#writing a complex characters

[feelingthedisaster]

The Ultimate Character Guide

Even if you are not going to use some of this, getting to know your character will make writing them way more easy.

General info

Gender/Pronouns

Age

How do they talk?

Nicknames? Where does it come from?

Quirks

Personality. Shaped by what?

Charms

Current situation. Why?

Childhood

Reputation. What happen?

Habits. Why?

Biggest challenge.

How do they face said challenge? Avoid it or confront it?

Morals. Shaped by what?

Strenghts. Why is it their strenght? Moment when it was shown.

Weaknesses. Why is it their weakness? Moment when it was shown

Is the character relatable? Or at least, easy to sympathize with? Moment when it was shown

Childhood ideals/morals. How have they changed.

Diference between their thoughts and what they said out loud.

The story

Motivations

Obstacule to their final goals

What do they do about it?

How do they change during the story?

Their relationship with what is happening to them.

When and how is their first appearence in the story?

When and how is their final appearence in the story?

Situation/Mental state at the beggining of the story

Situation/Mental State at the middle of the story

Situation/Mental state at the end of the story

Looks

Species (for fantasy-ish stories)

Race/Ethnicity

Skin tone

Eye Colour

Type of hair and its colour

Type of body

Height

Firsts impressions (relating to the way they look)

Characteristic features (something that make them recognizable)

Clothing style (both for casual and work)

Accesories they often wear

Social/Work Life

How do they behave when they are with strangers? And with friends? Special Other? When nobody is looking?

Do they have a job. Why that job? Are they happy with it?

Relationship with authority figures and peers (and in the work space, their subordinates)

What are their worries about the future?

Personal Life

Are there any values that they dont share, but family members, friends, coworkers, etc have?

Family structure

Who do they consider their friends? Do those people share the same feeling? Who is actually their friend?

Are they married or have a romantic interest? How is their relationship?

Any ex-partners?

Relationship with parents. What happened between them?

Relationship with siblings (if they have any). What happened between them?

Relationship with neighbours/roommates/coworkers/anyone in their everyday life that isnt really relevant.

Relationship with their bestfriend (if they have any). What happened between them?

Relationship with other friends (if they have any). What happened between them?

Relationship with their enemy/antagonist. What happened between them?

Private Life

What are their morals? What is wrong and right in their worldview? Shaped by what?

What do they do when they are alone?

What do they do in their free time?

What do they love? Why?

What do they fear? Why?

What do they hate? Why?

What do they aspire to be/do? Why?

Reactions to... (and why do they react that way)

Affection

Insults

Betrayal

Death of a love one

Injury

Surprises

Failure

Achivements/Wins

A true they dont want to hear

Animals/Pets

Comfort

Other people crying

Kids

[thewriteadviceforwriters]

💀 Making Your Villain Make Sense (Without Making Them Right™)

("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")

Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.

And I mean sense beyond "they’re evil and they monologue about it." Or “they have a tragic past, so now they do murder <3.” Or “they were right all along, the hero just couldn’t see it 🥺.”

Let’s fix that.

─────── ✦ ───────

🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.

Ask yourself:

What do they value more than anything? (Power? Order? Loyalty? Vengeance?)

What do they believe about the world, and how did they get there?

What fear drives them? What future do they think they’re trying to prevent?

The villain doesn’t need to know they’re wrong. But you should.

Make their logic airtight. even if it’s awful. Give them cause and effect.

─────── ✦ ───────

👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.

If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.

✖︎ WRONG: Villain: “The ruling class is corrupt.” Hero: “That’s not nice.”

✔︎ RIGHT: Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.” Hero: “So you’re just… committing genocide now?”

Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.

─────── ✦ ───────

🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.

Examples:

They isolate themselves.

They sacrifice people they love.

They get what they want, and it destroys them.

They know they’re the monster, and choose it anyway.

If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring. Let them bleed. Let them regret it. Let them double down anyway.

─────── ✦ ───────

🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.

Villains that slap:

The advisor who upheld the regime until they decided they deserved to rule.

The noble who’s using war to reclaim stolen legacy.

The ex-hero who thinks the system can’t be saved, only reset.

The priest who truly believes the gods demand blood.

They’re not just evil, they’re a product of the same world the hero is trying to save.

─────── ✦ ───────

👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.

Let us watch them:

Protect someone.

Choose their goal over safety.

Justify the unjustifiable to a character who loves them.

Refuse to change, even when given a chance.

A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”

─────── ✦ ───────

🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.

You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.

