyes at (I'm looking at you, Marvel).

What makes an antagonist or villain intimidating is not the sheer power they hold, but the personal or existential threat they pose to the protagonist. Meaning, their strength as a character comes from how they tie into the themes of the story.

To show what I mean, here's four examples of the thematic roles an antagonist can serve:

1. A Dark Reflection of the Protagonist

The Devil Wears Prada

Miranda Priestly is initially presented as a terrible boss- which she is- but as the movie goes on, we get to see her in a new light. We see her as an bonafide expert in her field, and a professional woman who’s incredible at what she does. We even begin to see her personal struggles behind the scenes, where it’s clear her success has come at a huge personal cost. Her marriages fall apart, she spends every waking moment working, and because she’s a woman in the corporate world, people are constantly trying to tear her down.

The climax of the movie, and the moment that leaves the viewer most disturbed, does not feature Miranda abusing Andy worse than ever before, but praising her. Specifically, she praises her by saying “I see a great deal of myself in you.” Here, we realize that, like Miranda, Andy has put her job and her career before everything else that she cares about, and has been slowly sacrificing everything about herself just to keep it. While Andy's actions are still a far cry from Miranda's sadistic and abusive managerial style, it's similar enough to recognize that if she continues down her path, she will likely end up turning into Miranda.

In the movie's resolution, Andy does not defeat Miranda by impressing her or proving her wrong (she already did that around the half way mark). Instead, she rejects the values and ideals that her toxic workplace has been forcing on her, and chooses to leave it all behind.

2. An Obstacle to the Protagonist's Ideals

Avatar: The Last Airbender

Fire Lord Ozai is a Big Bad Baddie without much depth or redemptive qualities. Normally this makes for a bad antagonist (and it's probably the reason Ozai has very little screen time compared to his children), but in Avatar: The Last Airbender, it works.

Why?

Because his very existence is a threat to Aang's values of nonviolence and forgiveness.

Fire Lord Ozai cannot be reasoned with. He plans to conquer and burn down the world, and for most of the story, it seems that the only way to stop him is to kill him, which goes against everything Aang stands for. Whether or not Aang could beat the Fire Lord was never really in question, at least for any adults watching the show. The real tension of the final season came from whether Aang could defeat the Fire Lord without sacrificing the ideals he inherited from the nomads; i.e. whether he could fulfill the role of the Avatar while remaining true to himself and his culture.

In the end, he manages to find a way: he defeats the Fire Lord not by killing him, but by stripping him of his powers.

3. A Symbol of the Protagonist's Inner Struggle

Kung Fu Panda 2

Kung Fu Panda 2 is about Po's quest for inner peace, and the villain, Lord Shen, symbolizes everything that's standing in his way.

Po and Lord Shen have very different stories that share one thing in common: they both cannot let go of the past. Lord Shen is obsessed with proving his parents wrong and getting vengeance by conquering all of China. Po is struggling to come to terms with the fact that he is adopted and is desperate to figure out who he is and why he ended up left in a box of radishes as a baby.

Lord Shen symbolizes Po's inner struggle in two main ways: one, he was the source of the tragedy that separated him from his parents, and two, he reinforces Po's negative assumptions about himself. When Po realizes that Lord Shen knows about his past and confronts him, Lord Shen immediately tells Po exactly what he's afraid of hearing: that his parents abandoned him because they didn't love him. Po and the Furious Five struggle to beat Shen not because he's powerful, but because Po can't let go of the past, and this causes him to repeatedly freeze up in battle, which Shen uses to his advantage.

Po overcomes Shen when he does the one thing Shen is incapable of: he lets go of the past and finds inner peace. Po comes to terms with his tragic past and recognizes that it does not define him, while Shen holds on to his obsession of defying his fate, which ultimately leads to his downfall.

4. A Representative of a Harsh Reality or a Bigger System

The Hunger Games

We don't really see President Snow do all that much on his own. Most of the direct conflict that Katniss faces is not against him, but against his underlings and the larger Capitol government. The few interactions we see between her and President Snow are mainly the two of them talking, and this is where we see the kind of threat he poses.

President Snow never lies to Katniss, not even once, and this is the true genius behind his character. He doesn't have to lie to or deceive Katniss, because the truth is enough to keep her complicit.

Katniss knows that fighting Snow and the Capital will lead to total war and destruction- the kind where there are survivors, but no winners. Snow tells her to imagine thousands upon thousands of her people dead, and that's exactly what happens. The entirety of District 12 gets bombed to ashes, Peeta gets brainwashed and turned into a human weapon, and her sister Prim, the very person she set out to protect at the beginning of the story, dies just before the Capitol's surrender. The districts won, but at a devastating cost.

Even after President Snow is captured and put up for execution, he continues to hurt Katniss by telling her the truth. He tells her that the bombs that killed her sister Prim were not sent by him, but by the people on her side. He brings to her attention that the rebellion she's been fighting for might just implement a regime just as oppressive and brutal as the one they overthrew and he's right.

In the end, Katniss is not the one to kill President Snow. She passes up her one chance to kill him to take down President Coin instead.

[anthurak]

Something I’ve often found really compelling in Adventure Time is how The Grass Sword/Grass Demon/Fern found up becoming one of the most prominent and disturbing antagonists of the series pretty much by complete accident.

Like it’s easy to forget after Fern has become such a prominent character both in the show and fandom, but the ‘curse’ of the Grass Longsword started out and spent much of the show entirely benign. All it really did was cause the sword to stick to Finn. If anything, the sword/curse was quite beneficial to Finn, providing him with a prosthetic arm and activating on several instances to protect him. Really, the entire point of the original Blade of Grass episode was that the sword was actually pretty useful.

It was only AFTER stabbing and later merging with the Finn Sword to create Fern that the ‘curse’ started becoming actively malicious.

In hindsight, I think it’s pretty clear that while the Grass Spider/Octopus/Demon ‘curse’ entity within the Grass Sword may have been malicious, for the longest time it had no way of actually controlling or otherwise influencing Finn. The sword may have bonded to Finn’s body, but NOT to his mind, or more importantly his soul. This left Finn free to use the sword, and later even the grass-prosthetic freely without any danger or corruption from the curse.

