#scheming for a comic i might do . .

[candycatstuffs]

Redesigned my witch amy for october <3333 I like this so much better than the og hehehehe

[exotic-dinostuff]

A declaration of love/friendship! <3

Or I'm just marking you as my next murder victim

Whichever one you want ^^

[starflungwaddledee]

which ocs in the fandom do you find the most interesting? also, which ocs do you think have the most aesthetically pleasing designs? finally, which ocs have you only heard of but would like to know more about?

ohhhhhhhhhhhhhhhhhhhhhh nooooooo ha haaa noooo i can't possibly answer this because it would be soooo unfair to have favourites wouldn't it's comet knight by @kittenvirus

[todayisafridaynight]

poppo oc that i made as a joke accidentally breaching containment. maybe.

[askamnesiamoonjumper]

still up for doing some mun asks! ^^

[artbyblastweave]

A few years ago, there was a thread on r/asksciencefiction where someone was fishing for a superhero story with an inverted Omni-Man dynamic, or a setting where Homelander's initial presentation is played straight- a setting where the Superman figure actually is the paragon of morality he's initially presented as, but no other superhero is- a situation where you've got one really competent true-blue hero standing head-and-shoulders in power above what's otherwise a complete nest of vipers.

Someone in the thread floated My Hero Academia; while I haven't read it, my understanding is that that's not really an accurate read of what's going on with Stain's neurosis about All-Might being the only "real hero," that the point of that arc is that Stain's got an insane and unreasonable standard and that taking an endorsement deal, while bad, isn't actually grounds for execution. My own contribution to the thread was Gail Simone's Welcome to Tranquility, where a major part of the backstory involved the faux Justice-League's Superman analogue having a little accident because he's the only one who thought they were morally obligated to go public with the secret life-extending macguffin that the rest of the team is using to enforce comic-book time on themselves and their loved ones; while only a couple members of the team are directly in on it, the rest are conveniently incurious. And Jupiter's Legacy gets tantalizingly close to this- The Utopian, a well-meaning stick-in-the-mud, ultimately gets blindsided and couped by his scheming brother who creates a superhero junta staffed by a Kingdom-Come-style glut of third-gen superheroes, who are framed as fundamentally self-interested because only came onto the scene after most of the situations you legitimately need a superhero to handle have been neutralized. (The rub, of course, is that the comic is also highly critical of the Utopian's intellectually incurious self-righteously 'apolitical' approach to superheroism- if for no other reason than that it left him in a position to get blindsided by a coup!) While Jupiter's Legacy gets the closest, all three of these are only loosely orbiting around the spirit of the original idea, and there's something really interesting there- particularly if the Superman figure isn't hopelessly naive in the same way as Utopian. Because first of all, if you're Metaman or Amazingman or whatever brand-name alias the writer goes with, and you really earnestly mean it, and you put together a team of all the other most powerful heroes on earth in order to pool your resources, and then with dawning horror you gradually begin to realize that everyone in the room besides yourself is a fascist or a con artist or abuser or any other variant of a kid with a magnifying glass eyeing that anthill called Earth- What the hell is your next move?

Do you just call the whole thing off? Can you trust that they'll actually go home if you call the whole thing off? I mean you've put the idea in their heads, are you sure that they aren't going to, like, start the Crime Syndicate in your absence? Do you stick around to try and enact containment, see if getting all of these people on a team makes them easier to keep on a leash? But that's functionally going to make you their enabler pretty quickly, right? Overlooking "should you kill them-" can you kill them? You're stronger than any individual one of them- are you stronger than all of them? The first time one of them really crosses a line in a way you can't ignore- will that be a one-on-one fight? Are they the kind of people capable of putting two-and-two together and pre-emptively ganging up on you if you push back too hard? Do you just start trying to get them killed, or keep them at each other's throats so they can't coordinate anything really nasty? Can you squeeze any positive moral utility out of them, or is that just a way to justify not doing the hard work of taking them down? There've been works where the conceit is to question the default assumption that Superman in specific would be a good person, and there've been works where the conceit is to question the default assumption that superheroes in general would be good people. Something to be done, I think, with questioning the default assumption that everyone Superman becomes professionally close to would be good, and to explore how he'd handle it if they weren't.

[akanemnon]

TWIN RUNES MASTERPOST

Because of the limited amount of links you can put into a post, you can find the links to each page in these sub-posts:

To be continued...

FAQ under the cut!

TWIN RUNES MINI COMICS

Glasses - Fallen down - First steps - Press [C] - Frisk Dance - But nobody came - Whatstheirface - An acquired taste - Eye opening - Smalltalk - Connection issues - Not-To-Do-List - All You Can Eat - Beach Episode - Salute the Frick - Morning Routine - The Universe is a Hologram - Normal Human Behavior

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TWIN RUNES - FAQ

What exactly is this AU about? Twin Runes is essentially a comedic crossover AU between the universes of Deltarune and Undertale. No fancy nicnacs. Just the characters being their chaotic selves. But there might be some darkness lurking up ahead... ____________________

When is the next comic? The comic updates most Sundays at 6:30 PM Central European Time. ____________________

Why is this AU called Twin Runes? The name is more or less a play on the typical naming format of most AU's by featuring the "Runes" part. There are no literal Twin Runes. The whole name is more of a stand in for Undertale and Deltarune as parallel worlds. Hence the "Twin" part. ____________________

When does Twin Runes take place? This AU takes place between a hypothetical Chapter 3 and Chapter 4 of Deltarune. On the Undertale side of things, it takes place post neutral route just as Frisk was about to deliver Undyne's letter to Alphys.

How many pages are there going to be? The script for this comic estimates that the comic is going to be 137 pages long (if I don't make any major changes). ____________________

Is the Player a thing in this AU? The Player(s) lost control over both human children as soon as Frisk entered the world of Deltarune. Essentially, the reader takes the role of the Player. You have no influence on the outcome of the story anymore. All you can do is watch. ____________________

Is there going to be a Weird Route? Due to the lack of Player, all choices made by Kris are now their own. How to engage in battle all depends on Kris, and not the Player. Because of that, there are NO DIFFERENT ROUTES. There is only one route and that one is based on Kris' choices. Because of the lack of save points, there is no "what-if" scenario. ____________________

When Chapter 3 and 4 are released, will it affect the story? Any chapters after Chapter 3 won't affect the story in the grand scheme of things. Twin Runes created a new timeline so to speak. ____________________

How old are the characters in this story? Frisk appears to be around 9 years old. Kris thinks they're 14. (Both Frisk and Kris don't know their actual age.) Chara died when they were around 10-11. Susie is around 15-16 (she was held back once) Ralsei appears to be the same age as Kris. ____________________

What's up with Kris' and Frisk's hair? The red bits of their hair is more or less a representation of their souls. That in turn is also why Chara doesn't have that feature. They are soulless. It's a stylistic choice. ____________________

What's that thing on Kris' chest? It's a scar they got from tearing out their soul.

