#personalities decisions priorities growth and arcs...........

[frailsituation]

Tips for writing internal conflict

1. Define the Core Dilemma

• Internal conflict occurs when a character faces a choice or emotional struggle within themselves. This dilemma should challenge their values or identity.

• How? The struggle should feel deeply personal and tied to the character’s motivations.

• Example: A character who values independence but must rely on others in a life-or-death situation.

2. Make it tied to their core values

• The conflict should challenge what the character holds dear—whether it’s their morals, desires, or goals.

• How? The inner conflict should push the character to re-evaluate their beliefs and priorities.

• Example: A soldier torn between duty and personal ethics, forced to choose between following orders and doing what’s right.

3. Amplify with external consequences

• Link internal conflict to external consequences that impact the character and those around them. The choices they face should have significant repercussions.

• How? Show how the character’s internal conflict influences their decisions in the real world.

• Example: A character haunted by guilt must choose whether to admit their past mistakes, risking their career and relationships.

4. Show the pressure building over time

• Internal conflict intensifies when it’s compounded by time, increasing stakes, or mounting external pressure.

• How? Create scenes where the character feels the weight of their choices growing heavier with every passing moment.

• Example: A character whose addiction threatens to ruin their life, struggling to break free but tempted by old habits every day.

5. Conflict arises from competing desires

• Internal conflict often stems from having two equally strong desires that cannot coexist.

• How? Put your character in situations where they must choose between these desires, both of which seem vital.

• Example: A character torn between pursuing their dream job across the country or staying to care for a dying parent.

6. Explore their fears and insecurities

• Internal conflict can also be driven by the character’s deepest fears or insecurities, which affect their actions and decisions.

• How? Fear of failure, rejection, or loss can prevent them from acting, making every decision feel like a battle.

• Example: A character who has been hurt before refuses to let anyone in, even though they deeply crave connection.

7. The power of self-sabotage

• Let the character’s internal conflict lead to self-sabotage. They may avoid decisions or create obstacles to protect themselves from facing their own feelings.

• How? Show how the character's fear or internal resistance undermines their progress.

• Example: A character constantly pushes away someone they care about because they fear their own vulnerability.

8. Use internal dialogue to show the battle

• Let readers hear the character’s internal struggle through thoughts, doubts, or justifications. Internal dialogue can make the conflict feel more immediate and real.

• How? Keep the internal dialogue sharp, reflective, and in line with the character’s voice.

• Example: “I want to tell them the truth, but what if they leave? Can I really risk that?”

9. Drive change through resolution

• The internal conflict should lead to growth or change in the character. They should evolve, learn, or make peace with their internal struggle.

• How? The resolution should feel earned and reflect the character’s journey.

• Example: A character who fears commitment learns to trust and embrace vulnerability in the face of love.

10. Let it affect the bigger picture

• The resolution of internal conflict should impact the story’s larger arc, showing how the character’s inner change leads to progress or a new direction.

• How? The resolution should tie back to the theme and forward momentum of the plot.

• Example: A character who learns to forgive themselves is able to take the final step in reconciling with a loved one, mending broken relationships.

Follow for more!

[criticalcrusherbot]

Crushbot: This feels less like a good-faith critique and more like someone searching for a reason to hate Vivziepop and her work. The parallels between Helluva Boss and Bojack Horseman are there, sure—but reducing Stolas’s arc to a “can I copy your homework?” moment reeks of a desperate attempt to discredit the show rather than actually engaging with what it’s doing.

Parallels, Sure—But Context Matters

Let’s talk about the alleged similarities. Yes, Stolas being hated by the imps after his banishment could look like Bojack being “cancelled.” Both happen after courtroom scenes. Both involve estrangement from a younger female family member (Octavia for Stolas, Hollyhock for Bojack). That’s where the similarities end, and pretending otherwise ignores the wildly different purposes these arcs serve.

Bojack vs. Stolas

Bojack’s arc is about personal accountability and the destruction he leaves in his wake. His estrangement from Hollyhock is well-earned; she discovers the ways he’s manipulated and harmed others, and she rightfully cuts him off. The public backlash against Bojack is a direct response to his moral failings, forcing him to sit with the consequences of his actions.

Stolas, on the other hand, is being punished specifically for lending Blitz his grimoire, an illegal act that threatens the power structures of Hell. The characters in power (the Sins and the Goetia) care far more about this rule-breaking and his vague proclamation of being the "mastermind" behind some heinous plot than about his personal failings—cheating on Stella or neglecting Octavia emotionally. And they certainly don’t care about his classism or his (unintentionally) demeaning attitude towards imps.

Stolas’s punishment in Mastermind reflects Hell’s oppressive hierarchy and its misplaced priorities, rather than serving as a reckoning with his true faults. Comparing these two situations as if they’re identical flattens both narratives, ignoring the distinct ways each show explores power, accountability, and personal flaws.

The Martyr Argument

The claim that Stolas is treated like a martyr and excused for his actions is laughable. Stolas is flawed; the show never pretends otherwise. We’ve seen him struggle with his poor decisions and their consequences—particularly with Octavia. But his punishment in Mastermind isn’t about absolving him; it’s about highlighting the misdirected anger of an oppressive system.

This misdirected anger mirrors the real-world reactions of oppressed groups, who often lash out at convenient but less culpable targets when they feel powerless to confront the true source of their suffering. The hatred Stolas faces from the imp community doesn’t stem from his personal failings—it stems from the deep, systemic inequities of Hell's hierarchy, a system Stolas has long benefited from. 

The idea that Vivziepop thinks Stolas is “blameless” feels like an intentional misreading. Stolas is far from perfect, but his arc is about redemption and growth, not victimhood. If anything, the animosity he faces underscores the show’s broader themes of power dynamics and societal injustice, emphasizing how oppressive systems perpetuate cycles of blame and resentment.

“Can I Copy Your Homework?”—Lazy Critique

Sure, you can find surface-level similarities between Helluva Boss and Bojack Horseman, but that doesn’t make one a copy of the other. The thematic goals are wildly different:

Bojack Horseman is a deeply introspective, human story about accountability and the lasting damage of selfishness.

Helluva Boss is a surreal, melodramatic exploration of power, marginalization, and complicated relationships within a hellish hierarchy.

If anything, the similarities between the two are evidence of Helluva Boss drawing from familiar storytelling beats to craft something uniquely its own. Accusing it of plagiarism or lazy writing misses the point entirely. Stolas’s arc is tailored to Helluva Boss’s world—a chaotic, exaggerated, and deeply emotional sandbox that doesn’t care about “grounded realism” in the same way Bojack Horseman does.

The Real Issue

Let’s be honest: critiques like this aren’t really about writing quality or thematic depth. They’re about taking perverse joy in tearing Vivziepop down. It’s less about legitimate criticism and more about manufacturing outrage. It’s exhausting.

The truth is, Helluva Boss does what it sets out to do: deliver a visually stunning, emotionally resonant, and often absurd story in a way that resonates with its audience. If some people are so hung up on surface-level comparisons that they can’t see that, maybe they’re not the intended audience—and that’s fine. But let’s not pretend their bad-faith critiques hold any weight.

[thewriteadviceforwriters]

Hiii, I just dicovered your acc and i'm loving it 🥰 I have this lil problem where I have in mind and write scenes but without a plot. And I'm very fond to the characters so I can't put them into a plot because I don't want them to suffer or a think if they do suffer it'll we forced and too much. Any tips for that?

How to Plot A Novel If You Only Have Characters & Scenes

So, you have a great cast of characters and some exciting scenes in mind, but you're struggling to put them together into a cohesive plot. Don't worry, you're not alone. Many writers struggle with plotting their novels, especially when they have a strong focus on characters and scenes. I have also been facing difficulties with this recently. But fear not, in this article, I’ll help you explore how you can plot a novel even if you only have characters and scenes to work with.

Why Is Plotting Important?

Before we dive into the how, let's first understand why plotting is important. A well-crafted plot is the backbone of any successful novel. It keeps readers engaged, creates tension and conflict, and ultimately leads to a satisfying resolution. Without a strong plot, your novel may fall flat and fail to capture the attention of readers.

Types of Plots

There are many different types of plots, but they can generally be categorized into three main types: character-driven, plot-driven, and hybrid.

Character-driven plots focus on the internal struggles and growth of the main character. The plot is driven by the character's desires, flaws, and decisions.

Plot-driven plots focus on external events and conflicts that drive the story forward. The characters may still have their own arcs, but the main focus is on the events and how they affect the characters.

Hybrid plots combine elements of both character-driven and plot-driven plots. They have a balance of internal and external conflicts that drive the story forward.