But then Finn accidentally used it to stab the Finn Sword. As we see in Two Swords, this for the first time gave the Grass Demon/Curse direct access to a soul, the soul of the alternate Finn within the Finn Sword. A soul that it was able to corrupt and influence and ultimately merge with to create Fern.

This is one of those things that I think a lot of the fandom seems to miss: Fern isn’t some quirky doppelganger or a ‘brother’ to Finn. He is straight up a distorted, corrupted version OF Finn (the alternate iteration of him within the Finn Sword) manifested by the CURSE of the Grass Sword.

As in, basically EVERYTHING Fern does that deviates from the ‘norm’ that is Finn can be considered the work OF the curse. From more overt stuff like his tendency to ‘stab first, ask questions later’ or the times he ‘flips out’, to more subtle things like his brooding or just the fact that he has a noticeably different voice (the voice of the Grass Demon mind you), ALL of these are the product of the Curse.

And it’s this fact which makes Fern a truly tragic character. Because he was effectively doomed from the very start. Despite Fern’s attempts to do good and Finn’s and Jake’s attempts to accept him as his own person, Fern simply could not escape the curse’s influence. Because that curse was the very thing that created and maintained his physical body. It WAS his body. And this curse wanted nothing but to subvert, influence and ultimately CONTROL him for its own ends.

I think we can very easily assume that all of Fern’s failures, all his insecurities, everything that drove him to turning on Finn and trying to kill him and becoming the Green Knight in the final season, ALL of that was the result of the curse’s influence. Trying to whittle and break down Fern’s will so that it could mold him into whatever it wanted. And there was NOTHING Fern could do to stop this. Because the curse made itself a core part of what he was.

When Finn and Fern finally enter his mental world and destroy the Grass Demon in Come Along With Me, we see Fern as he truly is: simply another version of Finn who has been corrupted by the curse.

And with the Grass Demon dead, there is nothing to maintain Fern’s physical body, causing him to soon fade away. In order for this alternate Finn to be saved, he couldn’t exist as ‘Fern’.

Of course this also means that ‘Fern’ didn’t actually DIE at the end of the series. He simply reverted back to his true form: The Finn Sword.

And what I find so compelling and tragic about all this is that NONE of it had to actually happen. The Finn within the Finn Sword didn’t need to be put through all this suffering. Like it seems pretty clear that the Finn that become the Finn Sword was perfectly content being a sword. He didn’t need to be corrupted and spend the last two and half seasons being manipulated by a grass octopus demon.

Because when you think about it, ALL of this happened by accident. If Finn hadn’t lost the Finn Sword to Bandit Princess, or if he’d been able to simply avoid stabbing it with the Grass Sword during his fight with her, NONE of this would have happened. Finn would still have the Finn Sword and the Grass Sword would have likely remained benign and helpful to him. Heck, given how Finn seems to fully regain the use of the Grass Sword in his fight with Bandit Princess, he probably would have been able to duel-wield the Grass Sword and Finn Sword together.

This is really what I find to be the tragedy of Fern: That two of Finn’s greatest tools wound up becoming one of his most dangerous adversaries, and even worse that the Finn who became the Finn Sword was tortured and corrupted for no real reason, all essentially by accident.

[revenantghost]

Man, I think the best and worst part of Knives’s character is just how compelling he is*

I get it. You get it. We all understand exactly how and why he is the way he is. So many people have put this idea into better words than I could. He witnessed an unspeakable horror at an incredibly young age. He knew he was different, that he was other, and a worry set deeply into his bones that humanity would reject him for being born who he is. 

And he was right. It was so much worse than he could have ever realized. He was born to be an object for humanity to use as they see fit. All he wanted was love and peace for himself and his brother. And after seeing that? What they did so mercilessly to Tesla? Who can blame him for not believing in any future with humanity in it. Who can imagine a future without unbelievable strife and prejudice when you’re outnumbered and are seen as an item to dissect and toy with as you see fit

And yet

And yet

In his fear, in his need to control and correct, the cycle continues. The abused becomes the abuser. He assaults his brother multiple times. He takes away Vash’s autonomy and manipulates his body without his consent. Hell he happily experiments with/tests and uses Vash’s body while unconscious. He says he loves Vash while refusing to hear a word coming out of his mouth. Because, if he has a moment of doubt, any hint of weakness, all of that anger slips away and he becomes that boy again--afraid and weak and alone

In his fear, he takes plants. He strips them of their independence and will, denying them their souls. Again, he uses the bodies of his siblings against their will. He displays their corpses to keep him angry instead of putting them to rest. He kills and breaks apart the body of his sister so that he doesn’t have to die, so that he can be reborn. He willfully denies the thoughts, dreams, and pains of his sisters and instead absorbs them, impregnates them, tries to kill them in the “right” way

In his fear, he drove humanity into hurting his kind more. He forced their hand into injuring and killing more plants than they’d ever dreamed of harming. He’s the one that put Vash into a constant position where he’s gaining mountains of scars. (His brother who, on the opposite end of the spectrum, has let the cycle of abuse continue while using himself as a shield instead of breaking free from the pattern.) He uses and discards the humans near him no matter the kindness and devotion they shows him

The same behavior Knives shows everybody and everything else

He’s awful. Absolutely sick and perverted and so stuck in his own mind that all he does is hurt and hurt and hurt

And yet

I get it. I’ve been traumatized to the point where all I want to do is cause pain in return. To feel that justice can exist and will come to pass, no matter the cost. To be so afraid that anger is the only safe emotion you can cling to. It’s what makes him one of the most compelling antagonists I’ve ever seen. Kudos to Nightow for fucking me up about Knives and his pain more by the day, honestly

*Except for ‘98 Knives lmao, that man is fabulously unhinged and overly dramatic about everything and I love him for it

[physalian]

“Likable” vs “Compelling” Protagonists

Protagonist does not mean “good guy” it means “the person the story is about”.

Antagonist does not mean “bad guy” it means “person in opposition to the protagonist”.

We know this, yes?

So when I’m talking about “likable” protagonists I do not mean that your MC has to be witty, funny, charming, etc—they have to be compelling.

I didn’t much care for Death Note, I thought Light got away with way too much without consequences for his actions, but he was very much the villain and the protagonist. He was an arrogant narcissist with a god complex and you watched the show not to see him win, but to see how badly he would eventually lose.