─────── ✦ ───────

TL;DR: Good villains don’t need to be right. They need to be real. Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight. They need logic. They need cost. They need to scare you because you get them, and still want them to lose.

Make them dangerous. Not relatable. Make them whole. Not wholesome. Make them make sense.

—rin t. // thewriteadviceforwriters // villain critic. final boss consultant. licensed chaos goblin

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

[k1d1c4rus]

thinking about how armand was turned bc he was dying from being stabbed by a scorned grown man who was in love with him. he nearly died from rejecting unwanted advances. its such a key explicit detail of his origin that teaches him yet again that what he wants is utterly unimportant and even deadly in the face of survival. everything about his character is informed by the fact that he adapts entirely to the situation he is forced into because that's the only way he can survive. he adopts the satanic doctrine for 200 years not because he believes in it but because he knows that is the only way he'll survive and as soon as lestat arrives he knows he can abandon it. for half a millenium he believes he can't get what he wants and also survive, he has to choose one or the other. God.

[yujateaandpi]

Oughh it’s 2:00 AM and I’m having Thoughts and Emotions about Marceline the Vampire Queen. Like— she’s a punk bisexual and cool as heck but she’s also a terribly sad immortal with mom issues and double dad issues BUT BUT ALL of her parental figures gave her unconditional love so strong that it fundamentally saved the human race. Marceline saved the humans who hated her because her demon dad passed on the legacy that helped her grow powerful and her mom sang her lullabies and her adopted father clung to every shred of his breaking mind to protect her childhood. She was so loved! She was so loved! And that love never went away it stayed inside her even when all three of her parents hurt her so badly that the pain stuck for a thousand years. And all of the ways they hurt her were BECAUSE they loved her, so Marceline never learned to differentiate what it meant to love someone and hurt someone. So she hurts the people she wants to protect, she’s rough with the people she wants gentleness from, she abandons the people she wants by her side. And so much of the show is her collapsing and falling apart because she can’t figure out why why her relationships are all so broken. And then little by little she gets closure with each chapter of trauma— with her demon father, with her mother’s memory, with dear Simon— which then allows her to finally be at peace with herself and accept love— pure as it is— and give it back.

[sabos-husband]

Hi! was hoping for a request (this might get really specific) reader as a strawhat member who grew up with luffy (by extension also ace and sabo) back in foosha village, but actually used to be a slave for the celestial dragons before she arrived there, maybe never told luffy because in her mind, luffy was the epitome of freedom and she was ashamed of her past. The scenario I had in mind for the reveal was maybe in the middle of battle, her clothes gets torn and her mark is seen, maybe some strawhats have an idea of that mark is (maybe jinbei, robin and alike) while others don't (ussop? maybe?), while making the enemies ridicule her and how the strawhats react, but you can choose another scene that you think are more fitting! i just wanted to see how you'd write luffy because i love your writing style! the way you write flows perfectly and it's never out of character, you're my current fav writer on tumblr! so thank you!

★ Around the World

Monkey D. Luffy and Reader ★

Fishman Island Spoilers!! ~ Straw Hat!Reader ~ Feminine Reader (she/her) ~ Hurt/Comfort

a/n: Aww, that's so sweet of you! I appreciate that so much! Specific asks are wonderful, it makes it easier to write something as close as possible to what you want. Thank you for the request <3 I put the majority of this between Fishman Island and Punk Hazard, but there aren't major spoilers. Sorry this took a while!

As well, there's description of the reader's history with slavery and the trauma that came from that. I left it vague for the most part, though.

For so much of your life, Luffy's been a constant. Even when you ran around Gray Terminal with Sabo and Ace, terrorizing all the people you could find for all the money you could grab, Luffy wasn't far behind for most of it. It took the Bluejam Pirates torturing Luffy for hours before his loyalty dawned on the three of you.

It then took Bluejam setting fire to Gray Terminal for you to truly consider Luffy special.

When Sabo took to the sea, swallowed by flame, you held Luffy tight as he wailed. When Ace left for the sea, aided by nothing but a burlap sack on his shoulder and the wind in his sails, Luffy had promised he would follow. When Luffy left for the sea, you were there, standing by his side. His very own first mate, meant to weather the Grand Line by his side.

You hoped with all your heart it'd stay that way. You hoped that it was all he'd know about you—you, his first mate, with nothing else of her past beyond the Grey Terminal's walls and Foosha Village's people.

Of course, nothing you want ever comes so simply.

You can still remember the shrieks of laughter that burst from Luffy as you both clambered into barrels—it made sense that he would wind up into trouble on the sea, but the first day takes the cake!