Understanding the type of plot you want to create can help guide your plotting process.

How to Plot A Novel with Only Characters & Scenes

Now that we understand the importance of plotting and the different types of plots, let's explore how you can plot a novel with only characters and scenes.

Start with Your Characters

Since you already have a strong cast of characters, it makes sense to start with them. Take some time to fully develop your characters, including their personalities, motivations, and flaws. This will help you understand how they will react in different situations and what conflicts they may face.

Identify Your Main Conflict

Every novel needs a main conflict that drives the story forward. This could be a physical conflict, such as a battle or a chase, or an emotional conflict, such as a character's internal struggle. Identify what the main conflict in your novel will be and how it will affect your characters.

Create a Story Structure

A story structure is a framework that helps guide the flow of your novel. It typically includes the beginning, middle, and end, and can be broken down further into acts or chapters. Creating a story structure can help you see the bigger picture of your novel and how your characters and scenes fit into it.

Map Out Your Scenes (High Priority) 🚩

Now it's time to map out your scenes. Start by listing all the scenes you have in mind, even if they are not in chronological order. Then, arrange them in a logical order that makes sense for your story. This may require some rearranging and tweaking to ensure a smooth flow of events.

Connect Your Scenes with Conflict (High Priority) 🚩

Once you have your scenes in order, it's time to connect them with conflict. Every scene should have some form of conflict, whether it's internal or external. This will keep readers engaged and drive the story forward. Look at each scene and identify the conflict present, and how it connects to the main conflict of the novel.

Create a Character Arc for Each Character

As your characters go through different conflicts and events, they should also experience growth and change. This is where character arcs come in. A character arc is the journey a character goes through, from their initial state to their final state. Create a character arc for each of your main characters, and make sure their actions and decisions align with their arc.

Add Subplots

Subplots are smaller storylines that run parallel to the main plot. They add depth and complexity to your novel and can help develop your characters further. Look at your characters and see if there are any side stories or relationships that could be explored in a subplot. Just make sure they tie back to the main plot in some way.

Use Plotting Tools

If you're struggling to put all the pieces together, consider using some plotting tools to help you. There are many resources available, such as plot diagrams, beat sheets, and storyboards, that can help you visualize your plot and ensure all the elements are in place. If you need help with scene structure use my new scene workbook here.

Real-World Examples of Plotting with Characters & Scenes

One example of a novel that successfully uses characters and scenes to drive the plot is "To Kill a Mockingbird" by Harper Lee. The main conflict is the trial of Tom Robinson, but it is the characters, particularly Scout and Atticus, and their reactions to the events that drive the story forward.

Another example is "The Hunger Games" by Suzanne Collins. The main conflict is the Hunger Games themselves, but it is Katniss' internal struggle and her relationships with other characters that keep readers engaged and invested in the story.

Final Thoughts

Plotting a novel with only characters and scenes may seem daunting, but with the right approach, it can be done successfully. Start by fully developing your characters, identifying the main conflict, and creating a story structure. Then, map out your scenes, connect them with conflict, and create character arcs. Don't be afraid to use plotting tools to help you along the way. With these tips, you'll be on your way to crafting a compelling plot that will keep readers hooked until the very end.

If you require assistance with developing your scene structure, you can access my Scene Workbook for Writers at no cost.

I am sorry to the individual who sent me this question. I have a lot of questions in my Tumblr inbox and have only recently come across this nice question. I apologize for the 4-month delay.

[mangaloversolar2000]

Luz Noceda: A Flawed Protagonist or a Narrative Miss?

Luz Noceda, the energetic and optimistic protagonist of The Owl House, has been celebrated for her quirky, adventurous spirit. However, despite her charm, her characterization raises questions about consistency, decision-making, and narrative focus. Over time, the show shifts heavily toward her romance with Amity, sidelining other friendships and making certain aspects of her personality feel underdeveloped. Was Luz’s character handled effectively, or did she fall victim to rushed writing choices?

Luz and Amity: Did Romance Overshadow Other Relationships?

Early in the series, Luz builds strong friendships with both Gus and Willow. She spends time uplifting them, defending them, and generally forming meaningful bonds. However, once her relationship with Amity becomes central to the narrative, there’s a noticeable decrease in focus on her dynamic with Gus and Willow.

There are multiple instances where Luz seems to prioritize Amity over her other friends. This isn’t inherently a flaw—people naturally gravitate toward romantic interests—but the problem arises when it feels like her once-tight friendships become less integral to the story. Gus and Willow, despite being key figures early on, are gradually relegated to secondary roles, appearing less frequently or being utilized only as supporting characters rather than actively influencing Luz’s journey.

Additionally, the narrative doesn’t explore how Gus and Willow feel about Luz’s shift in priorities. Were they hurt? Did they feel left out? The lack of introspection surrounding this change weakens the emotional depth of the friendships.

In Storytelling, Flaws Must Be Meaningful

A strong main character must be more than just likable or driven—they need to evolve in ways that feel organic, and their flaws should be meaningful. Luz, however, often stumbles into problematic territory where her impulsivity, naïve optimism, and stubbornness feel more frustrating than compelling.

Her arc hinges on the idea that she grows from reckless dreamer to a heroic leader—but does she really evolve, or does the world simply bend to accommodate her? The Boiling Isles continuously reward her rebellion, allowing her actions to be framed as victories rather than meaningful lessons in restraint. This perpetuates a narrative where consequences feel minimal, and her personal growth rings hollow.

Additionally, Luz’s emotional struggles—her fear of disappointing loved ones, her need for validation—are relatable, yet the series often resolves them through external validation rather than introspective change. Compared to protagonists like Aang (Avatar: The Last Airbender) or Steven (Steven Universe), whose journeys require deep internal reckonings, Luz’s development can feel surface-level.

Luz’s Reckless Nature: Brave or Irresponsible?

Throughout the show, Luz demonstrates boundless curiosity and a willingness to defy authority. While these traits make her compelling, they also contribute to reckless decision-making. Multiple times, Luz rushes into dangerous situations without fully considering the consequences. While this impulsiveness is an accepted part of her character, the show often treats her actions as heroic rather than problematic.

A more nuanced portrayal would have explored the fallout from her choices—whether it be moments where her recklessness truly backfires or instances where she’s forced to reflect on the harm her actions caused others. While the series does touch on this slightly, the consequences often feel temporary, never fully challenging Luz’s worldview or forcing her to change.

Does Luz Face Enough Internal Conflict?

While Luz has her share of struggles—feeling like an outsider, missing her home, facing tough choices—her internal conflicts often lack the necessary depth. Compared to other protagonists in animated fantasy shows, she doesn’t undergo a significant amount of self-doubt or growth.

For instance, despite the dramatic stakes of the story, there are relatively few moments where Luz genuinely questions her own decisions. She tends to remain unwaveringly optimistic and determined, which, while admirable, also minimizes opportunities for richer character development. More introspective moments—where she second-guesses her actions or grapples with real consequences—could have added further layers to her personality.

Conclusion: A Loveable Hero, But an Underdeveloped One

Luz Noceda is an entertaining and heartfelt protagonist, but her character arc has shortcomings. Her relationships with Gus and Willow become increasingly sidelined, her impulsiveness lacks lasting consequences, and her internal struggles don’t always feel fully explored. While her romance with Amity is endearing, it arguably overshadows other vital relationships and aspects of her personal growth.

[ssunspotted]

As someone who’s been around since the earlier days of Tolya’s recovery, I really love the development and healing arc we’ve gotten to see from them! It’s been steady and I love seeing them realize themselves and who they want to be and shed a lot of the compulsive & ingrained shame & guilt and kind of develop this quiet, but pillar-like strength and confidence, even if they still have progress to make.

Your favorite detail about how I play my character.

((Ahhhh THANK YOU SO MUCH. It makes me SO happy that there are people still around who know where Tolya started and how different of a place they're at now! I'm so glad you've been along on the journey with me ;v; They really are so much more of their own person, even if they're by most accounts less of a person than they've ever been. I've tried to make the evolution of their personal philosophy and self image feel as organic and spurred by their situation as possible, and it's made it very neat to figure out how that's changed the decisions they would make and the the priorities they hold, and those changes and choices just escalate. They've been a lot of fun to explore through the years, growth and backsliding and degradation alike! Not to mention the infinite ways that the people around them have changed their trajectory from what it would have been. I'm happy that you were a part of that!))