This was because, despite my dislike of his story, Light was a compelling character. You don’t necessarily agree with his motivations, but you do understand why he does what he does and why he believes what he does about himself and his world.

In contrast, one of my favorite anime is Code Geass. Lelouch (who is often compared to Light) is *constantly* getting kicked in the ass by his own hubris. He's arrogant as well, but he makes mistakes everywhere and suffers if not immediate comeuppance, then drastic consequences later down the line. Which, to me, made a far more compelling character than someone like Light playing with cheat codes.

Most of the time, “likable” and “compelling” go hand in hand, because your protagonist is the “good guy” that we’re supposed to root for.

So one of the worst mistakes I think you can make is writing a hero who just doesn’t want to be here.

—

I recently read a story where MC needed to win a competition, baseline unsponsored underdog story, and everyone loves an underdog. The problem was the MC’s attitude. Nothing pleased them and in their internal monologue, nothing was good enough and everyone else was the problem. They actually hate competitions and can’t wait for this to be over…even though no one forced them into it with a gun to their head. They hate all their competitors for behavior they themself exhibit. They hate their lone sponsor for being a sleezeball, and yet, chose to enter a voluntary competition, knowing this sponsor’s behavior, and still blaming the sponsor for their problems.

The entire time I was reading all I kept thinking was, “Then go home, bitch!”

This was not a high-stakes competition, and the MC didn’t have dire enough circumstances for the reader to believe this was a "life-or-death, even if it sucks, MC has to win," type situation. Not like Hunger Games. This was all completely voluntary.

So I started wondering if the author meant the MC to be the villain with all these personality flaws, but they’re still the underdog with no wins under their belt to support their level of entitled arrogance and no notable skills that make them inherently better than the competition.

So I was rooting for the MC to lose, and I don’t think I was supposed to. Even if I was, the mixup between “underdog hero” and “catty bitchy villain” was too confusing for too much of the story. MC didn't have to be here, didn't want to be here, so... why was MC here?

—

Some suggestions for compelling motivations for your protagonist boils down to this:

Define as quickly as you can these three things for your protagonist of any walk:

What the protagonist wants

How the protagonist plans to get it

And what’s in their way

Specify the stakes, if not physical, then personal. It doesn’t have to be life-or-death, but if they’re entering a risky situation, whatever it is has to be extremely important to them. Luca doesn’t have as high stakes as, say, Toy Story 3 but the moped race is important to the heroes, thus a compelling motivation.

Make this a journey they actually want to be on. Even if it’s grimdark or horror, if your hero is complaining the entire time and wanting to go home, yet plowing forward anyway because the plot’s dragging them on a leash, your audience will be as invested in the story as that character. If they don’t actually have the commitment to see their quest through, why should the audience care?

Alternatively, make this a journey they cannot afford to walk away from. Whether that be pressure from without or within. Frodo didn’t have to take the One Ring to Mordor. He chose to, because it was, in his mind, the right thing to do. He suffered his entire journey with the Ring and got homesick and depressed and discouraged, but he never called his own journey stupid and dumb. He could have put the Ring down and walked away or given it to somebody else, but he chose to carry on, because that’s who he is.

Even reluctant chosen ones have an ulterior reason for remaining in the story. Your long-lost princess might not want the throne being thrust upon her, but she’s chasing something else that accepting the throne and going along with the plot will give her. Maybe it’s power, respect, vengeance, money, protection, connections. So she’ll tolerate the nonsense so long as it still gets her what she wants and her struggle might be trying to not let herself get corrupted by the allure of politics and “the game”. Or, she's playing along merely to stay alive and actively trying to escape and return to her simpler life.

Popular example: Percy Jackson is a reluctant chosen one throughout his entire story in every book, even Last Olympian where he insists that he's the unknown prophecy child. In The Lightning Thief he doesn’t give a damn about the quest for the Master Bolt, he’s there to get his mom back, and cooperating with the quest will give him the means to achieve his goal, and along the way, finds that he doesn’t quite hate it as much as he thought he would.

—

So. Yeah. In no way, shape, or form does your protagonist have to be “likable”. If someone tells you they aren’t, they probably mean that your protagonist is contradictory, or lacks compelling motivation and drive, and lacks a clear goal or aspiration that will define their story. Or, they lack drive to even participate in the story at all.

Or they simply mean that your charcater, who you intend to be likeable, has a nasty flaw that would turn readers off, but a beta should be able to tell you that one easily. If they can't come up with a solid reason why your charcater is unlikable, it's probably a motivation issue.

The earliest draft of a WIP that shall never see the light of day had my protagonist sent on a glorified space field trip by her parents, and wasn’t happy to be there. This not only made her unlikable, but also uncompelling. She didn’t want to participate in the plot and only did it to hold up her end of the deal, she wasn’t excited about the actual trip nor making friends, and eventually grew into it far too late in the story.

I then changed it to have the trip be her idea, and she ran away from home to chase this dream she had. Doing so gave her much more agency as an MC and gave her an immediate motive and goal so you wanted to see her succeed right from the get go.

Even villain protagonists have a goal, and generally they very much enthusiastically want to be in this story. You don’t have to like them, but you do have to want to root for them, if not for their success, then their eventual downfall in a blaze of glory.

—

Interested in a fantasy novel without a "chosen one" protagonist? Eternal Night of the Northern Sky is up for preorder in ebook, paperback on sale 8/25/24. Subscribe for updates if you'd like~

[bonefall]

do you have any tips for writing a low empathy character who isn't evil? Or how to make an interesting apathetic character who's a thoughtless sort of evil? These are two different chatacters btw-

I tried looking up examples and stuff but uh. It's been a bit fruitless.

Honestly it's not too hard! Having low empathy just means we're bad at automatically "connecting" to the feelings of other people. You can come to understand it's not even a character flaw once you uncouple the idea that Empathy = Kindness. And apathy, well, that one's a bit more complicated imo.

Low Empathy

In English, it's just unfortunately super common to conflate Empathy and Compassion. To have compassion is to be aware of the suffering of another person, and ergo, want to help stop it. To be empathetic is to identify with and understand the feelings of another person. These are different things.