And why do they have weird lines all over their body? Both Kris and Frisk's anatomy resemble that of ball-jointed dolls. They appear just as markings across their bodies. Think of them as elaborate birthmarks. Kris and Frisk are still made of flesh and blood, but are in fact hypermobile. The reason as to why they do is still a little secret :) People here like to refer to these markings as "puppet limbs". You can get a better look at them and the scar in this artwork

Why does Kris have braces? This is why:

Why is Dark World Frisk green? Frisk changes their main sweater colors with Kris when they enter the Dark World.

Can other ghosts see Chara? (pre Darkner transformation) No, only Frisk and Kris are able to see Chara. ____________________

IS KRIS NOW FRISK'S COUNTERPART OR CHARA'S???? :) ____________________

So, was Chara in the locket all along? No, Chara possessed the locket to become a Darkner. ____________________

Where are Jevil and Spamton? Are they in Castle Town? The Fun Gang have already fought these two in the previous chapters and added them into their inventory. Outside of that little dream sequence, neither will be making an appearance. ____________________

Is anyone from Undertale Yellow gonna make an apperance? Outside of a tiny cameo from Clover (that has no greater bearing on the story) no one from Undertale Yellow is going to make an appearance. ____________________

Is (insert character here) gonna go to the Dark World/underground? With the way the story is going to play out, only the main group will be heading to this new Dark World. The rest of the story will be taking place there. ____________________

How did you come up with the idea of Twin Runes? Twin Runes is an offshoot of a separate script I wrote. It's a similar concept but turned on its head. The funny moments in that script made me just continue what now is the start of Twin Runes. I pretty much just wanted to see if I am actually capable of drawing a comic to begin with. So... in a way Twin Runes is my first attempt at a comic ever. If I ever finish Twin Runes, then I know I can tackle turning that mammoth project of a script into a comic too. In the grand scheme of things these two projects are sister series. They have A LOT in common and even share similar plot elements. When Twin Runes is over you will automatically also know certain mysteries of The Other Script. ____________________

What is The Other Script? As of this moment I call The Other Script: "Lost in the In-Between". At its core it's an inverse of Twin Runes. I.e. Kris falling into the underground and being aided by Frisk on their quest to return home. The story and jokes are a considerably more grounded than in Twin Runes and so are the characters. Though they do have their moments from time to time. The overall mood of that script is a lot darker in nature and it's a 200+ page passion project of mine. ____________________

Am I allowed to make fanart? ABSOLUTELY! You are very welcome to make fanart if you feel like it. Please let me know if you do by tagging me, so I can share it with everyone to see so that you get the appreciation you deserve :) ____________________ Can I use the funny faces you draw for memes or for stuff like memes or for profile pictures? That's what they're here for :) ____________________

Is there x ship in this comic? The focus of the story is not on shipping. If it's in the game it will very likely be mentioned or brought up, but that's about it. ____________________

What pronouns do you go with for the human children? I try to stick as close as possible to the games so I use THEY/THEM FOR ALL OF THEM WITHOUT ANY EXCEPTIONS.

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ABOUT ASKS

Asks will open for 24 hours after a new comic has been released. Your questions will then be answered over the course of the week.

Try not to submit multiple asks. If necessary, just keep everything in one post.

Keep in mind that I receive AL LOT of asks, so not every question can be answered...

Questions containing spoilers will not be answered on principle. Wouldn't be as fun if the surprise was ruined, right?

Before leaving an ask (mostly for everyone who's new), please make sure to read the FAQ section above. A lot of times your question might have been answered already :>

I love memes and dumb jokes as much as the next guy, but try not to spam

It probably goes without saying, but please stay civil. I want to give everyone the respect they deserve, and naturally like to be treated the same way.

Please be mindful about drawing requests. It is understandable if you're eager to see a certain character drawn in my style, but I do not like to be bombarded by requests. The more it happens, the less likely I am to do it. Be kind and ask nicely.

I don't take unsolicited comic ideas.

Don't use other people's posts that I reblogged to ask me questions! It has happened before and I do not wish to see this!

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ABOUT SUBMISSIONS

The submission box is for FANART ONLY!

It is meant for those who do not want to submit their fanart to their own blogs, in case they feel scared or intimidated to do so.

ASKS AND REQUESTS THAT ARE SUBMITTED THIS WAY WILL NOT BE ANSWERED.

Please wait until the ask box opens. You can read more on how asks work in the section above.

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REFERENCE SHEETS

The following are ref sheets of characters that don't have established Dark World forms yet (as of writing this comic). The list will be updated as soon as a new character enters the Dark World. Here you will also find references of characters that might appear as surprise cameos, or maybe even completely new faces...

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FULL ART

[professorcalculusstanaccount]

“Robbie is gone! I’m still here! And I refuse to live in his shadow!”

Rastapopoulos himself may be out of the picture, but his ghost continues to haunt those who were caught in his web.

A collaboration with @aboardthescheherazade using her OC Marlene Katz - an actress Tintin tries to save in Cigars of the Pharaoh!

Five years later and Tintin is baffled to see Hollywood starlet Marlene Katz turn up at his doorstep asking for help. Formerly under the thumb of Cosmos Pictures, Marlene became an unsuspecting witness to Rastapopoulos’ criminal activity and now the mob is after her, seeking to tie up some loose ends. To top things off, she is due to make a public appearance at The Golden Palm, a prestigious film festival. After years of hiding, Marlene is determined to get her acting career back on track, and this film may be her big break.

Tintin is highly suspicious. Chang, on the other hand, is utterly star struck, and after noticing an uncanny resemblance between the two hatches a ridiculous scheme that may finally put an end to this particular problem. It might just work, but Marlene makes the last minute decision to also go undercover, feeling immense guilt over having Tintin and Chang risk their lives for her.

While Tintin is running around in heels and beating up mobsters Haddock is away on a weekend break with Ramo Nash. Before leaving he asked Chang to keep Tintin away from any incidents and to promise not to throw any house parties.

This was my first collab on this blog and I had a lot of fun bouncing ideas off with Vaye. Her blog was one of the first Tintin blogs I followed - definitely check it out, it’s an absolute treasure trove of resources and research! Below are a few notes of stuff we discussed while making this:

- After the Blue Lotus, Marlene breaks away from Rastapopoulos and pulls back from the film industry to lay low, teaching dance classes instead. He keeps trying to come back to her, leaving her exhausted and paranoid. Since Rastapopoulos always considered Marlene to be pretty stupid he never made much of an effort to properly hide his criminal activities from her, but Marlene was able to slowly piece things together...

- This adventure takes place after St. Benezet’s Basement (the boarding school story) and before Call of the Songbird (Tintin Fucks Up and Steals A Whistle). Tintin is still in the grips of trauma from the canon stories. Chang is starting to settle in. Haddock and Nash’s relationship is in full swing, but they are keeping things quiet from everyone else. 