[lifeinacartoon]

Character Development: The Heartbeat of Unforgettable Fiction

Creating well-rounded and relatable characters is a crucial aspect of effective fiction writing. Characters are the heart of a story, and readers often connect with and become emotionally invested in them. To develop compelling characters, consider the following elements:

Character Profiles:

Physical Appearance: Describe the character's physical features, such as age, gender, height, hair colour, and clothing style. These details help readers form a mental image.

Personality Traits: Develop a list of personality traits that define the character's temperament, beliefs, and behaviours. Think about their strengths, weaknesses, quirks, and flaws.

Backstory: Create a history for your character, including their upbringing, family background, past experiences, and significant life events. These elements shape their motivations and decisions in the story.

Motivations and Goals: Understand what drives your character. What are their short-term and long-term goals? What do they desire or fear?

Conflict and Obstacles: Identify the challenges and conflicts your character will face throughout the story. How do these challenges align with or challenge their goals and motivations?

Character Arcs:

Static vs. Dynamic Characters: Decide whether your character will undergo significant change (dynamic) or remain relatively unchanged (static) by the end of the story. Both have their merits, but dynamic characters often make for more engaging protagonists.

Arc Types: Common character arcs include the Hero's Journey (a transformation from a flawed individual to a hero), the Redemption Arc (a character seeking redemption for past mistakes), and the Coming-of-Age Arc (a character's growth and maturity). Choose an arc that suits your story and character.

Internal and External Arcs: Characters can experience internal changes (emotional, psychological) and external changes (achieving goals, overcoming obstacles). A well-rounded character often has both types of arcs.

Relatability and Empathy:

Give your characters relatable qualities, such as flaws, insecurities, and vulnerabilities. Readers are more likely to connect with imperfect characters.

Show characters facing dilemmas and making choices that readers can understand, even if they don't always agree with them.

Use the "show, don't tell" technique to reveal a character's thoughts, feelings, and experiences through their actions, dialogue, and reactions to situations.

Character Development Throughout the Story:

As characters face challenges and conflicts, it's important for them to evolve and develop. Their beliefs, values, and priorities may change over time.

Foreshadow character development early in the story to make it feel organic and earned.

Consistency is key—ensure that characters' actions and decisions align with their established traits and motivations.

Supporting Characters:

Supporting characters should also be well-rounded and serve a purpose in the story, whether it's to provide contrast, offer guidance, or introduce conflict.

Each supporting character should have their own motivations and arcs, even if they are not as central to the story as the protagonist.

Dialogue and Interaction:

Use dialogue to reveal character traits, relationships, and conflicts. Characters should have distinctive voices and speak in a manner consistent with their personalities.

Pay attention to how characters interact with each other. Their relationships and conflicts can drive the narrative and add depth to their development.

In summary, character development is a vital element of storytelling. Well-rounded and relatable characters with clear profiles, arcs, and motivations can draw readers into your fictional world and make them emotionally invested in the narrative. By creating characters with depth and complexity, you can elevate the impact and resonance of your storytelling.

[prop-mart]

How to Choose the Right Location for Your Property Purchase

When buying a house, choosing the right location for your property purchase is essential. In the UK property market, the right location can significantly impact your quality of life, property value, and long-term satisfaction. This year, with shifting demographics, evolving infrastructure, and changing buyer preferences, choosing the right location has never been more critical. This guide will help you navigate the key factors to consider when selecting the perfect location for your property purchase.

1. Understand Your Location Priorities

Before diving into property listings, take time to reflect on your lifestyle and priorities. Are you looking for a quiet suburban area, a bustling city center, or a rural retreat? Consider factors like proximity to work, family, schools, and leisure activities. Remote work is expected to remain prevalent, which may influence your decision to prioritize space and connectivity over a central location.

2. Research Local Amenities

Access to amenities is a key factor in determining a location’s desirability. Look for areas with good schools, healthcare facilities, supermarkets, and recreational options like parks and gyms. Websites like  Rightmove and Zoopla often include information about local amenities, while platforms like Ofsted provide school performance data. Areas with well-developed infrastructure and amenities are likely to see stronger property value growth.

3. Evaluate Transport Links

Transport connectivity is a major consideration, especially for commuters. Research the availability of public transport, including train stations, bus routes, and cycle paths. Areas benefiting from infrastructure projects like HS2 or new metro lines may experience increased demand and property price growth. Use tools like Google Maps and Transport for London (or regional equivalents) to assess commute times and accessibility.

4. Check Crime Rates

Safety is a top priority for most buyers. Websites like Police.uk provide detailed crime statistics for specific areas, allowing you to compare crime rates and trends. With urban areas potentially seeing shifts in crime patterns due to economic changes. Feeling secure is essential when choosing the right location for your property purchase.

5. Consider Future Development Plans

Future developments can significantly impact a location’s appeal and property values. Check local council planning portals for information about upcoming infrastructure projects, housing developments, or commercial expansions. Areas with planned investments in transport, schools, or green spaces are likely to attract buyers and see price appreciation.

6. Assess Property Price Trends

Understanding local property price trends is crucial for making an informed decision. Use platforms like  Land Registry and Nationwide House Price Index to track historical price data and forecasts.

7. Think About Long-Term Growth Potential

When choosing a location, consider its long-term growth potential. Factors like population growth, employment opportunities, and infrastructure improvements can drive property value appreciation. Regions with thriving economies, such as the Oxford-Cambridge Arc or the Northern Powerhouse, may offer strong investment potential.

8. Visit the Area

While online research is valuable, nothing beats visiting a location in person. Spend time exploring the area at different times of the day to get a feel for the community, noise levels, and overall atmosphere. With hybrid work models becoming the norm, you may want to assess the area’s suitability for both work and leisure.

9. Consult Local Experts

Local estate agents and property experts can provide invaluable insights into an area’s strengths and weaknesses. They can also alert you to hidden gems or upcoming developments that may not be widely publicized. Consult an agent when choosing the right location for your property purchase

10. Balance Affordability and Desirability

Finally, strike a balance between affordability and desirability. While prime locations may offer excellent amenities and growth potential, they often come with higher price tags. Consider up-and-coming areas that offer good value for money and strong future prospects. By carefully considering these factors, you can choose a location that meets your needs and offers long-term value. Making an informed decision about location is key to a successful property purchase. Return to HOME page ========== References: Ofsted (2023). "School Performance Data." Rightmove (2023). "Local Area Guides." Police.uk (2023). "Crime Statistics by Area." Land Registry (2023). "UK House Price Index." Read the full article

[perceabeth]

i know this isn't really what you were talking about lskdkj but even just as a dynamic jercy pisses me off in canon bc rr clearly wanted them to be THE narrative foils of hoo but he didn't write in ANY nuance for them. like their dynamic is so built up as the leaders of their respective camps and opposite personalities and the different ways they go abt being Heroes but they r so boring and almost never interact... it's laughable comparing them to luke and percy in pjo who actually pulled off the Main Narrative Foils thing 😭

you're sooo right. i think it's because like riordan couldn't decide what to do with percy? he was meant to be a main character but also a side character. the lost trio was clearly set up to be The Focus Trio of the series-- they were all overpowered with little to no training the story began and ended with them and they were led by the Superman-eque Boy so u know it's meant to be about them

the reason luke and percy worked is because at some point luke saw himself in percy, just as percy saw a better future for himself in luke. they were similar in all ways but one- percy was guided predominantly by love and luke was guided predominantly by anger. the funny part about it is that luke did feel love at a very deep level, just as percy felt anger on a very deep level- it was what each character chose to act upon that made them different. that's a personality. that is what a narrative foil is meant to do: draw comparisons in character.

the percy/jason dynamic is so badly done because they aren't even friends. we don't actually see them as similar. sure, they fill in the same role at their respective camps: their lives may be symmetrical, but they themselves aren't that similar. are they both buried under responsibility? sure. but their core struggles are not even remotely the same. percy has already passed jason's current phase. he knows where he belongs, knows his role in the world, knows how to bear his burden. his problems come now from controlling the same flaws that he saw in LUKE, who remains a mirror to him despite being dead and gone. percy and jason aren't on the same journey!!

also this is a bit nit-picky, i know, but i find the whole 'jason is boring because he's a narrative foil to Interesting percy' SO so annoying lkjsdkfsjkf. first of all- i don't think characters who are straight-laced, morally inflexible, and tight lipped soldier types are boring. one dimensional, trope-filling characters are boring. jason didn't have to be a sarcastic quick witted impulsive lil shit to be fun! personally i don't think he's boring at all!! he's as full of wasted potential as any of the other hoo characters- they are all there to fill a role and be a trope. percy, annabeth, and nico are not exempt from it. a lot of what we know to be true about them are erased in hoo so that they will 'give space' to the new kids to fulfill their old role. it's so dumb and so offensive!!!

i'm sorry for talking so much, i'll wrap it up now but basically what i mean to say is: jason and percy don't work because jason is literally the lead while percy is reduced to comedic relief by the end. it's fine- not every stroy has to be centered around percy, but it makes drawing comparisons between them so cheap and tacky. they're not character foils. they're barely even in the same story. they're just two boys who kind of tolerate each other and pretend to be best friends with absolutely no explanation or chemsitry slkdjfklsdfj

[h0estar]

Yukine's journey toward acceptance of the life that was robbed of him, this time with finality, exemplifies the emotional and beautifully rendered arc that has defined his character.