For an example in action; imagine a medic with a patient whose shoulder is dislocated, and xey'll need to pop that arm back in place in order for the patient to feel better.

A medic feeling EMPATHY for that patient is having an emotional response to what xey're seeing. Xey might have a tingly "ghost pain" thinking about the injury, and xey might feel guilty xey're going to put them in more agony, but also joy because this patient is going to feel much better in just a moment.

A medic feeling COMPASSION for that patient is thinking about how the shoulder must be causing a lot of pain, and knows xey have the skill to fix it. Xey know from xeir own experience that pain sucks and so it is a bad thing that needs to go away. It will hurt a little more for a moment, but then there will be immediate relief.

This is imo, why a lot of low empathy people are "bad at" comforting people without going to Autism College where they give you the scripts of Shit Neurotypicals Say. We're not trying to be selfish when we end up making "comfort sessions" about ourselves-- that's what we think empathy is, because we don't have a lot of it to really know what you want.

Like, doesn't it make sense to you? "I don't know what you're feeling. Here's a similar situation I've been though. I must know what you're feeling-- does that make you feel better? That you aren't alone? I think that's what empathy is, am I right?"

A LOT of low empathy people go into medical fields, the funeral industry, and disaster relief. We often really do want to help people so seek these fields out, or when we get there, just end up not getting burnt out like our high-empathy peers!

Apathy

As for the apathetic character, honestly, I'd suggest thinking about your story's themes. Villains are very special to me and I always try to handle them with care. What are you trying to say is bad to not care about in your work? How does their apathy play into the story you're trying to tell?

A Captain Planet villain is completely selfish, and exists only to benefit itself by exploiting nature in some way. Then the Planeteers show up and punch it in the face. Boiled down to its barest, most simple essentials; "We have conflicting goals and so I will stop you."

Personally I find total apathy to be something not especially compelling in villains, for that reason. Like, if you really don't care about anything, why bother with the trouble of going against the protag? Motivation is meant to be MOTIVATING.

(also ngl I'm on the Shadow As A Hero sort of bandwagon where I find it much funnier for the simple apathetic cool edgy guy to be the funniest person on your tennis team)

Dungeon Meshi has TWO characters who struggle with apathy, and are both antagonists at some points in the story, but never villains. Shuro and Mithrun. The theme of Dungeon Meshi is the beauty and complexity of life, the value of living, and how our connections to others changes the people we are. Food is a metaphor for bonding, self-care, and understanding.

For Shuro, he begins the story as someone who's both been encouraged to bottle up his emotions for the sake of other people, as well as to not actually consider the emotions of those lower-born than him. He's from a very different place than the other members of his party, and this causes friction as class, culture, and sophisticated, refined, weapons-grade autism clashes.

When the woman he loves is eaten by a dragon, he doesn't stop to tell her brother and """childhood friend""" what he's planning, as if they both wouldn't run in and get hurt. He owns demi-humans. He doesn't consider his own needs or the needs of his rescue team of loyal vassals. As a result, he's too weak to continue, losing a fistfight with one of the main characters, Laios.

After this, he connects with him for the very first time, and reaches out to him by giving him an important magic item. There's even a MASSIVE moment where he outright tells Laios that his ability to be so open (read: not have to mask his autism) is something he envies, breaking through that veil of apathy he wears.

The story Dungeon Meshi is telling here is that it is important to value the needs of yourself and of others. Shuro's apathy towards his own needs in a bid to prove his love weakened him. In acting like he was above his old teammates, he never spoke to them like people to smooth out his issues. He's never even noticed how much his vassals love and care for him.

(and the incredible irony is not lost on me, that Shuro's name is because Laios mispronounced it and was never corrected... while Shuro never noticed that Izutsumi had the unwanted name "Asebi" forced onto her when she was "taken in" and made his slave.)

See how that comes back to the theme? Shuro doesn't exist to just "be some asshole" or act like a villain. He has a full character arc that contributes to the narrative.

For Mithrun? I won't even spoil it. Go read Dungeon Meshi. Watch elf depression. We love a king with strabismus.

Anyway,

If you ever need good personal resources on any stigmatized mental condition, I've found it's usually productive to go into the #Actually (Thing) tag here on Tumblr. You can find people posting about basically anything. I found a lot of really good resources on NPD that way.

[camellia-thea]

so @coprinellus-cluster sent me an ask about daniel and armand and why i find them so compelling. that turned into a 2000 word essay. this is very armand focused, but i promise i love daniel too.

anne rice initially wrote armand as an antagonist, and even went into writing qotd with him intended to be part of the antagonistic force, however she found while writing the devil's minion chapter that armand had become someone completely different. i love that. i love that a lot. i have sources for this somewhere but they're buried. i'll add 'em if i find them again.

i love how the chapter takes two characters who had very little identity beyond their interaction with louis and lestat. daniel was functionally exclusively a framing device in the first book. he didn't really have a character, and he literally was not named. armand was defined almost entirely by his relationships, and while his sections have always been my favourite parts of iwtv and tvl, i think there was a lack of depth there that gets discussed so much more in the devil's minion chapter.

armand is a character who has always defined himself by the people around him. from marius, to santino, to the children of darkness, to lestat, to the théâtre des vampires, to louis. each link ushers in a different aspect of himself, and the show deals with the amazingly well. the arun/amadeo/armand, the good nurse or the gremlin, it's phenomenal. daniel in the books is meant to be the next part of the transition. armand goes to both lestat and louis, show me how to live in this modern era.

"We cannot be Marius for you," I said, "or the dark lord, Santino[…]" "You have to suffer through this emptiness," I said, "and find what impels you to continue. If you come with us we will fail you and you will destroy us." "How suffer through it?" [Armand] looked up at me and his eyebrows came together in the most poignant frown. "How do I begin? You move like the right hand of God! But for me the world, the real world in which Marius lived, is beyond reach. I never lived in it. I push against the glass. But how do I get in?" "I can't tell you that," I said. "You have to study this age, " Gabrielle interrupted. Her voice was calm but commanding. He looked towards her as she spoke. "You have to understand the age, " she continued, "through its literature and its music and its art. You have come up out of the earth, as you yourself put it. Now live in the world. " [...] "And what better place is there than the center of things, the boulevard and the theater? " Gabrielle asked. He frowned, his head turning dismissively, but she pressed on. "Your gift is for leading the coven, and your coven is still there."

from the vampire lestat

this conversation you can see is what leads him to approach louis for the same thing.