- In some sketchbook comics I did to flesh out ideas there’s hints of Tintin being gay and asexual, his complete lack of interest in Hollywood actresses and his mild irritation of people’s judgements being clouded by crushes! Chang’s attraction to Marlene however, foreshadows his feelings for Tintin later on down the line.

- There’s a role reversal theme going on here. Both Tintin and Marlene are victims of Rastapopoulos but in very different ways. By playing each others’ roles they both can get a clearer picture of how Rastapopoulos hurt people, and therefore a better understanding of their own traumas. Tintin is usually spontaneous and rarely makes himself known, but here he is playing a set character. Marlene as an actress, on the other hand, is used to receiving direction from others, but circumstance pushes her to improvise. I can imagine her using her skills as an actor to get into character as an ace reporter to fake some much needed bravery!

- Marlene’s disguise is literally just stuff she pulls from Tintin’s and Chang’s closets. She’s wearing Tintin’s trenchcoat, dress shirt and suspenders and Chang’s spectator shoes, trousers and scarf!

- Marlene is a very skittish person but will be compelled to do what she believes is the right thing. As Vaye put it, “Marlene’s bravery under fire is that she’s like the one person in a room who’s willing to get a spider outside...” Marlene is also older than Tintin and pretty much views him as a child, even though he’s in his early 20s at this point. She feels incredibly guilty about what Rastapopoulos did to him and the fact he’s risking his life for her. She feels some level of responsibility for him.

This all started because I thought it would be cool for Tintin to beat some guys up in drag

[ponett]

Do you have any advice for people making OCs/sonas? Yours are really well rounded and unique and I'd greatly appreciate the insight of someone who got a passion project off the ground!

So this is a very broad topic, and it varies a lot based on your own creative goals, what kind of characters you're creating, and where you want to use them. Creating an OC to be used in furry pinups is a little different than creating one for a dramatic story. But I'll try to give some general advice on how I do things for the types of characters and stories I tend to work with

Heads up: this will be kinda long lol

The germ of an idea

For me, I'll generally be inspired to create a character starting with a small number of core traits. These could be anything. A color scheme, a body type, a job, a hobby, a personality archetype, an outfit, a visual motif, a functional role in a story I'm working on, a noteworthy facial feature, a weapon, a relationship of some sort to an existing character, a single scene or joke I want to use them for. For furries and fantasy characters, species is usually one of the first things I'll have an idea for, which tends to get the ball rolling fairly easily since we have all sorts of cultural associations with different animals and fantasy creatures.

Any standout character trait like this that you find compelling can serve as that initial spark. The inspiration can come from anywhere, but it's often just a matter of knowing yourself and your own tastes. What do you like? What are the people in your life like? What really speaks to you in a character? What's an existing fictional character that you'd like to rewrite and take in a different direction? What's an aspect of yourself that you would like to see represented more often in fiction? It doesn't have to be something super deep or fleshed out right from the start, though. You can start with something as simple as "I want a black cat character" or "I want a character who dresses like an arcade carpet" or "I want a character who looks scary but is actually nice." Whatever it is, it's something that differentiates the new character from the ones I already have, because otherwise I'd just be using them.

Contrast

From there, you can start brainstorming other traits that might go with those core traits. Some of those may be traits that naturally complement each other. Continuing with the black cat example, maybe you wanna play into the common cultural perception of black cats and say that this character brings bad luck, or is associated with witchcraft. However, I often like to give characters contrasting or even seemingly contradictory traits, which can help elevate a character beyond a stock archetype. Real people tend to be a walking ball of contradictions, after all.

I've talked a lot about how I did this with the main cast of SLARPG. Melody is a fox, traditionally a crafty and untrustworthy predator, but she's extremely introverted and gentle. Allison is a bunny, but instead of being a meek and cuddly little prey animal she's an outgoing fighter who loves a challenge, and she has a muscular build. I think this kind of thing gives characters some fun flavor, and can be really effective for both comedy and drama. For an example from something I didn't write, take Senshi from Dungeon Meshi. He's a dwarf, and he embodies certain stereotypical aspects of dwarves - he's a short, buff man with a big bushy beard, he lives underground, he's stubborn and doesn't like elven magic - but he also goes against some of them. Instead of being an expert on mining and blacksmithing, Senshi is a culinary expert who has a deep appreciation for the natural ecosystem of the dungeon. He's a weirdo among dwarves for not caring about the wellbeing of his axe and for using his super awesome shield primarily as a giant wok. And that's what makes Senshi fun and interesting.

So going back to our example, instead of going with the stereotype, we could make a black cat character who has comically good luck, or who's superstitious and afraid of witchcraft, or who's an extremely rational person who always believes in science over superstition. Or maybe you roll with the bad luck angle, but instead make the black cat be the victim of their own bad luck in some interesting way. Maybe this black cat has terrible luck with love and can't hold down a relationship. Maybe this black cat is an aspiring speedrunner who consistently gets the absolute worst RNG possible in every video game due to their own bad luck. Maybe this black cat has accrued a horrendous gambling debt after a long losing streak and has loan sharks coming after them.

These are all just hypothetical examples, of course. I don't exclusively make characters with ironic contradictions like this. The idea is just to build on those core traits you started with in interesting ways, and that's one of my favorite ways to do so. But honestly, a lot of the time execution is more important than the sheer originality of an idea, and sometimes really putting your all into playing a trope you love straight is the right move.

Specificity

Regardless of what direction I take a character in past that initial seed of an idea, the key ingredient tends to be specificity. To give them specific details beyond the most stock possible version of that core idea you started with.

This is something I internalized from Tim Schafer, via a blog post in the behind-the-scenes backer material for Broken Age. Sadly I'm not sure if that stuff is still available, but I did save this particular post about creating characters since it really helped me, so I'll directly quote a chunk of that post here:

No two characters would approach a problem or react to events in the same way. At least, not if you’ve designed the characters well. If you’ve left them too vague or superficial, if they are merely functional elements in your story instead of individuals, then they might react in the same way. And that’s a problem. So to avoid that, I’m going to talk about one the most important parts of character development: specificity. Making sure your character is a specific individual, not a stereotype. A unique character, different from anyone else in the world. It doesn’t mean that they have to have wacky gimmicks, eyepatches and crazy accents. It just means they have to be specific. For example, let's create a new character. Let's say your story has a scene where your main character gets in trouble in school. So you’re probably going to need a school teacher. Imagine a school teacher for a bit. Do you see her in a little red schoolhouse? Maybe a bun in her hair? An apple on her desk? Thick black glasses? Let’s put a ruler in her hand for good measure. Done! We have our teacher character. She’s ready to be in the scene where our hero goes to school and the teacher sends her to the principal’s office for passing notes. Right? I mean, this character doesn’t have too many lines, so why develop her character any more? The problem is that this teacher is a very shallow stereotype of a teacher. She has no specific attributes that make her memorable. She’s the teacher you would get in a set of free clip art. She might not have many lines, but if all your supporting characters are this way, your story will be more bland than it should be. Even if this teacher is only onscreen for a minute, she should be unique and different from any other teacher in the world. Luckily, it's not actually that hard to make her so. You just have to ask some very basic, specific questions.