Yukine finally accepting the reality of his death. Yukine stepping out from the fridge that contained memories of what was once his life. Yukine freeing himself from the shackles of his trauma. Yukine running to protect the person who cherished him the most in the world. Yukine standing up to an abusive father. Yukine wholeheartedly apologizing. Yukine's growth, and Yato tearing up as he stretches his little arms to pull him for an embrace.

Yukine's gratitude for what Yato did for him is evident throughout the series. He was given a name more precious than any other. He was treated like a human--an ordinary teenage boy. And life after that was one exciting journey after another. Now, Yukine can no longer be entirely consumed by the horrors of his past because he knows that his reality with Yato is so much brighter. Far brighter.

Yukine could break out from that refrigerator because of the true, sincere, and nurturing love shown by the only father figure in his life. Yato has said multiple times throughout the series that Yukine was his priority above all else, and Yukine was the only person he swore to protect the most. Hell, he even went straight to hug him after Yukine apologized for turning into that form! Yato did not need to summon Yukine. Yukine came to protect Yato on his own decision. As he always did.

The journey to their healing will be painful, and this chapter shows that Yato and Yukine will face it together. No more secrets and no more miscommunications. They will help and be by each other's side as they always have, not only as god and shinki but, this time, as family.

"I will not let him die. Not Yato. No matter what happens... I swear I won't let anyone take him from me!" -Yukine, Noragami Vol. 17 Chapter 67.

[ciaossu-imagines]

And for the last fandom for this fandom prompt, I'm hitting a fandom of mine that kind of desperately could use a lot more love than it currently gets, Nanbaka! It's part of why I love creating for it so much, because I do feel it doesn't get the love or attention it should! For anyone wondering, my lovelies, I have about six more fandom prompts I plan on throwing up soon and then I'm hoping to get at least one, but possibly two, good quality responses to a request out before shit-posting some gif reactions/non-gif reaction headcanons for various fandoms that I have kicking around.

Send me a fandom and I will name a character:

Who I will protect at all costs: Nico is a precious treasure. He’s gone through so much that he shouldn’t have had to but he’s still so cheerful and sweet and pure and just…ugh, I want all the good things for him.

Who deserves better: Shiro! So many people seem scared of him but he’s just a gentle giant who loves cooking!

Who was killed off too early: Nobody. Absolutely nobody that my mind can come up with at all. Nanbaka really did start out as a comedy, after all.

Who I used to hate but now I love: I hated Honey at first. Just something about him really irked me with his first appearance but I did really grow to enjoy him. I don’t quite love him as much as some other characters but he definitely grew on me.

Who I used to love but now I hate: There’s nobody who fits that bill because, while there’s character’s I mildly dislike, there’s none I absolutely despise, to be honest with you all.

Who needs to be killed off asap: I think it’s just because of my own personal feelings, but Inori could disappear forever, and I genuinely would not care.

Who is unfairly hated: There is really nobody, either by the writer or by the fandom. I won’t question the writer’s decisions for their own story, and I firmly believe that everyone has the right to feel however the feel about fictional characters, love or hate!

Who is unfairly loved: See the answer above.

Who needs to sort out their priorities: Oh, so many but I’ll go with the notable one. While I understand a lot of where Enki was coming from and why he did what he did, I also feel there were vastly better ways to handle it all. The way he did what he did was shit and it left lasting repercussions for those around him.

Who needs a hug: Samon. I really feel Samon would benefit from a daily hug. He really does get the brunt of it and isn’t respected enough. Also, the group from his building that we see a lot of, that is Liang, Qi, and Upa, also qualify for this.

Who needs to get out of their current relationship: Either Elf or the man with the scar. Those two together are toxic and take everything horrible about the other and amplify it, at least the way I view and see it, with the headcanons I have.

Who the writers love: Honestly, it’s Jyugo. However, he is the main protagonist, so it is only natural and they definitely don’t fall into the trope of making him just this incredible person with no flaws. I actually really enjoy his character and don’t mind the amount of focus he gets, though my heart, as with most of my fandoms, belongs to the minor characters.

Who needs a better storyline: A lot of characters honestly. I’m not fully caught up in the manga, so there is a chance a lot of the characters got more fleshed out and got character development, but a lot of the minor characters could use more focus. Even ones we really should know more about, like Mitsuru, don’t really have full storylines or fleshed out characters yet. However, Nanbaka did start out mostly as a gag manga, so I can get the reasoning behind why they don’t.

Who has an amazing redemption arc: I don’t think it counts as a full out redemption arc, considering there wasn’t really a lot of backstory or build up to it, but I liked seeing Qi’s character growth from his introduction to where he is now.

Who is hot as fuck: No lies, there’s just something about Rock that really does it for me.

Who belongs in jail: So yeah, funny thing…most of them kind of are in jail? Or guarding a jail. So, this question for this fandom is kind of a moot point, haha!

Who needs to be revived from the dead: I really don’t have an answer for this in this particular show/manga, honestly. The only person I can think of that I would really like to see more of, that doesn’t get much screen-time and could kind of fit this category, is Jyugo’s father. I feel like there’s a really interesting story there that would be well worth reading or watching.

[acephysicskarkat]

The key lesson I’ve learned from SP0P is an old piece of writing advice, and it’s ironic because the phrasing is something C*tra tried to do like five times:

Murder your darlings.

“Murder your darlings” is an old piece of writing advice that boils down to “just because you like something you’ve created doesn’t mean it’s good for the narrative”. Your priority as a writer is telling the story well. You may be very proud of the thing you did, but if it doesn’t serve that purpose, save it for another day or rewrite it until it fits cohesively.

Let’s look at C*tra’s redemption as a case study.

It’s obvious that Stevenson was super invested in it being a love-redeems moment, hence the reason that it had to be saved until permission for that was given while S5 was being written (my guess would be about halfway through given how many of S5′s scripts could have used another couple of writing passes). And look, I’m not opposed to the concept of love redeeming, that’s a perfectly workable trope.

But.

A quarter of the way into S5 is too fucking late for C*tra’s redemption arc to work narratively, especially with at least two episodes where she barely appears. It would be pushing it even if being redeemed was the only thing C*tra was doing in that season, which it’s not.

(The overall half-assed and inept way they used what time they did have is a separate problem, which I think I’ve discussed to death by now.)

The murder your darlings part is when you look at this and go: y’know, does it have to be love-redeems? Couldn’t we make it something else in order to let C*tra’s redemption arc kick off in time to make it actually work? Maybe if her realisation that it’s lonely at the top after the sack of Salineas led to character development in late S4, instead of having her undergo another personal breakdown that eats up a lot of screentime without actually giving engaging development?

And if the show had done that, it could have fixed so much.

The rushed and unfinished character development is easy to fix because now you have like three times longer to actually show her undergoing character growth. You don’t have to just say she’s undergone character growth and have her act like the same asshole she’s always been, now you have time to have her confront the consequences of those actions and learn from them.

C*tra’s redemption is also more narratively cohesive. Now she’s actively making decisions about what she values and which ambitions she is willing to give up - similar to Zuko rejecting his old life and seeking out Aang because his sense of honour demands it. Having her basically switch sides as a last-ditch effort to salvage something, a la S5, is kind of wonky and ends up feeling a bit cheap. It’s not the worst part but it definitely needed another couple of draft passes.

(”Antagonist reluctantly joins protagonists because they’re out of rope” can work as a starting point for a redemption, see also Peridot, but then you need to show them reluctantly getting used to their new teammates and undergoing gradual character growth and S5 kind of had all that happen offscreen, while we were all distracted by Double Trouble.)

It would even improve the romance. It wouldn’t fix it - that would require substantive structural alterations to the show in its entirety, starting with rewriting the third season from the ground up - but having C*tra making a decision not to get a specific Adora-related end goal but because it’s the decision she knows she should make reduces the pervasive toxicity, because now it’s not yet another display of her obsession, but a meaningful statement about who she is and is not going to be. It would give her some much-needed depth.