["]It is through you that I can save myself from the despair which I’ve described to you as our death. It is through you that I must make my link with this nineteenth century and come to understand it in a way that will revitalize me, which I so desperately need. It is for you that I’ve been waiting at the Théâtre des Vampires. If I knew a mortal of that sensitivity, that pain, that focus, I would make him a vampire in an instant. But such can rarely be done. No, I’ve had to wait and watch for you. And now I’ll fight for you. Do you see how ruthless I am in love? Is this what you meant by love?["]

from interview with the vampire

(i do think the little "if i found a mortal with that sensitivity, that pain, that focus, i would make him a vampire in an instant", but that's not the point of this)

armand is a creature of habit, of cycles, and daniel is meant to be the next member of the loop. he uses daniel in the exact same fashion, to usher himself into the new era;

"You are my teacher," Armand told him. "You will tell me everything about this century. I am learning secrets already that have eluded me since the beginning. You'll sleep when the sun rises, if you wish, but the nights are mine."

from queen of the damned

but, something changes with daniel. and i think it is what is missing from louis; daniel has a passion for life and living that louis lacks. he's interviewing people to reveal their lives!

suddenly armand is not being ushered into the new era, he's living it. you get his excitement, his delight, his engagement. he is no longer detached from the world in the way that he is in the first two novels. he is bright and full of life.

daniel remarks a few times about how armand's laughter and delight makes him suddenly look mortal. i find it enthralling. how this one mortal, who's life purpose initially is revealing the lives of people around him to the world, brings the 500 year old vampire joy and delight and that joy stays.

i love that this mortal man could bring anne rice to completely change her perception of armand.

and on daniel's part, he is utterly fascinating. he falls in love with the monster chasing him, for his monstrosity.

Daniel stared hard at the creature before him, this thing that looked human and sounded human but was not. There was a horrid shift in his consciousness; he saw this being like a great insect, a monstrous evil predator who had devoured a million human lives. And yet he loved this thing. He loved its smooth white skin, its great dark brown eyes. He loved it not because it looked like a gentle, thoughtful young man, but because it was ghastly and awful and loathsome, and beautiful all at the same time. He loved it the way people love evil, because it thrills them to the core of their souls. Imagine, killing like that, just taking life any time you want it, just doing it, sinking your teeth into another and taking all that that person can possibly give. Look at the garments he wore. Blue cotton shirt, brass-buttoned denim jacket. Where had he gotten them? Off a victim, yes, like taking out his knife and skinning the kill while it was still warm? No wonder they reeked of salt and blood, though none was visible. And the hair trimmed just as if it weren't going to grow out within twenty-four hours to its regular shoulder length. This is evil. This is illusion. This is what I want to be, which is why I cannot stand to look at him. Armand's lips had moved in a soft, slightly concealed smile. And then his eyes had misted and closed. He had bent close to Daniel, pressed his lips to Daniel's neck.

from queen of the damned

this passage has lived in my mind since i first read queen of the damned. daniel loves armand in spite of his beauty, not because of it. it is the monstrosity that he loves. and it's exactly what armand needs. their relationship has such a push-pull dynamic as well. daniel up and leaving when they have fights, armand waiting him out before reappearing. armand and daniel’s relationship is a direct link to addiction, which i think is really interesting. daniel is quite literally addicted to armand and that’s something i think is really interesting when it comes to mortal relationships with vampires.

there’s also something in the power dynamics between them with armand exerting control over daniel through finances, but it’s really interesting because daniel is rich. he got a lot of money from publishing interview. armand gets him so many things, buys him houses and clothes and a fucking island, and daniel lets him. and i don’t necessarily think daniel has the capacity to really say no here, but it really does make their dynamic super interesting.

i think daniel gives armand the potential to be more than who he was made to be, the roles he was put into. the muse, the protégé, the cult leader, the coven member, he lingers in his own victimhood, and i think it’s a very interesting thing. daniel is an escape from that. daniel loves the vampire, loves the monster, and doesn’t necessarily want something from armand beyond being pulled into vampirism with him. and that is something that armand very distinctly has control to say no to. and i think that’s very important to armand.

"Tell me what you want, Daniel, and I'll get it for you. Why do you keep running away?" "Lies, you bastard. Say that you wanted me. You'll torment me forever, won't you, and then you'll watch me die, and you'll find I that interesting, won't you? It was true what Louis said. You watch them die, your mortal slaves, they mean nothing to you. You'll watch the colors change in my face as I die." "That's Louis's language," Armand said patiently. "Please don't quote that book to me. I'd rather die than see you die, Daniel." "Then give it to me! Damn you! Immortality that close, as close as your arms." "No, Daniel, because I'd rather die than do that, too."

from queen of the damned

this is another moment that lives in my head, i’d rather die than do that too. there is something so electric between them. how willing daniel is to give in to armand, and yet how willing he is to fight for it, for them. i don’t read daniel’s obsession with vampirism being entirely for himself by the end of the era. i truly think that there is an element of it so that he can remain with armand.

but there’s something else there too, that i don’t think the other relationships we see in the vampire chronicles really capture, and that is the mundanity that they relish in together. they go out together, to clubs, to performances, to museums and art galleries, to bars and to rock concerts, but they also experience life together in a way that lestat and louis don’t really convey when narrating their novels. daniel and armand have made a life together, and it’s weird and unconventional but it works. they have houses together, the little villa on night island, it’s just. genuine. it has all the trappings of the unhealthy, awful nature that a mortal and vampire relationship can be, and simultaneously they’ve managed to create something that is domestic. and i don’t think daniel leaving armand, and often the country they were in, necessarily negates it. they’re not good people, it’s not a good relationship, but it’s enough.

and armand does love daniel enough to turn him. that’s a significant part of it. when he is legitimately faced with daniel’s death, he cannot bear the idea of losing him.

and. there’s a bigger part too. daniel is what stops armand from wanting to die.