Tim goes on to explain how simple exercises like filling out character sheets with basic questions about your character (there are a million of these online) can help push a character beyond a stock archetype, even if it's a minor supporting character. Questions about where they're from, their likes and dislikes, their beliefs, their goals in life, that sort of thing. For minor characters especially, a lot of these details may never actually come up in a story, but just asking even a few of these questions and giving them specific answers helps you see them less like an archetype and more like a real person in your head. Maybe you never bring up your character's backstory or their favorite sport or what kind of music they listen to, but just having a specific answer for questions like that might help color the way you depict that character in subtle ways. It makes it feel like they aren't defined by just that one core trait you started with, and helps make the characters and world feel more alive, like there's stuff going on with them beyond the bounds of the story or the drawing.

It's a careful balancing act, though. It's easy for a character to feel like they're a collection of too many unrelated gimmicks and quirks. Again, like Tim said, these specifics don't have to make for the craziest, most original character ever, there just has to be something there.

Let's go back to SLARPG as an example, where I combined broad character archetypes I liked with more specific personal elements that I felt like I wasn't seeing enough in the fiction I liked. Melody is riffing on the common idea of the reserved healer character in the RPG or MMO party and the shy girl archetype, but she's the main hero instead of a supporting player in another person's story, and she's also a fat bisexual trans woman who draws a lot of little details from my own life. Her interests, her relationships, her opinions on things, her personal hangups and dreams, these all set Melody apart from other fantasy healer characters and define her as Melody Amaranth. Specificity!

But it doesn't always have to be super deep, especially if you just want some characters to draw for fun and aren't planning on writing a story with them. Take my fursona. I've always loved dogs, so I made my fursona a dog. I chose a Samoyed in particular because I think Samoyeds are the cutest, and I hadn't seen hardly any anthro Samoyed OCs at the time. I leaned into the breed's signature fluffiness to help my fursona stand out from other canine OCs. She has simple identifying traits like being fat like me, wearing glasses like mine, and having a hairstyle kinda like mine (when I tied my hair up in a bun, at least). And there you go. Fursona achieved. She's not a wildly high concept character, but she doesn't need to be

Anyway I realize that this is mostly about the writing aspect, so here's a few quick bullet points about designing a character's appearance:

Face and body type variety are good, but personally I would say lack of body type variety is worse than same face syndrome

Knowing some stuff about shape language is good, but you don't have to be completely beholden to the "circles are friendly, squares are sturdy, triangles are scary" shit. I'm generally more interested in using repeated shaping in different parts of a character's design as sort of a shape motif. Melody's body, hair, and tail are all made of round, swooping shapes, for example. (This is more applicable if you're designing cartoonier characters as opposed to realistic humans, obviously.)

Knowing some basics of color theory is also good. I like using complementary and contiguous color schemes on characters and generally try not to use too many distinct colors on one design. Black and white and grey and various browns are good as neutral colors to balance out the colors of the rainbow, and gold can be a nice accent color

A small handful of identifying accessories can be fun, but don't rely on those to make a design stand out. Ideally your character should still be identifiable even when not wearing their default outfit, or even in silhouette

Aaaaaand I'm gonna call it a wrap there! This is a huge topic, so hopefully this helps with at least some of the basics! At the end of the day, though, don't beat yourself up if you can't sit down and force yourself to come up with the most crazy awesome OC ever. Just have fun and be yourself!

[yandere-wishes]

🌟Yandere!Superstar Who's the most sought-after man alive. He's renowned for his singing and the fastest up-and-coming actor of the century. 

🌟Yandere!Superstar Who's drawn to your innocence, your purity. A precious little star trapped in an endless ebony night. You shine so brightly as you sip on your Coca-Cola at the diner. Laughing away with your girlfriends. How simple and idle your life is, you have no need to keep up appearances or overdose yourself to keep sane. You're just so sweet, wrapped in a frilly pink blanket of simplicity. 

He envies you, truly he does...

🌟Yandere!Superstar who asks you out on a date in front of everyone. Who serenades you with one of his love songs, daring anyone to object. Takes you to the movies for your first date. Rambling excitedly about the new superhero flick that's just come out. He's all so pleasantly shocked when he finds out you also like comic book heroes. How he wishes he was really Superman, able to whisk you away to a hidden sanctuary in the snow. You get milkshakes after and he thinks he might be high off your laughter.

🌟Yandere!Superstar Who asks your father for your hand in marriage. Practically begs him. He'll do anything to keep you by his side. Anything to make you his. For the first time in your life, you detect fear in your father's voice as he agrees.

🌟Yandere!Superstar Who leaves you in his big mansion. Providing you with every luxury you could ever hope for. He even buys you a little furred companion to keep you company. He's off shooting a new movie and calls you every chance he gets. Your phone calls last for hours gossiping about his costars and the tyrannical new director.

🌟Yandere!Superstar who forbids you from going anywhere. Why would you ever want to leave the estate? From the swimming pool to the large exotic garden. There's literally no reason for you to ever step outside. Plus he needs you to be there when he calls, give him your full attention even when he's not physically present. 

🌟Yandere!Superstar who has his whole staff looking after you. Anything you crave it's served to you, and anything you want it's in your hands within the hour. He makes sure everyone treats you with utmost respect, better than any fairytale princess. It's such a shame he doesn't realize how isolated you feel, how depressed and lonely you are. Or maybe he does. Maybe it's all a ploy to make you crave his touch, his kisses, him. He needs you broken and needy by the time he gets back. 

🌟Yandere!Superstar who has morphed you into his perfect little doll. His darling pet. He dictates everything for you, from the makeup you wear to the color scheme of your outfits. Only the finest silks and jewels have the honor of gracing his baby's skin. Even your nightgowns are hand-picked by him. Don't you always want to look your best for your king?

🌟Yandere!Superstar, who starts taking you on the road with him when he's doing his tours. He can't stand having you so far away anymore. From now on, you'll always be by his side. 

🌟Yandere! Superstar who kisses you between shows. Needing to feel your body under him, to build up the ecstasy to perform. Locking you away in hotel suites close enough for him to always have access to. You're his drug. The dose that keeps him going. 

🌟Yandere!Superstar who's started keeping you in his trailer while he films. Making sure you know he's not cheating with any of his costars. Filling his trailer with things for you to do and making out with you every chance he gets between sets. He'll make sure you look your best for him. His babydoll. How could you ever think he'd be interested in anyone else?

🌟Yandere!Superstar who makes you straddle him or sit on his lap in every picture. He dresses you in the latest trends, while he wears his handmade suits. The world needs to know just who you belong to.  