Your life has been non-stop ever since. From the very moment you both step foot on Shells Town with Koby in tow, the crew grew and grew to numbers that made your pride in Luffy bloom.

Zoro was tough with a sword and reliable when you need him, but his difficulty with directions always made your head spin. Nami was quick with her hands and quicker with her mind, just like how she could never stand to let a Berri slip by. Usopp was sharp as a tack with his constant innovations and steady sharpshooting, even when he ran at ten knots an hour away from danger. Sanji was nothing short of a first-rate chef and one of the strongest men you knew, despite how often he lost himself in the wild pursuit of women.

Then there came the Grand Line. It brought Chopper, Robin, Franky, Brook, Jinbei; thinking about the people Luffy drew to himself never failed to bring a smile to your lips. It's not like you could ever speak against them for their affection towards the captain—it's what brought you away from the safety of Foosha Village as well, skirting past the World Government you hated and feared for all your life.

It's like second nature, how much you love Luffy. Every single one of you would give anything for your captain.

"Anything" changes for you sometimes, though. Late into the night, long after the moon took its place in the sky, you wrestled with the dark. Could you keep this secret from your captain? From Luffy, the person you've known all your life?

(No, you'd remind yourself, not all your life.)

You think of the little boy you grew up alongside with, with a smile so bright you had to shield your eyes. The wind whipping his hair and threatening to carry away his straw hat as he lights up with laughter. You think of how your captain looks at you with the stars in his eyes, declaring that he will be the next King of the Pirates, and you believe him with all your heart.

Even after Ace died, his flames swallowed up in magma, you were there two years later. Luffy had gone through hell and back with you—couldn't that be enough?

It was thoughts like those that kept your secrets to yourself.

It was some foolish, childish part of you that thought you could have kept it up forever.

~

The day was as usual. It was nice, even. You had just finished helping Sanji with the groceries—to his chagrin, of course.

As much as he adores your company, he detests making such a sweet lady do manual labor for him, and he lets you know. Often. It was charming for the first while, but by the time you help Sanji put away the groceries, you're just glad it's over with.

The snack he rewards you after with, though, makes you sure that you'll help him next time. After he waves you off to begin lunch prep, you're quick to escape back to the docks.

You have some time to kill, you think. It's the last stretch until the log pose is finished setting and you've sort of lost track of the group... Thinking back, Zoro and Usopp got tied together, so you don't have to worry about searching for the poor swordsman. Nami stole Chopper to carry the clothes she was planning to get with Robin, while Brook and Franky were the ones assigned to watch the ship. That just leaves you with... Oh, seas.

There's a burst of screams that tear through the town's square, punctuated by a shriek of excited, almost maniacal laughter.

You're missing Luffy.

You're off like a shot towards the commotion before you can even think, weaving and pushing your way past the people. The crowd thickens as civilians shove past you. It's like swimming up river, but with every step you take, that familiar laughter gets closer.

When you finally burst from the mob, your feet catch on an unconscious marine. You stumble forward.

It's like breaking through a shield into a bubble—a ring of civilians gather to enclose Luffy as he's circled by marines, too duty-bound to flee but too cautious to fight.

Your captain hasn't put nearly as much thought into his approach. He barrels fists-first into the nearest hoard; the soldiers go flying like playing cards against a cannon. Sure it's charming, but he was supposed to be on board the Sunny, like, a hour ago.

So, Luffy deciding to gather the marines?

It sure isn't ideal.

Gathering your courage and tossing aside your exhaustion, you steel your nerves to storm the castle and extract your captain. And speak of the devil; Luffy whips his head around to stare at you.

"Oh! Hey!!" Luffy yells, with just a bit of manic glee. Great. You step forward—

—And a marine steps in your way. Really great.

As you fall into your fighting stance, you watch your captain dart from view. Well, whatever. You'll find him after you kick this guy's ass.

The marine wielded an odd weapon, like brass knuckles with claws soldered onto the palm. He hadn't bothered to clean the last victim's blood from it, and if the rust near the joints were to tell you anything, it was clear that he neglected to clean the blood of anyone from the weapon.

It feels like a warning.

It feels like a trophy.

Your captain rockets past him without a second thought (it's unlikely there was ever a first thought) to explode into another group of soldiers. It's like dynamite dropped in a haystack, the way navy officers go flying here and there.

The marine's eyes fall on you.

You can barely remember the fight afterwards, shamefully. You remember how it starts though.

He lunges at you with the speed of an animal, his clawed hands outstretched to sink into your flesh.

You dodge, he pivots, you aim to strike before he finds his footing—every move you make is to drive you closer to Luffy so you can cut and run.