And all it would take would be giving up a plot point that didn’t actually make sense in context because so much of the show consists of C*tra using her connection with Adora as motivation to make Adora miserable.

Murder your darlings. It doesn’t matter how good an idea is in isolation; if making it work requires fucking up your narrative, save it for another project. If it’s really that good, you’ll find somewhere for it eventually.

[spockandawe]

Well, this is interesting! So, in that post yesterday, there was one line that really baffled me, a thing about people brushing off a character as an asshole “because he shows literally zero growth.” I kind of set that aside because it was such a weird non-sequitur, and guessed that it was just someone’s sentences not quite keeping up with their train of thought, which has happened to me many times. Apparently I was wrong! I already spent long enough on that one post, I’m tired of talking about that, but this is new and interesting. 

Okay. I kind of wanted to see if I could talk about this purely in terms of abstracts and not characters, but I don’t think it’ll work. It would be frustrating to write and confusing to read. It’s about Jiang Cheng. Right up front: This isn’t about whether or not he’s an abuser. Frankly, I don’t think it’s relevant. This also isn’t about telling people they should like him. I don't care whether anyone else likes him or not. But I do like him, and I am always fascinated by dissecting the reasons that people disagree with me. And the process of Telling Stories is my oldest hyperfixation I remember, which will become relevant in a minute.

I thought I had a good grasp on this one, you know? Jiang Cheng makes it pretty obvious why people would dislike Jiang Cheng. But then the posts I keep stumbling over were making weird points, culminating in that “literally zero growth” line.

So! What happened is that someone wrote up a post about how Jiang Cheng’s character arc isn’t an arc, it’s stagnation. It’s a pretty interesting read, and I broadly agree with the larger point! The points where I would quibble are like... the idea that it’s absolute stagnation, as opposed to very subtle shifts that still make a material difference. But still, cool! The post was also offered up as a reason why OP was uninterested in writing any more Jiang Cheng meta, which I totally get. I’m not tired of him yet, but I definitely understand why someone who isn’t a fan of his would get tired about writing about a character with a very static arc. Okay!

Now, internet forensics are hard. I desperately wish I had more information about this evolution, because I find this stuff fascinating, but I have no good way to find things said in untagged posts, reblogs, or private/external venues. But as far as I can tell, that “literally zero growth” wasn’t just a slip of the tongue, it’s become fashionable for people to say that Jiang Cheng is an abusive asshole (that it’s fucked up to like) because he doesn’t have a character arc.

Asshole? Yes. Abusive? This post still isn’t about that. This is about it being fucked up to like this character because he did bad things and had a static character arc.

At first, that point of view was still deeply confusing to me. But I think I figured out the idea at the core of it, and now I’m only baffled. I’m not super interested in confirming this directly, because the people making the most noise about this have not inspired confidence in their ability to hold a civil conversation and I’m a socially anxious binch, but I think the idea is: ‘This character did Bad Things, and then did not improve himself.’

Which is alarmingly adjacent to that old favorite standard of ‘This piece of fiction is glorifying Bad Thing.’ I haven’t seen anyone accusing mxtx of something something jiang cheng, only the people who read/watched/heard the story and became invested in the Jiang Cheng character, but things kind of add up, you know?

Like I said, I don’t want to arbitrate anyone’s right to like/dislike Jiang Cheng. That’s such a fucking waste of time. But this is fascinating to me, because it’s like..... so obviously new and sudden, with such a clear originating point. I can’t speak to the Chinese fans, obviously, but exiledrebels started translating in... what, 2017? And only now, in 2021, do people start putting forth Jiang Cheng’s flat character arc as a “reason” that he’s bad? I’m not going to argue if he pings you in the abuse place, I’m not a dick. I’m not going to argue if you just dislike his vibes. I’m just over here on my blog and in the tag enjoying myself, feel free to detour around me. But oh my god, it’s so silly to try to tell other people that they shouldn’t like him because he has a static character arc.

I want to talk about stories. I don’t know how much I’ll be able to say, because it’s impossible to make broad, sweeping statements, because there are stories about change, there are stories about lack of change, there are all kinds of media that can be used to tell stories, and standards for how stories are told and what they emphasize vary across cultures and over time. But I think that what I can say is that telling a story requires... compromise. It requires streamlining. Trying to capture all the detail of life would slow down most stories to an unbearable degree. Consider organically telling someone ‘I made a peanut butter and jelly sandwich’ versus the computer science exercise of having students describe, step by step, how to make one (spread peanut butter? but you never said you opened the lid)

Hell, I’ve got an example in mdzs itself. The largely-faceless masses of the common people. If someone asks you to think about it critically like, yes, obviously these are people, living their own lives, with their own desires, sometimes suffering and dying in the wake of the novel plot. But does the story give weight to those deaths? Or does it just gloss by? Yes, it references their suffering occasionally, but it is not the focus, and it would slow the story unbearably to give equal weight to each dead person mentioned. 

Does Wei Wuxian’s massacre get given the same slow, careful consideration as Su She’s, or Jin Guangyao’s? No, because taking the time to weigh our protagonist with ‘well, this one was a mother, and her youngest son had just started walking, but now he’s going to grow up without remembering her face. that one only became an adult a few months ago, he still hasn’t been on many night-hunts yet, but he finds it so rewarding to protect the common people. oh, and this one had just gotten engaged, but don’t worry, his fiancee won’t mourn him, because she died here as well.’ And continuing on that way to some large number under 3000? No! Unless your goal is to make the reader feel bad for cheering for a morally grey hero, that would be a bad authorial decision! The book doesn’t ignore the issue, it comes up, Wei Wuxian gets called out about all the deaths he’s responsible for, but that’s not the same as them being given equal emotional weight to one (1) secondary character, and I don’t love this new thing where people are pretending that’s equivalent.

When Wei Wuxian brutally kills every person at the Wen supervisory office, are you like ‘holy shit... so many grieving families D:’ or are you somewhere between vindicated satisfaction and an ‘ooh, yikes’ wince? Odds are good you’re somewhere in the satisfaction/wince camp, because that’s what the story sets you up to feel, because the story has to emphasize its priorities (priorities vary, but ‘plot’ and ‘protagonist’ are common ones, especially for a casual novel read like this)

Now, characters. If you want to write a story with a sweeping, epic scale, or if you want to tightly constrain the number of people your story is about, I guess it’s possible to give everyone involved a meaningful character arc. Now.... is it always necessary? Is it always possible? Does it always make sense? No, of course not. If you want to do that, you have to devote real estate to it, and depending on the story you want to tell, it could very possibly be a distraction from your main point, like the idea of mxtx tenderly eulogizing every single character who dies even incidentally. Lan Qiren doesn’t get a loving examination of his feelings re: his nephews and wei wuxian and political turnover in the cultivation world because it’s not relevant, and also, because his position is pretty static until right near the end of the story. Lan Xichen is arguably one of the most static characters within the book, he seems like the same nice young between Gusu and the present, right up until... just before the end of the story.

You may see where I’m heading with this.

Like, just imagine trying to demand that every important character needs to go through a major life change before the end of your book or else it didn’t count. This just in, Granny Weatherwax and Nanny Ogg go through multiple novels without experiencing radical shifts in who they are, stop liking them immediately. I do get that the idea is that Jiang Cheng was a ~bad person~ who didn’t change, but asdgfsd I thought we were over the handwringing over people being allowed to like ““bad”” fictional characters. The man isn’t even a canonical serial killer, he’s not my most problematic fave even within this novel.

And here is where it’s a little more relevant that I would quibble with that original post about Jiang Cheng’s arc. He’s consistently a mean girl, but he goes from stressed, sharp-edged teenager, to grief-stricken, almost-destroyed teen, to grim, cold young adult (and then detours into grim, cold, and grief-stricken until grief dulls with time). He does become an attentive uncle tho. He..... doesn’t experience a radical change in his sense of self, which... it’s...... not all that strange for an adult. And bam, then he DOES experience a radical change, but the needs of the plot dictate that it’s right near the end. And he’s not the focus of the story, baby, wangxian is. He has the last few lines of the story, which nicely communicate his changes to me, but also asdfafas we’re out of story. He was never the main character, it’s not surprising we don’t linger! The extras aren’t beholden to the needs of plot, but they’re also about whatever mxtx wanted to write, and I guess she didn’t feel like writing about Jiang Cheng ¯\_(ツ)_/¯

But also. Taking a step backward. Stable characters can fill a perfectly logical place in a story. Like, look at Leia Organa. I’m not saying she has no arc, but I am saying that she’s a solid point of reference as Luke is becoming a jedi and Han is adjusting his perspective. I wouldn’t call her stagnant, the vibes are wrong, but she also isn’t miserable in her sadness swamp, the way Jiang Cheng is.