🌟Yandere! Superstar Who forces you to help him with every song he writes just so you know they're all about you. Only you. He needs you to feel his devotion in your bones. To realize every note he hits is just for you. 

🌟Yandere! Superstar who will never ever let you go...

[meanbossart]

DU seems like a secret romantic to me, and only those he cares about are allowed to see this side of him. That's why I wonder how DU said 'I love you' for the first time. How he felt about it and how Astarion reacted to it?

I really like your comics and art and hope that you stay in this fandom a little longer.

Thank you! I very much enjoy writing and drawing about these characters. Plus, BG3 (and DnD by extension) is... Seemingly a bottomless hole when it comes to lore. So I plan to stick around!

Hah, I wouldn't say he's a secret romantic - his whole character revolves around this side of himself, pretty much. He just expresses it oddly and sometimes in a way that I intend to be seen as negative (like the whole Orin situation and his co-dependency with Astarion.) Basically, he's romantic to an unhealthy degree but working on leveling it out.

Considering all the lore I got for this guy, I have surprisingly never thought of that precise moment. I think because I consider it kind of unimportant in the grand scheme of things (also I don't know about you, but the first "I Love You"s in my relationships have never been this grandiose moment like movies and books make it out to be). I know for certain that he said it first (If you don't count Astarion's "joke" confession when he's playing around and flattering you during one of his interactions, which I do not), and probably in a way that could have almost floated by unnoticed, like he just dropped it in the middle of a sentence like he had said it before a hundred times already.

And Astarion would have probably thought he was just infatuated, or being hyperbolic (and he would have been correct to a degree. I see the start of their relationship as being very juvenile, though earnest). Definitely didn't say it back at all until the cemetery scene.

Hm, I gotta think more about this one, might be something I want to turn into a comic.

[the-cat-and-the-birdie]

"Miguel isn't Spider-Man"

[A short essay where I explain why I think this theory doesn't make sense - and why believing it CONTRADICTS ourselves]

The idea that Miguel isn't Spider-man is erroreous in my eyes for one reason: it's hypocritical.

Miguel's biggest error and problem is that he doubts Miles is Spider-Man.

Miguel puts strict limitations on what Spider-Man is and isn't, and because Miles falls out of the definition, he treats him differently. That's a problem.

By questioning if Miguel is Spider-Man, you're doing the exact same thing.

By saying 'Miguel isn't Spider-Man because x,y,z' (he wasn't bitten, he has different powers, he needs shots, etc, etc) YOU are putting strict limitations on what Spider-Man is - and treating him differently for it.

That's why Miguel was chosen as the Society Leader.

In SM2099 Miguel is a geneticist - there's really nothing in his comic books that suggest he could time travel of all things.

The writers chose Miguel as the leader because fundamentally, his story makes him different from all other Spider-people.

That difference invites you to question Miguel's authenticity, effectively tricking you into making the exact same mistake he is.

Miguel is an outsider looking into Miles story, questioning his legitimacy, and trying to determine his personality and destiny based on that.

By questioning Miguel, you BECOME Miguel. You become the outsider looking into Miguel's story, questioning his legitimacy, trying to determine his personality and destiny based on your limited idea of what a Spider-Man is.

The entire point is : ANYONE can be Spider-Man regardless of their story, the way it came about, or the powers they have.

Many people question that if Miguel wasn't bitten never consider the question:

Was MARGO bitten?

Margo, like Miguel, uses technology to acquire most of her powers. Her powers are fundamentally different than most Spider-people. She can teleport and directly interact with technology in a way others can't. We have no idea whether she was bitten or not, but from the looks of it, the answer might be 'no'.

But no one ever questions her legitimacy. Only Miguel's.

Because questioning Miguel confirms their bias against him.

The same way Miguel questioning Miles confirms his bias against him.

Miguel thinks Miles is the universal anamoly, so he begins to pick apart why he's not really Spider-Man. When you theorize that MIGUEL is in fact the anamoly, you begin to pick apart why he's not really Spider-Man - effectively putting you in Miguel's position, turning you into the same thing you were judging him for to begin with.

The whole point of ATSV is that anyone can put on the mask.

PLUS with the inclusion of the trans!Gwen hints throughout the movies - questioning Miguel because he takes shots in order to confirm his identity as Spider-Man becomes even more questionable.

Just because he needs an outside force like shots to confirm his identity, doesn't make him any less of that identity. People who are 'biologically/naturally' Spider-people aren't 'more' of a Spider-person than Miguel. The same way cis guys aren't more 'manly' than trans men who take shots.

But Miguel's story being an allegory for transness is another conversation for another day.

The point of the movies isn't 'Miles is Spider-Man'. The point is 'Anyone can be Spider-Man. No one can decide your story or identity for you.'

By questioning Miguel's identity as Spider-Man you're ignoring the message Miles keeps trying to hammer home.

When you question Miguel, you become Miguel.

In short: Miguel is Spider-Man, Miles is Spider-Man. They're all Spider-Man. There is no one definition of Spider-Man.

MIGUEL IS SPIDER-MAN AHHHHH

I rest my case.

(actual photo of me defending Miguel in court. I am his lawyer.)

This isn't me trying to shit on people who believe this theory, but it's just my personal two cents of why I think it doesn't add up in the general scheme and message of the movies. 💖

ANYWAY here's Miguel

BYE.

[adyophene]

I got a few people saying they wouldn't mind seeing a run down of my unfinished work and sketches! So this is gunna be just a big ol post of that and just explaining what the doodles would have ended up being!

First off is just some sketches of Alastor, Husk, a really uncanny Blitzo, and an unfinished voxhusk sketch

Left Husk was reffed off a pose that i've since lost, and right was going to be a little comic of Husk bugging Vox and then Vox bugging Husk in return. :( I don't remember what dialogue I was going to use.

Next is just some unfinished couple sketches! Some Chaggie and Angel/Sir Pentious that I might still use at some point. TuT I think Angel and Pentious could make such a hilarious couple and it kills me that I can't find almost anything for it

and this husk was just going to be a redraw of this

but with Al, Vox, Angel, and Lucifer petting him

next is one I did already post but this one here; left was going to be a short comic where Lilith comes back and is enamored with Husk while also vaguely threatening to Alastor as she is. Right is the only doodle I have so far for a comic about Husk and Charlie getting caught hiding out from the rain, and Husk trying to talk to her about her making a deal with Alastor. Ugh. I need to even just thumbnail out that comic. Its been in my mental queue for literal months!

Next up is a bunch of sketches of my own Hazbin OC, Shiv! I've never posted anything about him alone before, but he's featured in a lot of the backgrounds of my pieces! He was a carnie in voxhusk fake dating, and then a waiter in the diner piece, and ticket booth attendant in the movie theater one!