Your mindlessness makes you sloppy. You don't even notice the way you're babying your secret, cradling it away from the fight. Of course that fucking marine notices.

Seas, you don't even know this marine's name, and yet he could still read you like a fucking book.

It's your last mistake.

When he slips to the side, too close for comfort, you jump back. His hand raises to tear out your eyes.

You raise your arms to guard, falling for the feint—the marine weaves past you, bearing his claws, and digs into your flesh.

It's over before you can even feel the pain.

You barely hold back a yell as you leap back, clutching your body. Warm blood trickles down the strike until it stained your clothes, sending panic shooting up your spine.

Like a curse from whatever gods left, that damn marine had struck you where you were weakest. There wasn't any time—by the time you whip around to clutch the wound, to hide your shame, it was too late.

"That pirate! She's... branded!"

A chorus of gasps tear through the crowd like a terrible symphony. You cling to the ribbons of your ruined attire like it could still save you.

Shadows claw at your vision as you struggle to breathe. Warm blood trickles down your limbs and your mark aches with a fresh, searing pain—it's grown with you, stretching over your skin in a reminder you can only try to forget.

You hear Robin gasp like she was struck herself. Oh seas, when did she arrive? You want to tuck yourself into a ball and hide from the prying eyes boring into your skin. You're sure she understands, if only because she shares your terror of who gave you this cross to bear, but it scares you. Somewhere, Usopp murmurs to her, "what is that?"

They know. They know.

The marine barks out in a fit of laughter, teeth bared and fingers curled around his claws. "What the hell is Straw Hat doing with government property?"

You think of Foosha Village, dodging your family and bathing in the river at night. You think of the clothes you had to give Makino back, too ridden by fear to wear them.

You think of your crew, sleeping soundly while you were working up the nerve to change your clothes in the dark. You think of Nami, with her skin graft and her new tattoo and the jealousy so strong you choke on it every time you see it. You think of how no one knows what was before that pinwheel tattoo except for the people she wants to know.

You think of your captain. You think of Luffy.

Oh seas, Luffy.

Tears cloud your eyes as you struggle to breathe. When you turn to your captain, you can barely see him—your vision swims, revealing splotches of color you'd recognize anywhere.

His haki rolls off in waves, so suffocating you can taste his rage on the back of your tongue. You see soldiers buckle and civilians collapse.

Your words escape before you can even think.

"Luffy, help...!"

A fist rockets past you. The sound of crunching bone hits you as air whips your cheeks. A mangled yell of pain is the last thing you hear from the marine.

"She doesn't," your captain growls, "belong to anybody."

~

You're brought into the medbay as soon as the Sunny left the docks. The silence is suffocating. You could barely look at Chopper as you shed your clothes, letting it slip until your shame was bare.

If you could guess, you'd bet it was nothing but professional courtesy that's keeping Chopper from reacting. That fucking mark takes up almost the entirety of the flesh, like a wound that can never heal.

The young doctor is kind when he cleans the blood. His touch hovers above your laceration when you hiss and tense. He's patient too, only continuing his work when you allow him to.

You hate this. Seas, you fucking hate this. You slump forward when Chopper continues his work.

You both pretend to not notice the tears that fall.

When he backs away, wound cleaned and bandaged, you don't turn to look him in the eye. You just turn your head and nod at Chopper.

The doctor straightens up like he always does after he works, but there's a new nervousness to him. His hooves are pressed together, like he's trying to quell the shaking. It makes you grit your teeth.

"The wound isn't bad," he says quickly, "but you'll need to rest. As for t-the rest, I couldn't..."

You nod. "Thanks, Chopper. You don't have to worry about... that. You're the best."

You watch the tension evaporate as he grins at you, leaning side to side. "That doesn't make me happy, you bastard!" He giggles, spinning. He sways a bit longer before he tamps it down, clearing his throat.

"But," he says clearly, "you can talk about it—"

"—Chopper—" you try to say.

"—Listen! It's important!" Chopper stands straighter like it'll give him the confidence his next words demand. "I-If you don't want to talk about it to me, it's okay. But... you should talk to someone. Nami, or Robin, or maybe- maybe if we call Jinbei, he would understand—"

"Chopper," you cut through. It hurts your heart to see the young doctor wilt. "It's okay. Thank you, but I'm alright."

"Okay... But- consider it? Please?"

You look away. "I will," you murmur.

Even though you don't see his face, you know Chopper knows you're lying. You know he won't push you farther, though. He hops down off his stool, shucks off his doctor's coat, and offers you the spare clothes Nami had lent you. She was kind enough to waive the fee this time too. You can't find it in you to appreciate it.