"Years ago," Armand interrupted, "it wouldn't have mattered to me, all this." "What do you mean?" "But I don't want it to end now. I don't want to continue unless you-" His face changed slightly. Faint look of surprise. "I don't want you to die."

from queen of the damned

daniel has fundamentally changed armand. armand does not want to die. and he does not want to live without daniel.

and it’s awful, and yet it’s enthralling. there was never going to be an outcome in which daniel did not die. it is the fate of any mortal, and most immortals as well. and i think they both knew that. and that’s the tragedy of it too, the beautiful, horrific nature of them both is that armand was always going to be the one who killed daniel, and the only question was whether daniel would remain afterwards.

and i think that armand was never going to let daniel go.

daniel and armand love each other, and i think rice did a disservice to them both by setting them aside in later books, but i won't go into that here.

[writingwithfolklore]

When your Antagonist is Also your Protagonist

                If there’s one thing humans are all really good at, it’s getting in our own way. Most stories have at least some element of protagonist against themselves—we create this block between our protagonist and what they want when we create their flaw.

                However, stories that rely on this conflict with self have to do a bit extra work. Internal motivations and antagonists are a bit more challenging, but still a valid way to introduce conflict into a story. Here’s three considerations for when your antagonist is also your protagonist:

1. What is preventing them from what they want?

This is the same question we ask ourselves when creating character flaws, but I think it deserves repeating here. There has to be something you can name that is standing in the way of your character, or this won’t work. It must be deeply ingrained, difficult to overcome, and effective in preventing them from getting what they want.

Maybe what they want is to ask out their crush, but they’re horribly shy. Or they want to take down their evil ruler, but they’re secretly in love with them. It’s important these are traits they can’t just snap their fingers and fix. Like, if your character really wants to win a weightlifting contest, the thing standing in their way can’t be that they’re just too weak, because people can work out and become stronger—that doesn’t make for a very compelling story, and it also doesn’t explain why they couldn’t have just done that sooner.

There’s a reason your character doesn’t already have what they want.

2. How will you use that to introduce conflict?

In order to be effective, this trait has to act as the antagonist, which means at every turn, they have to be thwarted by themselves. Maybe your character comes face to face with their crush and physically can’t talk and it comes off as awkward and weird. Or they’re approaching their evil ruler and can’t seem to pull the trigger.

Their inability to get over their trait should be frustrating and challenging for them. If it helps, think of it like a little invisible guy hovering over their shoulder and forcing them to do the opposite of what they want to do.

3. Other ways of standing in their own way

Characters can also be thwarted by their own minds in other ways. Some stories take the route of reality being unreliable, whether through drugs, mental illness, or a magical/fictional reason. Memento, the movie, is sort of an example of this, where because of Leonard’s memory condition, he’s unable to know who to trust or what the truth is, and what's a lie.

One of my favourite video games is Fran Bow, where the distorting of reality is both the problem and sometimes the answer.

                What are some other ways the protagonist can act as their own antagonist?

[sillysiluriforme]

So glad you liked the other Chloe submission, thanks for the informative and entertaining response and the kind words from the comrades!

As before no worries if not interested but I did have a couple more thoughts, though be it these one's likely relate very specifically to teen Chloe so may not be useful/interesting but still.

Oh quick aside:

Not sure how prevalent Sabrina is, but the fact we see her dad encourage her master servant dynamic with Chloe, because it fits his definition of being "Useful" to society and how... Low key unhinged Sabrina can get about her usefulness not being utilized or acknowledge (Like with Marinette) is very interesting. Her & Chloe finding each other in canon is just like two people with hilariously complimentary but deeply unhealthy ideas forming a circular relationship of mutual self destruction.

Anyway, an interesting thing to me is how while Chloe does replicate the abusive behaviors taught (Andre) or demonstrated (Audrey,, Gabriel & Emilie) to her, she had already softened them without any real moral or empathic guidance.

Andre: He explicitly taught her cheating, extortion & threats are moral goods, and she does use them to try and win at things. But she doesn't actually utilize them that often or with as much intensity.

& like her father she uses money/gifts to compensate for shitty behavior but unlike him does, ya know, do things with Sabrina & is invested in their relationship outside of Sabrina's use as a tool.

& while she did use Sabrina as a shield in Zombisu, she also protected her in Ladybug, so its at least mote mutual as I cannot envision Andre doing anything for Chloe that really risks him.

Audrey: She's been impersonating her mother for years in a bid to earn her love but it didn't work until someone else made Audrey decide it was worthwhile & even then didn't seem to amount to much.

So while like Audrey she is antagonistic, haughty and rude, Chloe did actually demonstrate the ability to feel guilt (Zombisu but others too) & when Akumatized in the early series was not terribly murderous.

Compare that to Audrey who happily mulches her husband and daughter despite AKuma usually avoiding hurting their loved one's outside of indirect harm done by their warped attempts to protect.

Gabriel & Emilie: She clearly fucking hates that Adrien is making friends with people she hates and who hate her and is possessive of the relationship.

Yet until everything goes to hell, she doesn't really do much to try and stop him or undermine said relationships either. That is to say, she's already far less possessive & controlling than Emilie of Gabriel are.

Conclusion: So yeah while definitely not good, she had seemingly without much if any guidance, already made the abusive traits she picked up less toxic than those demonstrated by the adults around her.

Note: Also I always feel compelled to note this, but it is low key creepy Andre has been rewarding Chloe for impersonating his wife.

Like even if he's just instinctively recreating the dynamic he had with Audrey; not sure on that as they do seem to argue a lot.

Or is just using Chloe as an emotional crutch/ego-soothing proxy for Audrey's approval... Its still deeply messed up & unhealthy.

you're so smart @clemnoir was right you deserve sloppy head

I love thinking about child development when it comes to fictional characters, it's so fun...Also i don't care how much the show tries i will never have empathy for andre i hope he explodes into a fine mist

[hayatheauthor]

How to Develop a Memorable Antagonist

Antagonists are one of the most important characters in your book. Without an antagonist, writers wouldn’t have a story to write in the first place. They bring the action, drama, trauma and many other factors that are often the reason for a book’s success. However, their pivotal role in the book is often why antagonists can come across as poorly-written one-dimensional characters. 