I always love putting him in just whatever job the art calls for because he is a '1980's cocaine and bourbon grindset hustlepilled business fuck'. I don't know if I will ever expand his story in artwork, but if I did I would draw something about him trying to get a Soul-Based Multilevel marketing scheme going. Shiv is short for 'Shiver' because he froze to death after drunk wandering naked into the woods while on a skiing trip. He's in hell because he made his money doing shitty business practices like scamming old people out of their money with phone scams. If he saw Mad Men he'd think it would be about him, but he'd fit better in Its Always Sunny

Lastly, I have some sketches from a comic I am literally fighting myself not to make, where Husk ends up kidnapped by a ring of criminals that smuggle sinners to other Rings of Hell. Husk would be captured to be an exotic pet for a Ostrich theme'd Goetia, but would quickly escape. The main plot would be him running into and then helping out Blitzo in return for help getting back to the Pride ring!

I would have also got to include my other OC, the little Egg lamb, Sunnysides!

Literally would have just been a huge excuse for me to draw Husk going through Situations and hanging out with the Helluva Boss cast and my OCs.

[thewertsearch]

@manorinthewoods asked: We're still midway through Act 5, but I'd like to ask - what do you theorise will happen in the rest of A5 and in Acts 6 and 7 of Homestuck? ~LOSS (7/6/24)

It's an interesting question. We're coming up on the halfway point of the comic, but our current main plotlines - namely, Murderstuck, the Blackout, the Green Sun and the Scratch - all feel like they'll be wrapped up in a thousand-ish pages, along with the kids' session and the Act itself. The question of what's next is beginning to present itself, and I have a few thoughts.

My main prediction is that back half of the comic will be extremely English-centric. As the man behind Scratch's schemes, he's going to be revealed as the 'true' villain who's ultimately responsible for the current crisis, as well as crises yet to come. I think he'll elbow Perfect Jack out of the primary antagonist's position - and honestly, his chief minion is already more intimidating than Jack.

To contrast Noir, I think English will be a less instinctive, more cerebral villain. His choice of Scratch as a lieutenant suggests that he's more about carefully laid plans than open aggression, and his absence from the Felt Intermission suggests he prefers to hide in the shadows, weaving a web of conspiracy that would put Vriska to shame.

As a result, I expect the next arc of Homestuck to be more about information warfare than flashy displays of power. Our heroes will need to advance their understanding of the multiverse's wider cosmology, as they come to terms with what English is, what he wants, and most importantly, how to stop him.

The later arcs of the comic will involve discovering a glitch in spacetime that can break through English's supposed invincibility, while English works to keep the protagonists in the dark about his weaknesses. How this weakness could manifest, I can't say - but I do think Spades Slick will be directly involved in his demise.

Outside of English, I think the world of Homestuck will expand in other ways, too. It might finally be time to make contact with other Sburb Players, since our current sessions aren't going to be habitable for much longer. We might even be leaving the 'session' framework behind entirely, and travelling through the Furthest Ring to parts unknown.

I know these aren't very specific predictions, but it's hard to be specific about events which are thousands of pages away. I still don't know how the Pen-Pal fits into everything, for example, or why Gamzee is so important to the story.

I guess we'll find out together!

[physalian]

Humanizing Your Characters (And Why You Should)

To humanize a character is not to contort an irredeemable villain into the warped funhouse mirror reflection of a hero in the last 30 seconds to gain “narrative subversion” points. To humanize is not to give said villain a tragic backstory that validates every bad choice they make in attempt to provide nuance where it does not deserve to be.

To humanize a character, villain or otherwise, is to make them flawed. Scuff them up, give them narrative birthmarks and scars and imperfections. Whether it’s your hero, their love interest, the comic relief, the mentor, the villain, the rival, these little narrative details serve to make all your literary babies better.

Why should you humanize your characters?

To do this means to write in details beyond those that service the plot, or the themes, or the motifs, morals, foreshadowing, or story. These might be (and usually are) entirely unimportant in the grand scheme of things. So, if I wrote lengthy diatribes on pacing and why every detail must matter, and character descriptions and thematic importance, why am I now suggesting go free-for-all on the fluff?

Just like real people have quirks and tics and beliefs and pet peeves that serve our no greater purpose, so should fictional people. Your average reader doesn’t have the foggiest idea what literary devices are beyond metaphor, simile foreshadowing, and anecdote, but they can tell when the author is using motif and theme and all the syntactical marvels because it reads that much richer, even if they can’t pinpoint why.

And, for shipping fodder, these tiny little details are what help your audience fall in love with the character. It doesn’t even have to be in a book – Taylor Swift (whether you like her or not) never fills her music with sexual innuendo or going clubbing. She tells stories filled with human details like dancing in the refrigerator light. People can simultaneously relate to these very specific and vivid experiences, and say “not that exactly, but man this reminds me of…” and that’s (part of) the reason her music is so popular.

What kinds of narratives need these details?

All of them. Visual media, audio, written, stage play. Now, to what degree and excess you apply these details depends on your tone, intended audience, and writing style. If your style of writing is introspection heavy, noir character drama, you might go pretty heavy on the character design.

But even if you’re writing a kids book with a scant few paragraphs of setting descriptors and internal narration, or you’re drawing a comic book – if you have characters you want people to care about, do this.

Animators, particularly, are very adept at humanizing non-human characters, because, unlike live acting, every single stroke of the pen is there with intent. They use their own reflections for facial references, record their own movements to draw a dance, and insert little bits of themselves into signature character poses so you know that *that* animator did this one.

How to humanize your characters.

I’m going to break this down into a couple sections: Costume/wardrobe, personality, beliefs/behavior/superstitions, haptics/proxemics/kinesics, and voice. They will all overlap and the sheer variety and possibilities are way too broad for me to capture every facet.

Costumes and Wardrobe

In the film Fellowship of the Ring, there’s a blink-and-you’ll-miss-it moment where, after Boromir is slain by the Uruk-Hai, Aragorn takes Boromir’s Gondorian vambraces to wear in his honor, and in honor of their shared country. He wears them the rest of the trilogy. The editing pays no extra attention to them beyond a split second of Aragorn tightening the straps, it never lingers on them, never reminds you that they’re there, but they kept it in nonetheless. His actor also included a hunting bow that didn't exist in the book because he's a roamer, a ranger, and needs to be able to feed himself, along with a couple other survival tools.

Aragorn wears plenty of other symbolic bits of costume – the light of the Evenstar we see constantly from Arwen, the Lothlorien green cloaks shared by the entire Fellowship, his re-forged sword and eventual full Gondorian regalia, but all those are Epic Movie Moments that serve a thematic purpose.

Taking the vambraces is just a small, otherwise insignificant character moment, a choice made for no other reason than that’s what this character would do. That’s what makes him human, not an archetype.

When you’re writing these details and can’t rely on sneaking them into films, you have to work a little harder to remind your audience that they exist, but not too often. A detail shifts from “human” to “plot point” when it starts to serve a purpose to the themes and story.