Chopper turns away as you get dressed again, which makes you smile. It makes you feel like you have some control again.

(You can't help but study your bandages. They're wrapped snug around you, but the edges of the brand sticks out like a hand print seared into your skin. You can still see the three pointed claws under the stark white of gauze.

It's the first time in a while you've really observed it. Every other time you forced yourself to look, all you could see was the red-hot brand and the wicked smiles of the demons who held it.

It's just as ugly as you remember.

You wish you had killed that marine, even if it wouldn't have changed anything.)

When you finish getting dressed, you signal to Chopper. He turns around, offers you a smile too bittersweet for someone of his youth, and reaches for the door.

"Oh, Luffy," Chopper comments idly. You can't stop how you flinch at the sound of his name.

You were dreading seeing him. It makes you want to cry again; how long has it been since you've dreaded being near Luffy?

The ringing in your ears swallow up the gentle words Chopper offers. Your bandages crush your ribs as you try to breathe—there isn't enough air, like that fucking marine took it all when he- when he—

The hands on your face smell like sun-warmed rubber. It's hard to say they're cradling your face, when Luffy just smacked his palms against your cheeks and squished them together until you were looking at him. When you blink, he blinks back at you.

"Are you there?" Luffy asks simply.

"Um, y-yes Captain," you force out. He nods thoughtfully.

Though, Captain isn't the right moniker. You aren't talking to isn't Captain Monkey D. Luffy, world-renowned Worst Generation pirate, capable of toppling kingdoms and challenging the World Government, feared by the powerful and adored by the powerless.

No, the boy in front of you is simply Luffy. The Luffy you've cherished since you were small, with a smile so bright and a heart so full—for all your life, you've never known how you got so lucky to have him.

Luffy pushes you to sit before he flops down next to you, bobbing with the mattress springing under his weight. You avoid his eye.

"You have something," Luffy states simply. It isn't a question, nor an accusation. It makes you flinch regardless—through all your tears, you can barely see the way your hands ball into fists in your lap.

He waits until you can find your words once again. It's kinder than you deserve.

"D-Do you- want to see it?"

"I don't care." Luffy just sort of... tilts his head at you. "I want to see you."

It's such a simple sentiment. It makes you feel like you've swallowed a thousand blades.

"I'm-... I didn't- I'm sorry, Luffy," you force out. The nails you dig into the stark white gauze don't put any pressure into the skin below it. Luffy frowns anyways.

"You can't apologize," he states simply. "You don't have to."

"But I- I lied—"

"It's okay." Luffy kicks his feet out. "I know you. I don't care about the rest."

All your words slip from your mind. If Luffy minds the silence, he doesn't show it.

Shame floods your chest. All these years hiding your past, unraveled just like that. You stare at your lap.

"They," you admit softly, "had me for so long. I- I never thought I'd be free."

He doesn't respond. You don't need him to—the words rush out before you can think. You stare into your open hands.

"W-When I escaped, I promised myself something. I said, they'll never control me ever again. But- I just... I've always been so scared! It's like- It's like I never even left—"

"Sabo is dead," Luffy says suddenly. "Ace is dead."

When Luffy looks forward, it isn't at Chopper's desk. It isn't at the medicine scattered along its surface, nor is it the kit the doctor had used to patch up your wounds. No—Luffy's gaze pierces farther, looking past the desk and the ship and the sea.

When Luffy looks forward, it's into the fire he left behind.

"But you aren't. You escaped. You're here with me."

Even without words, you understand. You can see the fire, too. "I am."

"You're not theirs anymore. You're mine," Luffy says just as suddenly, "but you aren't mine."

You don't respond. You wouldn't know how even if you tried.

Luffy turns to you with the same inferno that swallowed up your shared home. "You're my crew. You're my first mate. But I don't own you. No one does. That brand doesn't mean anything."

Before you can gather your thoughts, you feel Luffy's hand press his straw hat into your lap. It feels as warm as the sun he had been standing in just moments before. Luffy grabs at your hands to wrap them around its brim.

"You don't belong to anybody."

You could cry.

Luffy shakes your shared hold. "Say it."

"I-I..." You sniffle, "I don't..."

Luffy's eyes don't look away from you. They aren't mean, nor are they worried—they're fierce, just as sure of your power as they were the day he met you.

"I don't," you say finally, "belong to anybody."

When you collapse into his arms, shaking with every sob that wracks through your body, there is no shame when his hands brush over your mark. All you feel is warmth as he pulls you tighter.