From stereotypical backstories to a lack of humanisation, authors often make simple mistakes that can result in a cliche or boring antagonist. Are you struggling to create a compelling antagonist for your WIP? Here are some tips to help you get started. 

Give Your Antagonist A Clear Motive 

People don’t just wake up one day and decide they want to fundamentally alter society and possibly end the world. Or, maybe they do, but their idealogy starts somewhere. Voldemort wanted to change the wizarding world because he loathed muggles due to his parents, Hannibal’s tragic past triggered his cannibalistic tendencies. 

Every antagonist has a reason for their crimes, and it's important to understand your antagonist’s motives and goals in order to create a compelling villain. Start with your antagonist’s backstory. 

Did they have a tragic childhood? Did they desperately want to achieve a certain goal but failed and were driven insane? Are they following someone? Are they being manipulated? There is an endless list of possible reasons you can choose from in order to create a compelling motive for your antagonist. 

Make Your Antagonist Multi-Dimensional 

Once you have established their initial reasoning it’s time to go into more detail. I would start by taking their dynamic with the other characters into consideration. Why do they despise the protagonist? Do they want to simply remove the obstacles in their way or do they have a personal vendetta? 

It’s also important to consider the other characters. Is there a mentor figure in your book who the antagonist has a personal vendetta against? What about their allies and henchmen? How did they meet them? Did the antagonist start off alone or have they worked with the same group of people since the start? 

Your readers don’t necessarily need to know every single detail of your antagonist’s past, but having a clear understanding of their motives and dynamics can help you create a clear image of the antagonist. For example, they could be particularly spiteful towards the protagonist’s best friend because she is the daughter of the antagonist’s ex-ally. This could make for an easy subplot or come in handy if you need to distract the antagonist in a fight scene. 

Make Your Readers Empathise With Them 

When developing a motive authors should always look for a way to make their readers empathise with the antagonist. Show us why we should feel sorry for them, tell us they could have had a promising future if it weren’t for an unjust moment in their lives. When you make your readers feel conflicted about your antagonist they become more than just a character on the page. 

Your readers begin to question whether their tragic past justifies their actions, some might root for them, others might dislike them more and regard them as apathetic. However, the goal is to make your readers view your antagonist as more than just the person causing issues for your protagonist. 

Give Them Strengths And Weaknesses 

Everyone hates a Mary Sue protagonist, but the same can be said for an antagonist. Think of it this way—if your antagonist is an all-powerful flawless villain who could destroy the world if they wanted to, then why haven’t they already won? Why do they have to fight the protagonist? 

The good vs bad, protagonist vs antagonist dynamic only entices readers if they can’t tell who is going to come on top at the end of it all. This is why it’s essential to give your antagonist appropriate strengths and weaknesses. 

Here’s an example of an antagonist with appropriate strengths and weaknesses: a main antagonist is an all-powerful witch who wants to destroy the protagonist’s home country but she lost most of her power in a fight against the mentor and can’t gain them back without a special artefact. 

This example shows your readers how big of a threat the antagonist is while also providing her with appropriate strengths and shortcomings. This can look a little different depending on the genre you write for. Maybe the antagonist in a romcom wants to get the love interest married off to a side character and has the leverage to do so but the main character is introduced to the love interest’s family to try and sway the antagonist’s plans.  

You don’t need to create a comprehensive list of all of your antagonist’s strengths and weaknesses, but it’s important to have a proper understanding of what puts them in a position to easily combat your protagonist and what stops them from outright winning. 

Showcase Their (Negative) Impact On The Story 

An antagonist can only be labelled as such if they actively do things to hinder or harm the protagonist. Simply saying your antagonist is a bad person isn’t enough, you need to show your readers this too. 

When you start reading Harry Potter it is made clear that Voldemort was an all-powerful wizard who severely damaged the wizarding world during the first war, however, his bad deeds aren’t only reserved for the past. He was also just as evil in the present and was out to harm Harry from the first book itself. 

From small confrontations with the protagonists to entire fights, it’s important to create a range of situations and chapters that can showcase your antagonist’s ‘true colours’. 

Keep Their Personality Consistent 

Just like every other character, it is important to ensure you have a consistent personality type for your antagonist. An antagonist regularly spotted in a suit known for their professional and calculative plans wouldn’t casually joke around with the protagonists during a showdown. The way they contradict the protagonist should also be reflective of their personality. 

You should also take their personal history into consideration and how that could impact their dynamics with certain characters. For example, a character like Tom Riddle who despised both of his parents would likely be spiteful whenever they see the protagonist with their mentor figure and could even target the mentor out of spite. 

The only time an antagonist’s personality should change is during a pivotal point in the book’s plot. Maybe the put-together antagonist shows off their frustrated side when the protagonist outwits them, maybe they let out maniacal laughter when the protagonist asks them about their motives. 

It’s important to treat your antagonists like humans and consider how a person with that personality would realistically react to the situations they are in. 

Avoid Creating A Stereotypical Antagonist 

Nobody likes an overdone cliche. When writing your antagonist try to avoid creating stereotypical villains. Here are a few examples of stereotypical antagonists and how to avoid them: 

The Evil Mastermind: Instead of making the antagonist an all-powerful villain with no weaknesses, give them flaws and limitations that can be exploited by the protagonist. Make the antagonist's motives more complex than just wanting to take over the world, and consider giving them a personal connection to the protagonist or a sympathetic backstory.

The Brainwashed Henchman: Rather than having the antagonist control their minions through brainwashing or mind control, make the henchman have agency and free will. Consider making the henchman conflicted about their role, or have them question the antagonist's motives and methods.

The Vengeful Ex-Lover: Instead of making the antagonist a scorned lover seeking revenge, consider giving them a different motivation for their actions. For example, the antagonist might be seeking revenge for a perceived betrayal, or they might be trying to protect someone they care about.

The Unfeeling Machine: Rather than making the antagonist a cold, calculating machine with no emotions, consider giving them a personal stake in the conflict. The antagonist might be acting out of fear or desperation, or they might be struggling with moral dilemmas related to their actions.

The Crazy Cult Leader: Instead of making the antagonist a stereotypical cult leader with a group of brainwashed followers, consider giving them a more nuanced personality. The antagonist might genuinely believe in their cause and be able to convince others to follow them, or they might be struggling with doubts and conflicts within their own ideology.