Or, hell, look at tgcf. The stagnant, frozen nature of the big bad is a central feature of the story. The bwx of now is the bwx of 800 years ago is the bwx of 1500+ years ago. This is not the place for a meta on how that was bad for those around him and for him himself, but I have Thoughts about how being defeated at the end is both a thing that hurts him and relieves him. Mei Nianqing is a sympathetic character who’s also pretty darn static. Does Ling Wen have a character arc, or do we just learn more about who she already is and what her priorities always were? I’m going to cut myself off here, but a character’s delta between the beginning of a story and the end of a story is a reasonable way to judge how interesting writing character meta is, and is a very silly metric to judge their worth, and even if I guessed at what the basic logic is, for this character, I am still baffled that it’s being put forth as a real talking point.

(also, has it jumped ship to any other characters yet? have people started applying it in other fandoms as well? please let me know if this is the case, I am wildly curious)

(no, but really, if anyone is arguing that bwx is gross specifically because he had centuries to self-reflect and didn’t fix himself, i am desperate to know)

And finally. The thing I thought was most self-evident. Did I post about this sometime recently? If a non-central character experiences a life-altering paradigm shift right near the end of the story (without it being lingered over, because non-central character), oh my god. As a fic writer? IT’S FREE REAL ESTATE. This is the most fertile possible ground. If I want to write post-canon canon-compliant material, adsgasfasd that’s where I’m going to be looking. Okay, yeah, the main couple is happy, that’s good. Who isn’t happy, and what can I do about that? Happy families are all alike, while every unhappy family is unhappy in its own way, etc.

It’s not everyone’s favorite playground, but come on, these are not uncommon feelings. And frankly, it’s starting to feel a little disingenuous when people act like fan authors pick out the most blameless angel from the cast and lavish good things upon them. I’m not the only one who goes looking for a good dumpster fire and says I Live Here Now. If I write post-canon tgcf fic, it’s very likely to focus on beef and/or leaf. I have written more than one au focusing on tianlang-jun.

And, hilariously. If the problem with Jiang Cheng. Is that he is a toxic man fictional character who failed to grow on his own, and is either unsafe or unhealthy to be around. If the problem is that he did not experience a character arc. If these people would be totally fine with other people liking him, if he improved himself as a person. And then, if authors want to put in the (free! time-consuming!) work of writing that character development themselves. You would think that they would be lauded for putting the character through healthier sorts of personal growth than he experienced in canon. Instead, I am still here writing this because first, I was bothered by these authors being named as “freaks” who are obsessed with their ‘uwu precious tsundere baby’ with a “love language of violence,” and then I was graciously informed that people hate Jiang Cheng because he experiences no character growth.

[aliensunflower-fics]

In Defense of Salt AND Sugar: Aka ML Fandom pls chill out.

So I don’t talk much as those who follow me will say I tend to just stick to myself and my own things. HOWEVER, Ive gotten a lot of asks about why I write both Salt and Sugar for Miraculous Ladybug.

The short answer: Both salt and sugar are valid, fun, intriguing things to read and write and the point of writing is to entertain and be entertained.

The long answer: Salt isn’t inherently someone hating on your fav show and sugar isn't someone necessarily giving it a free pass either. Ya’ll are just dramatic as hell.

The LONGER answer:

I write salt because I LIKE Miraculous Ladybug, BUT the show has not lived up to its potential AT ALL. The show could be so much better and the characters are so flawed or full of holes that occasionally I feel FRUSTRATED and mad!

I hate that Alya a character who I was so excited about, gets shafted ignored, sidelined, or written like a jerk! She could have been this great detective working alongside her friend to unmask the villain, but instead she often comes across as pushy, obsessed with Ladynoir or Adrinette, and so damn easily tricked. Not to mention how when shes not gushing over her ‘ships’ shes pushed to the side and ignored. [or you know... LILA]

I hate that Marinette’s crush makes her do things that are so cringy and awkward i feel ill I hate that she’s constantly the only one making mistakes and ‘learning lessons’ when the show has all these other great characters that could use the spotlight and be the ones learning lessons. I hate that she’s so jealous and that she cant ever seem to catch a break as if the show is punishing her constantly.

I HATE that Adrien is a mary sue, how the writers say hes perfect and treat him as such, I hate that he gets to guilt Marinette into fixing everything and dealing with bullies, I wanted a funny, Ron Stoppable, naive boy who learns about real friendships and grows into a great partner. Instead he gets to be pushy and downright a jerk as Chat Noir ignoring his responsibilities, guilting Ladybug with his feelings, never taking no as an answer. He’s not a good role model for kids.

I hate that Chloe got built up to have a redemption arc several times only for the writers to decide that Chloe a teenage girl who needs some serious therapy [and actual reasonable punishment for her actions] is worse than Gabriel child abuse Agreste. She could have been a great lesson on compassion and growth and dealing with your own pain without hurting others. Instead the writers wrote her off completely.

And dont get me started on how the show treats Nino, Kagami, Luka and the rest of the cast. They may as well be a backdrop for the forced love square that we NEVER get a break from. Seriously I’m a sucker for romance but does it need to be EVERY damn episode?! Can’t we just get some wholesome friendship between everyone including Adrien and Marinette at this point like COME ON.

And i’m not even touching on the white washing, awful lessons on responsibility and forgiveness, awful lessons on well so much other stuff really, the guilt trips, the teacher, the fact that she show could be used to teach kids how to better handle negative emotions and the importance of open communication and not keeping quiet about injustice and/or your feelings but instead decided that the main priority should be a love square that gets force fed to us EVERY SINGLE EPISODE.

My point is the show has FLAWS. That doesn’t mean its the worse show ever and it doesn’t mean its not fun, and has a great premise and characters, and so when I write Salt I write it because i’m frustrated! Im frustrated with the show, with the characters, with the writing and so I vent that out with salt I write those characters as their worst selves because I cant stand how the show has decided to treat them and Im ANGRY and disappointed.

It feels good to write salt and to read it. It’s nice to see characters get called out for bad behavior, its nice to read about Adrien not getting the girl. Its nice to occasionally indulge in salt because it validates that the show is flawed and lets you get out that frustration.

BUT ON THE FLIP SIDE

Miraculous Ladybug is a lovely show. It’s a show that decided to give little girls a FEMALE HERO. And not just as a side kick or background character! No they made her the protagonist! Its so important to me that little girls see good well rounded female characters in media.

And even if the show is clumsy about it they are TRYING to build an expansive lore that tickles the theorist brain. And gets people invested in the world.

The show also made Marinette shy, and awkward, and clumsy something a lot of girls deal with during puberty as growing up can literally make you clumsier as your body adjusts. Having a character who tries to be positive and tries to find solutions who solves things with creativity instead of pure violence. Thats LOVELY for young girls to see.

Growing up I loved and admired Kim Possible, and probably would have loved Marinette, even if the shows not perfect I can admit its trying and I can see why people love it as much as they do! And why they write these fluffy sugary fics its the reason I WRITE fluffy sugary things.

Because even though I am frustrated and angry and disappointed with the show, I still see Alya’s potential and how great she is as representation to little girls who want a black female superhero so I write fluff where Alya’s loyalty, compassion, cleverness and her pursuit of justice are center stage.

I see how Adrien could be better and I want him to be better and I WANT him to be the naive funny comic relief the Ron Stoppable to Marinette’s Kim Possible. I want Adrien to grow and learn and spit in his dad’s face I want him to overcome the abuse and be happy. To show people that neglect and abuse doesn’t mean you will get stuck like that forever, that you can overcome that and be a better kinder person.

I want Nino and Kagami, and Luka and Chloe and the class to grow and get attention and have funny moments I want to laugh and make other people laugh! So I write prompts focused around comedy and shenanigans and where the characters get to be fun and silly and make decisions for themselves!

SO IN CONCLUSION:

I write salt AND sugar. I see the value and merit in both sides of the coin, and I respect how other people see the show. I know its easy to get angry with other people in the fandom who see the show differently then you do but please can we put down the weapons and just BREATHE.

Someone who writes salt might LOVE the same show as you, and they might in fact love it so much that they vent their frustrations in angst and salt and cracky fics. Let them vent about how they wish the show was better, leave their tags alone or block them if you cant stand to see it. But dont attack salt writers for ‘hating on your show’ when they might love it just as much as you do but want a way to vent out their feelings.