You're not property. You're free.

You're a pirate—and no one is freer than a pirate.

[anassemblageofpassions]

The thing abt john winchester is that he is too complex for the majority of the spn fandom and for a good portion of the writers on the show too.

Because at his core john is about love over everything else. When he looks up at his sons (yes, up, the fact that they’re both taller than him>>>>>), there is love seeping achingly from every single pore of his being even as he abuses them, as he destroys their souls beyond belief. He does it all entirely out of love. And he is so, so wrong for it. A part of him knows it. But he wants to keep dean alive, and he wants to keep Sam pure. And he loves them so much. And he damages them so horribly. John Winchester is the foundation upon which they are both built, they only become more of what he made them as the series goes on. Sam stops fighting it, Dean continues to mold into his image no matter how hard he tries to fight it.

Hell puts them both on steroids, but their individual trauma responses that influence this are the foundations that John built into them. No wonder azazel wanted sam to win so badly. John Winchester crafted his sons into alastair and Lucifer’s ideal victims, respectively, and dean was a better (worse) john than John ever was. John held out in hell. Dean acquiesced to his abuser despite all of his efforts to fight him, and he’s never been the same since.

Sam fought like hell, and he fought destiny, but at his core, he did what John always wanted him to by doing what dean wanted him to do, and then he stops fighting at all, loses the fire he showed john in adolescence that john immediately notices when he returns in s14.

And the sad thing is. They filled their roles so well that John is saddened by what they’ve become. He didn’t want dean to break. He didn’t want Sam to be dimmed. He’s sad to see what Sam is like in s14. In the process of recovering his wife, he ensured he would mold his sons into what he wanted them to be, and when he got what he wanted, he was devastated.

John Winchester is so driven by love and grief and he’s so filled to the brim with both that it’s painful to watch him on screen because he destroyed his family because of it. And he wanted this all along but he didn’t realize what he’d have to give up to get it.

[orangelamp42]

andor has not one not two but THREE mean lesbians and that’s what makes it peak television

[dems-demi]

I believe it was a divine intervention who wrote Will Solace on the narrative because how the fuck is he so interesting with so little screentime in the original series? This child who lost siblings and couldn’t even mourn them because he was dragged left and right to help, this child who became a talented and great healer at the ripe age of 12 and became a prodigy at 13, this child who kept absorbing pain and pushing down anger, this child who faced his trauma with a Trademarked Solace Smile and makes everyone feel safe besides himself, this child who had to be a dependable pillar, this child who saw death for so many times and had to accept it, this child, this child, this child whom everyone turns to at all times, this child who’s still only 16 and hasn’t properly been himself much because he has a duty that he loves and must uphold—helping and healing, something he deemed he could only do for others because he believed couldn’t do anything else. This child who got so scared when his best friend went missing, when his remaining siblings went missing, when he thought his father didn’t recognize him. This child who swallows his sadness. This child who was afraid of not being enough, who was afraid that people might leave him if he wasn’t—this child was afraid of people leaving him, because his own Dad did, his relationship with his Mom was not told much, the older siblings he loved left him by death, and he was nervous if Nico will leave him too. This child who feared losing the love of his life so he turned to his anger, his rage, his wrath—all pent up and went loose for a few minutes at Night herself and gave her a fucking hay fever. This child who had his own identity, who had and still has endless possibilities regarding who he is, his powers, and feelings yet reduced to just being a silly, goofy, perfect boyfriend healer of Nico di Angelo who never had a bad day and is stable—and some people loathe him for being “Nico’s Boyfriend” as if it’s his fault. This child is William Andrew Solace and I believe none of us has truly met him fully.

[dragonqueenstormwitch]

received a comment today that someone was unhappy with the new covers of the soc (dregs edition) duology because kanej (predominantly featured on said covers) is ‘toxic’ and ‘underwhelming’.

calling kanej 'toxic' when kaz vehemently denies ownership over inej, liquidates all of his assets to pay off her indenture, begins to work on removing his armor and letting down his walls around her, buys her a ship so she can pursue her dream, and reunites her with her parents - i have to laugh.

and if i had to guess, the ‘underwhelming’ would reference the fact that kaz and inej do not have a physically intimate relationship that lives up to whatever expectations this person has for two incredibly traumatized teenagers.

all this to say, don’t speak on kanej if you don’t understand or respect their characters (disrespectfully)

[mjrdm]

he's like a patron saint. to me

[occupyvenus]

I wish Alicent was motivated by internalized misogyny and staunchly believing a brother should come before a sister and that women shouldn't rule in their own right at all.