Inconsequentiality might be how a character ties, or doesn’t tie their shoelaces, because they just can’t be bothered so they remain permanent knots and tripping hazards. It might be a throw-away line about how they refuse to wear shorts and strictly stick to long pants because they don’t like showing off their legs. It might be perpetually greasy hair from constantly running their fingers through it with stress, or self-soothing. A necklace they fidget with, or a ring, a belt they never bother to replace even though they should, a pair of lucky socks.

Resist the urge to make it more meaningful than “this is just how they are”. If I’m using the untied shoelaces example – in Spiderverse, this became a part of the story’s themes, motifs, and foreshadowing, and doesn’t count. Which isn’t bad! It’s just not what I’m talking about.

Personality

In How to Train Your Dragon, Toothless does not speak. All his personality comes from how he moves, the noises he makes, and the expressions on his face. There’s moments, like in the finale, when his prosthetic has burned off and Hiccup tells him to hold on for a little bit longer, and you can clearly see on his face that he’s deeply uncertain about his ability to do so. It’s almost off the screen, another blink-and-you’ll-miss-it moment. Or the beat of hesitation before he lets Hiccup touch him in the Forbidden Friendship scene. Or the irritated noise he makes when he’s impatiently waiting for Hiccup to stop chatting with his dad because they have a giant dragon to murder. Or when he slaps Hiccup with his ear fin for flying them into a rock spire.

None of those details *needed* to exist to endear you to his character or to serve the scenes they’re in. The scenes would carry on just fine without them. He’s a fictional dragon, yes, but these details make him real.

Other personality tics you could include might be a character who gets frustrated with tedious things very quickly and starts making little inteligible curses under their breath. Or how they giggle when they’re excited and start bouncing on their toes. Maybe they have a tic where they snap their fingers when they’re concentrating, trying to will an idea into existence. Or they stick their tongue out while they work and get embarrassed when another character calls them on it. They roll around in their sleep, steal blankets, drool, leave dishes in the sink or are neurotic with how things must be organized. They have one CD in their car, and actually use that CD player instead of the phone jack or Bluetooth. They sing in the shower, while they cook, or while they do homework, no matter how grating their voice.

They like the smell of new shoes or Sharpies. They hate the texture of suede or velvet or sticky residues. They never pick their socks up. They hate the overhead light in their room and use 50 lamps instead. They hate turning into oncoming traffic or don’t trust their backup camera. They collect Funko Pops and insist there’s always room for more.

And about a million others.

Beliefs, Behaviors, and Superstitions

*If you happen to be writing a story where superstitions have merit, maybe skip this one.* Usually, inevitably, these evolve into character centerpieces and I can’t actually think of one off the top of my head that doesn’t become this beyond the ones we all know. A few comedic examples do come to mind:

The Magic Conch in “Club Spongebob” and the sea-bear-proof dirt circle in “The Camping Episode”

Dean Winchester’s fear and panic-driven actions in “Yellow Fever” and “Sam, Interrupted”

The references to the trolls that steal left-foot socks in How to Train Your Dragon

I’m not a fan of wasting time writing a religious character doing their religious thing when Plot Is Happening, but smaller things are what I’m talking about. Like them wearing a cross/rosary and touching it when they’re nervous. Having a specific off-beat prayer, saying, or expression because they don’t believe in cursing.

The classic ones like black cats, ladders, broken mirrors, salt, sidewalk cracks can all be funny. Athletes have plenty, too, and some of them, particularly in baseball culture, are a bit ridiculous. Not washing socks or uniforms, having a team idol they donate Double Bubble to and also rub their toes. A specific workout routine, diet, team morale dance.

Other things, too. A character who’s afraid to go back downstairs once the lights are off, or fear the basement or the backyard shed. Or they’re really put-off by this old family photo for no reason other than how glassy their eyes look and it’s creepy. They like crystals, dreamcatchers, star signs, tarot, or they absolutely do not under any circumstances.

They believe in all the tried and true ways of predicting the weather like a grizzled old sailor. They believe in ghosts, vampires, werewolves, witches, skinwalkers, doppelgangers, fairies. They talk to the cat statue in their kitchen and named it Fudge Pop. They whisper to the spirit that possessed the fridge so it stops making all that racket, and half the time, it works every time. They wear yellow for good luck or carry a rabbit’s foot. They’re not religious at all but still throw prayers out to whoever’s listening because, you know, just in case. They sit by their window sill and talk to the moon and the stars and pretend like they’re in a music video when they’re driving through the city in the rain.

Haptics, Proxemics, and Kinesics

These are, for all you non-communication and psych majors out there, touch and physical contact, how they move, and how they move around other people.

Behold, your shipping fodder.

Two shining examples of proxemics in action are the famous “close talker” episode of Seinfeld (of which every communication major has been subjected to) and Castiel’s not understanding of personal space (and human chronemic habits) in Supernatural.

These are how a character walks, if they’re flat-footed, clumsy, or tip-toers. If they make a racket or constantly spook the other characters. If they fidget or can’t sit still in a seat for five seconds, if they like to sit backwards or upside down. How they touch themselves, if they do a lot of self-soothing maneuvers (hugging themselves, rubbing their arms, touching their face, drawing their knees up, holding their neck, etc) or if they don’t do any self-soothing at all.

This is how they shake hands, if they dance while they cook or work. It’s how much space they let themselves take up, if they man-spread or keep their limbs in closer. How close they stand to others or how far. If they let themselves be touched at all, or if they always have their skin covered. If they always have their back to a wall,  or are always making sure they know where the nearest exit is. If they make grand gestures when they talk and give directions. If they flinch from pats on the back or raised hands. If they lean away from loud voices or project their own. If they use their height to their advantage when arguing, puff their chest, square their shoulders, put their hands on their hips, or point fingers in accusation.

If they touch other characters as they pass by. If they’re huggers or victims of falling asleep on or near their comrades. If they must sleep facing the door, or with something solid behind them. If they can sleep in the middle of a party wholly uncaring. If they sleepwalk, sleeptalk, migrate across the bed to cuddle whoever’s nearest with no idea they’re doing it.

If they like to be held or like to hold others. If they hate being picked up and slung around or are touch-starved for it. If they like their space and stick to it or are more than happy to share.

Do they walk with grace, head held high and back straight? Or are they hunched over, head hung, watching their feet? Are they meanderers or speed-walkers? Do they cross their arms in front or lace their hands behind them? Do they bow to authority or meet that gaze head on?

I have heard that Prince Zuko, in Last Airbender, is usually drawn sleeping with his bad ear down when he doesn’t feel safe, like on his warship or anywhere in the Fire Nation, or on the road. He’s drawn on his other side once he joins the Gaang. In Dead Man’s Chest, just before Davy Jones drives the Flying Dutchman under the waves, two tentacles curl up and around the brim of his hat to keep it from blowing off in the water.

When they fight, do they attack first, or defend first? Do they touch other characters’ hair? Share makeup, share clothes? Touch their faces with boops or bonks or nuzzles and eskimo kisses? Do they crack their knuckles and necks and knees?