Avoid ‘One Man Armies’ 

Let’s be honest, one evil wizard cannot destroy your protagonist’s entire world by themselves. Just like protagonists have mentors, allies, coworkers, friends and sidekicks your antagonists need to have allies too. Voldemort didn’t conquer the entire wizarding world by himself right after graduating from Hogwarts, he instead built his troops and only fought Dumbledore once he was ready. 

When worldbuilding for your novel it’s important to create some semblance of character development for background antagonists as well as the lead antagonists. 

I hope this blog on how to develop a memorable antagonist will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and marketing tools for authors every Monday and Thursday

[not-that-n]

I think Kotor 2 is a really funny game when it comes to the average analysis of it's themes, because it managed to create such a compelling antagonist that most people just kinda get lost into trying to analyze her words and actions through her apparent philosophical stand when she is just written to be a great hypocrite, something that they almost always fail to mention in the average analysis of Kreya's character.

Like she makes some points, that sometimes helping others without thinking about your actions can hurt them more than you could imagine and says some other things that are almost true but she frames them as a philosophy of might, you shouldn't help others because you are depriving them of their strength, because through suffering there's growth, through struggle you reach enlightenment, through individual freedom you reach apotheosis. She then reaches the conclusion that God, aka the Force, is the biggest chain of all and to be truly free is to kill the force, to reject fate completely.

She acts like she has some sort of moral high ground over the sith and the Jedi when in reality she is not much different. In a way, she does have some beliefs she follows without question, she still uses the force and if you ask her about it she admits the hypocritical nature of her argument, first comparing to a poison and then saying that that's just an argument of an old woman trying to justify it. She always talks about how there are no chains, how you must be completely free of fate because there's no determinate outcome, whatever happens being a result of your strength, yet she still betrays you by the end because there must always be a Darth Treya, there must always be someone that directly betrays the order in it's moment of need. That's fate, that should, and will, always happen.

I always read her admiration for the player originating from our achievement of her goals without becoming hypocrites like she is, something I'm sure she is aware of as hinted by her dialogue in her last fight. The player rejected the force, reject fate, through strenght of will alone, using it more alike a weapon than a dogma, but the player, in a way, still uses the force mostly as a way of unknowingly influence others, their strength is not in self isolation in pursue of the strength of an individual through the death of morals and complete freedom, but instead in connection with others.

In the dark side ending the player becomes Kreya, a hypocrite that acts on their own desires, on their own impulses, because they can, afterall they had the strength to reject the force once so they are strong enough to do whatever. On the light side ending the exile takes the correct path, not following Kreya but transcending her, becoming better than her, understanding that you can overcome the chains of fate not through individual freedom but through connection, in the light side ending you archive what Kreya never could.

I always read Kotor 2 as a story of abuse and trying to grow out of it, in this case Kreya being the abuser, breaking both Scion and Nihilus causing them to become what she hated the most, and the player character being her new target, the exile being able to either follow the narrative's themes and be able to grow despite the abuse or fail and become the abuser themselves, perpetuating the cycle, the chain, that I always read as what the force is supposed to symbolize in this story.

Kreya is a spiteful person that believes that she can not grow, that she can not change and become better, she accepts herself in her own hypocrite nature because of this belief, she understands that through her own argument, one of complete freedom and transcending any chains that bind us, she is a failure like the rest of her students because she follows her own chain, she believes she most perpetuate the cycle of abuse.

That's the reason why I always disagree witht he concept that Kreya steals the show from both Scion and Nihilus because both of them are different outcomes that the exile could have become, both are victims of abuse that thought they couldn't change.

There's this one study I always think about, how kids that came from abusive households were more reluctant to let go of their parents, and Scion reminds me of this, rejecting Kreya at every opportunity but being unable to let go of her, she defined who he became as a person, a failure in both of their eyes. That's why he is so mad when you are going to confront Kreya, he thinks of you as her favorite, as the one that didn't become a failure, as someone who could reject and grow from their abuse when he couldn't. And I always found so interesting that the way you beat him os through words because, well, because you try convincing him that he can change, that he can grow, you beat him not through a fight, through a show of strength, but through showing, arguing, that the abuse he went through is not an unmoving chain, that he has the capabilities of change. And he doesn't believe you, never does, he would rather die than think about that, that admit you are right, he reacts the same way Kreya does, dying rather than admit they were wrong. It feels incredibly tragic that this happens because you know it could end up in another way, you are that other possible outcome.

And Nihilus is a simpler character because most of the content related to him was cut, but I always read him as the complete rejection of Kreya, as doing the exact opposite of whatever she said even when it still ends up hurting him, becoming a shell of what he was once. That said, most of that is just me guessing something that would fit with my reading of the themes and is never actually said in the game, it's kinda hinted but I admit there's not enough information to confidently say that.

Anyways, my point is that I find kotor 2 quite a compelling story and, while I understand why most people only ever discuss Kreya, I feel slightly disappointed that most discussions of the game never really talk about anything else the game presents

[sarasade]

What I personally want to see from TDP season 6

1.Aaravos' backstory should reveal something truly new and surprising about the world, be it a perspective shift or cosmic horror. I'd really like to see such a hyped up and enigmatic character give us some kind of cool and bold story climax or deepen our understanding of the themes of the show.

2.I want to see the main characters facing a difficult challenge. Finnegrin's Wake in s5 was a good start for Callum but I just want more, ya know. It can be anything: a physical, emotional, moral quandary etc. This is why I find Viren so compelling. He's the one whose beliefs have been challenged the most and he has changed the most.

3. Make the conflict between Callum and Aaravos personal. I love me some good hero-antagonist character chemistry but Aaravos is more of a plot device at this point. This is why Viren was such a good villain. He was outright cruel to Ezran and Callum and it was very personal. Yes, the conflict still fits the story's themes about free will vs. destiny etc. but some kind of personal connection would make it feel more tangible.

This is why I think Viren (if alive) and Claudia (if she turns against Aaravos) should play a role in taking him down. Claudia especially has been relatively sympathetic as Aaravos' prey compared to Viren who had much more agency and more egoistical motivations behind his decisions. They have so much personal beef with Aaravos it isn't even funny.

Just some thoughts I wanted to write down<3