I wish Alicent was motivated by being a religious zealot and conservative who refuses to accept a Queen with ~loose~ sexual morals who intends to put a bastard on the throne.

I wish Alicent was motivated by crazed paranoia, genuinely believing that her children and children's children will always be a threat and thus never safe.

I wish Alicent was motivated by pure spite and jealousy, simply wanting to fuck Rhaenyra (and Viserys) over big time.

I wish Alicent was motivated by nothing but ambition and a lust for power. Just because.

But nooo, she's motivated by fulilling the (supposed) last wish of a dying old man who raped her and offers up her sons life to become a meaningless nothing hermit after realizing that she misinterpreted his last muddled words.

But also:

I wish Rhaenyra was motivated by revenge and retribution and justice for her stillborn daughter and murdered son.

I wish Rhaenyra was motivated by fearing for her sons and own life, knowing that they could all be put to death if their illegitimacy are publicly acknowledged.

I wish Rhaenyra was motivated by righteous entitlement to the throne her father wanted HER to inherit.

But nooo, she's motivated by a stupid prophecy and saving the fucking world like a Marvel character, declaring that she won't start a war for a measly throne.

[sketching-shark]

For as much as I've already gushed about how Journey to the West really stands out as a great work of literature, given the current state of popular "redemption arcs" it really can't be said enough how awesome it is that the og classic makes it impossible to ignore the various crimes of all the pilgrims and why they needed to go on a redemption journey in the first place.

Like it contrast to your typical broody jerks where the plot bends over backwards to pretend their various war crimes and all their victims don't matter, actually, just look at what JTTW gives us. You have a murder monkey who reminds us that he loves killing people every other chapter. You got a literal and metaphorical pig man who freely admits to eating a ton of people in addition to committing sexual harassment. You got a giant cannibal who also ate countless people and even wears a lot of their skulls as his own personal goth necklace. You got a dragon who may or may not have committed arson in addition to trying to eat at least one other guy. Even the holy monk went out of his way to get some guys tortured to death. They all explicitly suck in such fun and interesting ways even while trying their best, and THAT'S a good part of what makes their story so fun and satisfying to read.

[tightjeansjavi]

I love being a writer, I really do, but when the plot I’m writing gets complex, my brain hurts and I want to crash tf out

[shinysobi]

"it was awkward to see colin flirt and behave like a rake" "he gave me the ick" yes ! that is the fucking point!! congratulations! you have the media literacy skills of a fucking monkey because my 4-year old niece could understand it better than you do.

we are supposed to find colin cringey and annoying and get the ick because that is not who he is. he is not anthony, or simon, or even benedict. colin (apart from gregory) is the sweetest of all bridgerton brothers (i'm going by book canon) and his most identifiable character trait is the fact that he values an emotional connection above everything. he runs away to the continent because he wants to feel that emotional connection. he has meaningless sex in brothels because that is the example he has seen growing up, that is the norm. he tries so hard to fit into the norm. he goes out drinking, adopts an entirely new personality, learns flirtations because that is how he thinks he will fit in. he's got armour on, as violet said. he puts everyone's needs above his own, he stops rambling on and boring his family with details of his trip because he knows no one cares. he doesn't talk to anthony or benedict about his heartaches because he knows they still, somewhere in their heart of hearts, view him as the annoying younger brother. he's so devastated by his closest friend not responding to him that he adopts a new personality in the hopes that it might mask the hurt better. he runs after penelope in episode one because he is so attuned to her emotions that he knows she's hurting, and tries to comfort her even when she's spiraling and lashes out. he must have been hurt by her words in the "good night mr bridgerton" scene but he puts it aside to genuinely apologise to her when literally no one else in that family would do that. colin, instead of brooding over his own feelings, goes and corners penelope in her family's garden and apologises to her, disregarding his own hurt at being cruelly dismissed by his close friend.

penelope asking colin to kiss her is not a mark of how "pathetic" she is. she has written and shamed herself in a manner that is almost entirely unsalvageable. she is at her lowest point, and then portia comes in and reminds her of how undesirable she is, and she sinks even lower. she asks colin to kiss her because she sees it as a final act, after which she can quietly wave goodbye to her dreams of ever getting married and leaving her mother's home. colin kisses her because he is also keenly aware of how she's feeling. he knows how hurt she is, he wants to do anything to alleviate that. be it cracking a joke, or kissing her. he is gentle, because he wants it to be something she can dream of when she's by herself. penelope, at this moment, has no hope for herself, and their kiss is an act of letting go for her. no, it's not a pity kiss, no he did not like her after her glow up, he has always loved her. him being struck dumb is a reaction to her physical transformation, nothing more. he does not flirt with her in that ballroom scene, he only approaches her when she's in distress. he's not flirting with her. i can assure you penelope could wear the frumpiest most neon yellow gown of all time and colin would still go "<333 my pen" for her.