Do they stare in baffled curiosity at all the other characters wholly comfortable in each other's spaces because they can’t, won’t, or don’t see the point in all this nonsense? Do they say they’re happy on the outside, but are betrayed by their body language?

Voice

Whether or not to write an accent is entirely up to you. Books like Their Eyes Were Watching God writes dialogue in a vernacular specific to its characters. Westerners and southerners tend to be written with the southern drawl or dialect, ripe with stereotypical contractions. Be advised, however, that in attempt to write an accent to give your character depth, you could be instead turning off your audience who doesn’t have energy to decipher what they’re saying, or you went and wrote a racist stereotype.

Voice isn’t just accent and dialect, nor is it how it sounds, which falls more solidly under useful character descriptions. Voice for the sake of humanizing your characters concerns how they talk, how they convey their thoughts, and how they become distinct from other characters in dialogue and narration.

If you’re writing a narrative that hops heads and don’t want to include a big banner to indicate who’s talking at any given time, this is where voice matters. It is, I think, the least appreciated of all the possible traits to pay attention to.

First person narrators have the most flexibility here because the audience is zero degrees removed from their first-hand experiences. Their personality comes through sharply in how they describe things and what they pay attention to.

But it’s also in what similes and metaphors they use. I read a book that had an average (allegedly straight) male narrator going off and describing colors with types of flowers, some I had to look up because I just don’t know those off the top of my head. My immediate thought was either this character is a poorly written gay, or he’s a florist. Neither (allegedly), the writer was just being too specific.

Do they have crutch words they use? like, um, actually, so…, uh

Or repeat exclamations specific to them? yikes, yowzers, jeepers, jinkies, zoinks, balls, beans, d’oh!

Or idioms they’re fond of? Like a bat out of hell. Snowball’s chance.

Do they stutter when they’re nervous? Do they lose their train of thought and bounce around, losing other characters in the process? Do they have a non-Christian god they pray to and say something other than “thank God”? Are they from another country, culture, time period, realm, or planet with their own gods, beliefs, and idioms?

When they describe settings, how flowery is the language? Would this grizzled war hero use flowery language? How would he or she describe the color pink, versus a PTA mom? Do they use only a generic “blue, green, red” or do they really pay attention with “aquamarine, teal, emerald, viridian, vermillion, rose, ruby”?

How do this character’s hobbies affect how well they can describe dance moves, painting styles, car models, music genres?

This mostly matters when you’re head-hopping and the voice of the narrator serves to be more distinct, otherwise, what’s the point of head-hopping? Just use third-person omniscient.

If you really want to go wild, give a specific narrator unique syntax. Maybe one character is the ghost of Oscar Wild with never-ending run-on sentences. Just be sure to not go too overboard and compromise the integrity of your story.

In the book A Lesson Before Dying, a somewhat illiterate, underprivileged and undereducated minor has been given a mentor, a teacher, before they face the death penalty. At the end of the book, you read all of the letters they wrote to their teacher. There’s misspellings everywhere, almost no punctuation, and long, rambling sentences.

It’s heartbreaking. The subject matter is heavy and horrible, yes, but it’s the choice to write with such poor English that has a much bigger impact than perfect MLA format.

How to implement these details

Most of these, in the written medium, need only show up once or twice before your audience notices and wonders why they’re there. Most fall squarely under character design, which falls under exposition, and should follow all the exposition guidelines.

These details exist to be random and fluffy, but they can’t exist randomly within the narrative. If you want to have your character be superstitious, pick a relevant time to include that superstition.

Others, like ongoing speech habits or movements, still don’t overuse, especially if they’re unique. A character might like to sit backwards in a chair, but if you mention that they’re doing it every single time they sit down, your audience will wonder what’s so important and if the character is unwell.

And, of course, you can let these traits become thematically important, like a superstition being central to their personality or backstory or motivation. These all serve the same purpose of making your character feel like a real person instead of just a “character”.

Just think about tossing in a few random details every now and then and see what happens. One tiny sentence can take a background character and make them candidates for the eventual fandom’s fan favorite. Details like these turn your work from “This a story, and these are the characters who tell it” into “these are my characters, and this is their story.”

[kefiteria]

FOR YOUR EYES ONLY.

A comfort letter from Scaramouche, just for you.

So, I've noticed you've been retreating into your mind more than usual lately. It's like you're doing a disappearing act even Houdini would envy. But hey, I get it. People are complicated creatures, and occasionally it feels safer to hide behind our thoughts than to face the chaos out there.

About this facade you've got going on. You know, the one where you're holding on to your inner child like it's a winning lottery ticket? It's almost comical how tightly you cling to it, as if someone's lurking around the corner waiting to snatch it away. Newsflash: nobody's taking it from you, dear.

Now, about those tears. I know, I know, crying is for the weak, right? Wrong. Even the toughest nuts crack sometimes. Take it from me, I've shed more tears than I care to admit, and yet here I am, still standing, still better as ever. You don't have to plaster on that smile 24/7, you know. Let those tears flow like a leaky faucet if you need to.

And speaking of tough times, let's talk about failure. It's not the end of the world, despite what your overactive brain might be telling you. Trust me, I've had my fair share of failures, and look at me now—still standing, scheming and myself.

So, when are you going to cut yourself some slack? Stop beating yourself up over things that are as out of your control as the weather. Tomorrow's just another day in the grand circus of life, and guess what? I'm your ringmaster, baby. You're not in this alone.

And those feelings you've been bottling up? Yeah, it's time to pop the cork and let 'em out. Trust me, it's like a pressure valve for the soul. Cry if you need to, scream into the void if you must. Just don't keep it all locked up inside. That's a recipe for disaster, believe me.

So, here's the deal: you're not alone in this. I've got your back, whether you're crying like a baby or plotting world domination (ugh just do it in moderation though). Just remember, it's okay to let your guard down once in a while. After all, even the sharpest swords need a little sharpening now and then.

Alright, let's wrap this up before I start growing a conscience or something equally absurd. Seriously, who knew pouring my heart out on paper could be so exhausting? I feel like I've been on a marathon run through a field of emotional landmines, and I'm not even wearing my running shoes.

But hey, if this little rant of mine manages to knock some sense into that stubborn head of yours, then I guess it's worth the carpal tunnel I'm bound to get from all this writing. Just promise me one thing: don't go making a habit out of this whole “feeling your feelings” nonsense. It's bad for my image.

So, there you have it. Consider this your one and only free pass to the sappy side of Scaramouche. Don't get used to it. Now go on, get out there and conquer the world, or cry yourself a river, whichever floats your boat. Just remember: you're not alone in this crazy circus we call life. I've got your back, whether you like it or not.

“It's okay, your world, and feelings are precious, so precious just like you are now.”

Fondly yours (don't make it a habit),

Scaramouche.

Other Version 🍨: Zhongli , Kazuha, Xiao, Thoma