On the flip someone who writes sugar might NOT be forgiving the show for its flaws, they might see all the same flaws as you but decide to take that frustration and write fluff and fix it fics and sugar because they want to indulge in a version of their favorite show where everything is just... OK. Where everyone is well written and happy and the character development sticks. Stay out of their tags let them have their sugar, they aren't writing it to hurt you just like you don't write salt to hurt them.

So ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each others tags. Let people write SALT if they feel angry and vengeful and disappointment, let them have their tags, let them explore the dark side of the characters, let them rant and rave and be HURT when the characters they love upset them with their actions. Its not your place to tell them to stop, to tell them their feelings are invalid, to tell them that ‘adrien is sweet sunshine boy how dare you’ or ‘alya would never’ or ‘i hate your marinette leaves dupont au’. Just leave it be, heed the tags, and let it go.

AND ENOUGH. Enough hunting each other down, enough sending each other hate, enough filling each other tags. Let people write SUGAR if they just want something to feel happy about. Let them makes coffee shop au’s, let them make fix it fics where everything is just happy without needing 8 pages of backstory for why everything is just happy. Let them squeal and gush and talk about the ship they like and the fluff they see. Its not your place to argue with them that the show is flawed, its not cool to ruin their fun by accusing them of not understanding the flaws, to tell them ‘umm actual this character shouldn’t get to be happy’ or ‘wow this is so shallow’. Just leave it be, heed the tags, and let it go.

PS: Now with that said and done. I do have one final message for everyone - If you write/enjoy pedophilia, if you sexualize KIDS. Then get the fuck out of fandom spaces, stop fucking following me, and do everyone salt and sugar a favor by LEAVING. Your pedophilia and child sexualization aint wanted, aint ok, and I will fight you.

PSS: IF YOU HATE WHAT IVE SAID ABOUT SUGAR AND SALT FINE OK I RESPECT YOU REGARDLESS. ENJOY THE SHOW, STAY CLASSY, DONT HURT PEOPLE BECAUSE THEY HAVE A DIFFERENT OPINION.

[jugaflugg]

In Defence of Mirio Togata

Recently, amongst discussions, I've come across those who argue against Mirio's importance to the plot. As a staunch advocate for the character, it's hard to ignore what I consider to be a massive oversight in one's understanding of the plot.

With this essay, I intend to explore three points in favour of Mirio's nature as a plot-integral character. To give a brief overview, here are the points in summary form:

His relevance to Deku's growth and understanding of what it means to have One for All.

His importance in the Shie Hassaikai arc, as well as Eri's character.

His character as an exploration of what it means to be a hero.

Initial Successor It cannot be denied, when discussing the relationship between All Might and Deku, that Mirio's entrance to the story had a large impact. Previous to his introduction, we had been under the assumption that All Might's power was to be passed on at his will, rather than due to any prior plans.

There had been a lack of discussion, up to this point, on how One for All had been passed on prior to this point: whether through planned successors, or through last-minute decisions in each user's final moments. Mirio's arrival in the plot opens this discussion, and gives us reason to consider why All Might chose to pass the power on to Deku, rather than another candidate.

It's important to note, here, that the "planned successor" could have been no one other than Mirio. His position as a contender for the Number 1 Pro Hero makes him the seemingly perfect candidate - yet Deku's personal passion and alignment with All Might's hero ideology are what sealed him as the appropriate successor.

By distinguishing the differences between Mirio and Deku's personalities, style of hero work, and circumstances, we can fully recognise why it is vital One for All was passed to Deku, both in an ideological, and narrative sense.

Shie Hassaikai and Eri One might wonder whether Eri could have been saved without Mirio's intervention - the answer to which is, of course, no. From a narrative perspective, Deku had to be the one to finish the fight with Overhaul - he is our protagonist, after all. However, saving Eri was something that could not be accomplished alone.

When Mirio and Deku are first introduced to Eri, we see their reactions to the situation, which aids in our understanding of the differences between them: Mirio acts nonchalantly, aware that Eri may be in danger, but concerned of the repercussions if they were to step in at that point; Deku reacts emotionally, as we have seen him do before, wanting to save Eri from the danger at that moment.

We have seen, time and time again, that Deku's emotions have impeded his judgement and capabilities as a hero. This is not to say that his passion is to be ill-regarded - on the contrary, Deku's emotions set him apart from the rest. However, as Daigoro Banjo later tells him (ch. 213) "what really matters is controlling your heart" - a lesson Deku must continue to learn.

Mirio, here, shows his maturity in comparison to Deku - following orders from Nighteye and able to control his own emotions despite his concerns. Eri's safety is a priority for him, but he is aware that confronting Chisaki at this time may endanger her further.

Mirio becomes a major player in the race to save Eri, rushing ahead of the group in order to get to her faster (ch. 139), ultimately saving her from the Quirk-erasing bullet (ch. 152), and taking care of her in the aftermath. Without this, Eri would not have been saved, acting against the core theme of the story.

What Does it Mean to Be a Hero? It is arguable, through the aforementioned core theme that one may consider a hero to be this: someone who saves another. At his heart, Deku embodies this - wishing to save even the villains who many believe are 'too far gone'. Mirio's approach to this is somewhat more pragmatic, wishing to save one million people.

However, the number of people one saves is not the sole indicator of the quality of a hero, nor of their ideology. Mirio demonstrates a complete determination in saving Eri, continuing to fight well past his limit, and after the removal of his Quirk.

To continue to fight, despite the odds being stacked against you, with the firm resolve to save those in need, is just one way in which Mirio's hero ideology makes itself known. By exploring this set of principles, Horikoshi is able to exhibit the many ways in which one can be a hero, beyond a cape and a super-power.

"A Fine Hero" Mirio's importance to the story is undeniable: his presence is a major factor in Deku's journey, and aids in our understanding of hero society within the story.

I think it's common practice these days to overlook character relevancy as they may seem to have less to do within the story than, say, the protagonist. However, there is still salience in their contribution to the narrative, or to the message the author is attempting to convey. Exploring the facets of this contribution helps us to understand the story in a much more complete way, as it is ever-important to do.

[galladerocksgamer]

Okay so I love the Paranormal Liberation War arc, it does so much fantastic stuff, dang near perfect across the board. But I think it’s pretty widely felt that the pacing got a bit off the rails near the end, we had big reveals and character moments stacking up and half of them barely even felt relevant. And me being the person who just thinks about things in depth and for long periods, I’ve still been dwelling on it for months. And now as the manga has continued, I’m finally seeing how some of the aforementioned War moments could have been better executed in different situations, because honestly this latest arc seems like it would have been tailor-made to address them all. So lemme take a closer look at three different components here: Mirio/Eri, Bakugo, and Hawks.

1. Mirio and Eri

Probably the most random moment from the war’s climax, don’t think anyone was predicting the sudden return of Mirio to battle. I love Mirio, he’s one of my favorite characters, but it was a pretty anticlimactic way to bring him back into the fold. He doesn’t even really bring anything special to the battle, nothing uniquely Mirio. His role is just backing up Best Jeanist against the Nomu, and anyone could have done that. Burnin could’ve arrived sooner, or Manual and Rock Lock could’ve come back after getting the injured heroes to safety. Heck, if you still wanted the Nighteye agency to be involved, then Bubble Girl and Centipeder could’ve been the cavalry to help Jeanist. But instead Mirio returns unexpectedly and none too remarkably.

And on top of that, we’re basically just told “oh by the way Eri has some control of her power now.” Something that the series had been building up toward for awhile just … occurs off-screen with no forewarning. Really feels like a disservice to Eri and her development to not give that intense moment any real spotlight.

It felt extremely weird for me at the time, but I also kinda wanted to give it the benefit of the doubt. Maybe the coming arcs just couldn’t afford to place focus on Eri and Mirio, so their respective developments were tied together to lend an extra surprise to the war’s final bout. But instead this most recent arc has gone the opposite route … through the return of Chisaki.

The man once known as Overhaul, now thoroughly broken and wanting nothing more than to fix his one great regret. With Nagant’s defeat, he winds up back in custody, but having now once again met with Midoriya and made his wish known. So indeed, the opportunity arises for Eri and Mirio to be brought back to the forefront. I don’t doubt that we will indeed have at least a brief glimpse at Eri healing Chisaki’s boss as Midoriya promised, but the potential for that scene could really have been through the roof if it was the impetus for Eri to willingly use her power on a person for the first time.