colin jumps to catch the balloon's ropes because he sees that penelope is in danger, he does not give a shit about anyone else lmao. he feels temporary relief when he sees eloise run to safety, but the moment he sees penelope in immediate danger, he rushes to take action. afterwards, when he sees that she's being comforted by debling (all my homies hate debling, even if he is aro/ace coded i do NOT claim him) he does not approach her. it would be easy for him to do so, but he does not, because he respects her boundaries. colin bridgerton is the only man in the ton who respects women (the featherington sons-in-laws are too pretty to have a thought) he calls out fife and his friends for treating women like objects and calls them cavalier. the only way he would have been more explicit about his demisexuality was if he tap danced on the club table (entertaining thought, luke newton please)

colin also rapidly takes action, something which no one in the show has done so far. simon would have died instead of accepting his feelings for daphne, daphne would have been content with a loveless marriage forever instead of asking for help. kate would have pushed edwina down the aisle and gone off to india instead of confronting her own feelings, and anthony would have married edwina if she hadn't been brave enough for the three of them to run from the altar and ruin herself. penelope stood on the sidelines for years and loved him quietly because she had no hope of him loving her back. colin, the moment he is assured of his feelings, runs to penelope, almost kisses her in the middle of a ballroom. when he hears that debling is about to propose, he goes to the ball, just to dissuade penelope one more time. he cuts into their dance because he's desperate. when he runs after her carriage, he asks her if she has been proposed to, because he would not have touched her otherwise. he confesses his feelings to her only when he knows that she hasn't gotten engaged to debling, and when she says "but we are friends" he moves away. nothing more. he would have let her go, if she did not return his feelings.

idk whether i should be flattered or offended at people misunderstanding this season because on one hand it is offensive, but on the other hand, it means only smart people get polin. seriously. your minds have been rotted by insta-love and enemies to lovers that you can't even appreciate the innate beauty of friends to lovers. being friends with someone and then holding all those feelings for them. the trepidation of possible rejection. the fulfillment of being loved by the person who knows you the best of them all. the privilege of loving someone whose feelings you know better than your own. love is gentle and kind and yes it is a violent, uprooting force but above all, love does not hurt anyone. it does not hurt you. i could love someone quietly for years and it wouldn't bother me if their feelings were requited or not because my feelings are none of their business and i consider it a privilege to love and be loved by them, even if it is not in the way i would want it to be. polin are privileged in the highest sense. they know each other better than anyone else, they know how to love each other better than anyone else. to think they are rushed or they dont deserve each other is a disservice to both of them. they would be miserable with anyone else.

in other matters, if i see one more person talking smack about luke or nicola behind the safety of their screens i will personally get a bazooka.

[newts-gay]

where is my alicent “i shall have one of her son’s eyes in return” hightower?

where is my alicent “you may do as you wish husband, when i am cold in my grave” hightower?

where is my alicent “congratulations, stepdaughter. what a blessing this is for you” hightower?

where is my alicent “do keep trying ser laenor, sooner or late you'll get one that looks like you” hightower?

AND

don’t even get me started on alicent “bastard blood shed at war” hightower

she would have been way too powerful for anyone’s screen (especially with olivia’s brilliant performances) and tb stannies kept her from us

[eternalera]

me: apple white is actually a really complex character and her moment with the evil queen was one of vulnerability because she can't be frustrated with how things turned out anywhere else and some part of her was still bitter that she had to give up something good for everyone else. the evil queen knew this and was playing on it. she was also playing on the pressure that snow put on her as well to 'get her happily ever after'. all of this resulted into her throwing the apple in the direction of the mirror in frustration (most likely to get her to shut up), which accidentally caused her to free the evil queen which she did not mean to do. once again afraid of making a mistake and this time having people KNOW about it she then covers for the evil queen as she's afraid of what people will think of her and not anything else because she's a flawed character. the evil queen the promises her happily ever after of course but apple doesnt really have a say in it as she's forced to do whatever the queen says in order to keep the facade that shes 'perfect' because (once again) her upbringing made her scared of making any sort of mistake so she tries to cover for herself instead.

people for some reason: YOURE JUSTIFYING HER FREEING THE EVIL QUEEN!?!?!?