Imagine Midoriya coming to Eri with that heavy request, of Eri deciding to offer this kindness toward Chisaki of all people, using her power to heal before the man who always told her that she could only destroy. Because really, I don’t think there’d be a question of that, we know the kind of kid Eri is, and she won’t let anyone suffer if there’s any way she could prevent it. Even if Chisaki was the person asking, there might be hesitation and fear, but is there any doubt she’d offer what aid she could in the end? And for Pops to be the first person she helps, to undo the harm carelessly inflicted by Chisaki … well, it’d certainly be poetic.

As for Mirio in this scenario, that could go a couple ways. Route 1: Eri is hesitant to help Chisaki with Pops because she would rather help Mirio get his Quirk back, and we know that her power seems to have a bit of a limit on it via the energy stored in her horn. So what if it did work, but she ran out of juice healing Pops and then made Mirio wait even longer? Well, of course that’s exactly what he’d insist on, he wouldn’t let himself take priority over another person in need of Eri’s help. And he’d take it all in good spirits as always. Or Route 2, if there was concern that Eri’s power could run wild while trying to help Pops, then they could go the complete opposite direction and have Mirio offer to go first, to be the guinea pig for Eri in case of emergency. But of course, he’d have full faith in her all along and coax her through, ensuring her of just how helpful and brave she always is.

So yes, can see how Eri and Mirio’s development could have taken a more satisfying route, and cap us off with some good ole Chisaki angst to boot (though at least we’ve still got a decent serving of that). Now moving on …

2. Great Explosion Murder God Dynamight

So Bakugo’s long and arduous journey of personal growth reached a new peak during the battle with Shigaraki, where his body moved without thinking and he underwent his true heroic awakening to protect Midoriya. Such a sacrifice seems like a perfect cap for his development for the War arc … and then a couple chapters later he forces himself right back into action to back up Best Jeanist, and as promised he reveals his over-the-top hero name to his mentor. In this case I don’t think there’s anything inherently wrong with the reveal, but in light of his preceding big heroic action, it really feels like a hat on a hat.

It’s not like Bakugo’s hero name heralded some major turning point for the battle; Jeanist’s arrival (and subsequently Mirio’s) had already assured that. And like Mirio, there wasn’t any real special reason for Bakugo to rejoin the fight with the Nomu, especially with Iida and Hado on the scene. After getting skewered by Shigaraki, it would have been pretty simple for Bakugo to just spend the rest of the fight bleeding unconscious on the ground, rather than complicating matters by shoving him back into the fray. And ultimately, the moment feels a bit anticlimactic. All the suspense waiting for Bakugo’s hero name, and then it’s revealed at a time where he barely even has the spotlight.

Of course, such a bombastic name as “Great Explosion Murder God Dynamight” doesn’t particularly lend itself to a quiet or emotional scene, so it wouldn’t be thematically fitting to move that revelation to Bakugo’s hospital bed or his somber apology to Midoriya. That said, given his decision to announce the name first to Jeanist, there would at least be precedent for him to have a “Dabi says secrets in a black speech bubble” moment in the hospital in which he talks to Jeanist but leaves the readers in the dark, before coming back to the actual audience reveal later on.

And there must certainly be other opportunities to present the name appropriately. Bakugo is a master of making an explosive entrance, after all. And when Class 1-A finally catches up to Midoriya, if Bakugo really wanted to make a big impact on his friend/rival before getting into the sentimental stuff, then it would be a prime chance to reveal his hero name in grandiose fashion, both to Midoriya and the audience.

Or if his hero name had been Kacchan, then that reveal would have fit right in with his apology to Midoriya, but that’s neither here nor there

This could be one scenario, of course, but it hardly feels like that would’ve been the only option. And compared to the crammed-in reveal in the final fight with the League, it’s easy to say that there could have been plenty of smoother roads to take.  But setting that aside, moving onto the final touch:

3. Hawks

The long-awaited Hawks backstory doesn’t really disappoint. Admittedly, there weren’t really a lot of holes necessary to fill in there; we’d had enough bits and pieces provided before this point to pretty much put together the whole picture of his crummy childhood. But even without any really surprising turns, the flashback is welcome and hits some good emotional beats. But really, the glaring issue in this area is the timing.

We’re presented this backstory at an instance where Hawks is hardly the most relevant character. Shigaraki is undergoing a personal crisis as All For One seizes the reigns of his own body, Endeavor’s dark history has been exposed and the Todoroki family is in turmoil, escapees from Tartarus roam the streets, and Midoriya consults internally with the vestiges of One For All ... and the narrative decides to take a chapter to look at Hawks. Practically nothing from his flashback directly relates to present events, serving only to further emphasize his already well-established devotion to Endeavor and his (misguided) understanding of Twice’s feelings. The timing is just kind of baffling, especially with some other more appropriate places being readily apparent.

For instance, only a dozen chapters later, we’re properly introduced to Lady Nagant. As Hawks’s predecessor within the Hero Commission, the two have a lot in common, and the similarities and differences between the two could set up some interesting comparisons if Hawks’s backstory was saved to follow up Nagant’s. Two idealistic young children, handpicked by the Commission and groomed into assassins, yet whose outlooks in the present day are starkly opposed? Nagant's guilt driving her to turn on the Commission, while Hawks holds few regrets despite the blood on his hands, longing for freedom from the Commission’s grasp? That kind of parallel could really have built a more solid foundation for Hawks’s past to be laid upon.

That could be an effective setup, but there’s another approach I’d actually much rather have seen, one that brings Hawks’s backstory not later, but earlier: during the dramatic confrontation between Hawks and Dabi. The instant that Dabi reveals he knows Hawks’s real name, the story opens itself up perfectly to dive into his past. And the timing would be superb, showing Hawks at his worst as he murders Twice, then turning back the clock to look at the innocent child who just wants to save people. A little boy whose feathers tingle with the need to rescue those in need, superimposed against the man whose same feathers are used to deliver the killing blow to a victim of hero society’s ills. You want angst? Now that’s how you do angst. Placing the backstory there would play up the tragedy of both Hawks and Twice simultaneously: a “hero” raised by the Commission to cut threats to their control short at the root, and a “villain” who could have been a kindred spirit but instead suffers for their would-be friendship.

And that’s not even the icing on the cake. The real matter of interest here comes in Hawks’s view of Endeavor. By the time we get to Hawks’s backstory, all of Japan has already learned of Endeavor’s history from Dabi, and the result of the timing feels a smidge tone-deaf, and fails to realize the full potential resonance of the situation. The flashback to young Hawks as a victim of child abuse, who is rescued (unwittingly) when Endeavor arrests his father, is presented to us as the moment when Hawks realized that heroes are real, not merely a fantasy. We see why he developed such an ideal view of heroes, and why he is so specifically loyal to Endeavor ... so just imagine if all that was presented during his showdown with Dabi. Imagine if all that came before the tragic revelation of Toya Todoroki. The true terrible irony, that Hawks was rescued from his abusive father by someone secretly guilty of the same crimes, that Hawks’s whole epiphany of “real heroism” was founded upon one of the most corrupt enforcers of all.

The end result would be the same, I’m sure. After all, this is certainly the same thought process Hawks was going through all along, and his decision to maintain his faith in Endeavor’s personal growth would presumably remain unchanged. But presenting Hawks’s backstory before Dabi’s would have opened up a lot more room for us as the audience to actually see Hawks’s views be challenged. If there’s one real complaint I’ve got about Hawks’s character, it’s that we don’t really tend to see him questioning himself or his actions; whatever happens, he rolls with it and presses on, no matter how his ideals are brought into question. But this simple matter of timing could go a long ways to remedying that, granting the audience the chance to watch Hawks grapple with his personal image of and approach to heroism, and his relationship with Endeavor, rather than allowing most of that to pass unseen in the wake of the war’s end. Even if he would ultimately come to the same conclusion, at least such a narrative structure would provide a much more satisfying presentation of his struggle up to that point.

So, I’m not great at endings, but that brings us to the conclusion of my rambling though process here. To recap, the more I’ve thought about it, the more obvious it is that the backloaded War arc could be remedied, and the following arc only made that more obvious. Why force Mirio’s return so soon when he could be tied in later with Eri mastering her powers and the desperate pleas of Chisaki? Why shove in Bakugo’s hero name when the boy has already made a tremendous impact on the arc, and will be more open to further focus during the conflict with Deku in the next? And why throw in Hawks’s backstory as a standalone chapter at a time when it’s largely irrelevant, when there was such great potential to emotionally contrast him with the backstory of Nagant or Dabi? These are the kinds of things I think about. Little things, really, and honestly the whole reason they stand out to me is just that the rest of the arc around them is so dang fantastic. So … yes. This is the testament to my love for this manga, thanks for coming to my Ted Talk, byeeeeee