#This is more accurate to the story importance of the characters

[neyafromfrance95]

okay, here is the thing:

making the details of trop!galadriel's story extrimely "lore-accurate" won't work at this point.

in the lore, galadriel is a ruler of eregion before celebrimbor turns on her and then she goes to lothlorien and takes up the rule there, temporarily. then she goes to rivendell to find her husband and they move to belfalas so that she can gather information on sauron and send it to elrond. she disappears during and sometime after the war of the last alliance but then reunites with her husband to attend her daughter's wedding. then she travels a lot, investigating, and only after all that does she settle in lothlorien as the realm's permanent ruler (and fully devotes herself to powering up her realm and opposing sauron even more).

it wouldn't make sense for her to already be settled as the lady of lothlorien anytime soon in the show. the timelines are changed too drastically and trying to align them now would create more problems that would mess up the storytelling itself.

(like, rather than going to temporarily rule lothlorien, it would make sense for trop!galadriel to stay with elrond and prepare for sauron's attack on lindon. rather than going to belfalas, it would make sense for her to go back to numenor. it would work better if she established lothlorien after the sinking of numenor. it would be a neater storytelling.)

her trop story has to be good as its own thing, and i highly doubt that it can be if it sticks to the lore too faithfully. but it should not be an issue, since galadriel's lore has always been convoluted and contradictory, and trop is simply offering its own variation of her mythology.

what's important is that they capture the essence of galadriel's character and role. and no, it's not being the lady of the light.

when it comes to her character, she is defined by her power, knowledge and leadership. she is said to be so powerful that even elrond doesn't fully understand her powers, she knows all about the middle-earth bc of her travels and she always leads.

we know that she rules and is being a commander and keeps an eye on sauron. we know that she is dedicated like no one else to opposing him. we know that she desires power more than anything. in a way, even her resisting the one ring has to do with her refusing to let the ring have power over her.

trop has to tell a story of her fighting the darkness in the middle-earth and within herself, striving towards fulfilling her potential as a powerful being, bc that is the essence of her character. and capturing this essence is more important than adhering to the chronology, imo.

[deception-united]

First, I love your blog!

Second, How do you go about writing about characters' sexualities and gender orientations without making it their defining and only characteristic?

Thank you!

Hi, and thank you so much! ❤

When writing about characters’ sexualities and gender orientations, the main thing to keep in mind is to make their character just as complex and well-rounded as any other. Here's how I'd approach it:

1. Start with an overall profile.

One method that could work for you is to flesh out things like personality, motivations, backstory, hobbies, goals, fears, weaknesses, flaws, strengths, and their role in the story before deciding on this element of your character. Create a well-rounded profile before deciding on sexuality or gender orientation—and this is not to say that these traits are not just as important to a character's identity, but this approach could help avoid stereotyping or making their entire character built around that.

I've found this works well in other cases, as well; for instance, a comment on a previous post explained how they decided to make their character POC after they had finished developing their personality and backstory in order to avoid stereotyping. If you fully develop who they are as a person, their identity will naturally fit into their story rather than overshadow it. (See my post on character profiles for more tips and elements to include!)

2. Reveal it naturally.

Instead of flatly stating a character’s identity, try revealing it naturally through dialogue, behavior, or relationships. For instance, a character casually referencing a past girlfriend or sharing their pronouns during introductions feels more organic than an expository declaration.

3. Make it part of their experience.

While a character’s sexuality or gender may influence how they navigate the world, it doesn’t need to drive the entire plot unless the story is explicitly about those themes. The character might face societal or internal struggles, but they could also just be solving a mystery, pursuing a dream, going on a quest—give them a good, solid arc, like you would for any other character.

It's important to focus on relationships, too. Show how their orientation or gender plays into their relationships, whether romantic, platonic, or familial. Do they have a supportive best friend? A strained relationship with a family member? A mentor who’s helped them with self-acceptance? These sorts of dynamics will help add depth and make their identity feel woven into the overall fabric of their life.

4. Avoid the "token" trap.

If a character is the only one in the story with a specific identity, their representation can feel forced or spotlighted. Building a diverse cast with layered characters is important so you don't have a single character who's carrying the weight of representation on their shoulders.

5. Do your research.

If you’re writing about an identity outside your own experience, make sure you understand it deeply. Research lived experiences, read books or watch media by creators with that identity, and consult sensitivity readers to ensure your portrayal is respectful and accurate.

Overall, it's about portraying characters as whole, multifaceted people—to make their identities a significant part of them without being everything. Hope this helped!

Previous

[willothewispwisteriadawn]

Until Dawn vs Until Dawn Remake

From one of my old Reddit posts— what do you make of the changes to the hour glass lineup? Original on top, remake on bottom.

[rhineposting]

hi just dropping in to say that literally everything about her design is gooner bait, down to her hairstyle which was very specific to edo period high rank prostitutes. cheers.

[howtodisappearcompletelyand]

20/10 stars little guy

[serpentface]

Do you conlang? I was wondering if you had naming languages (or possibly even more developed ones) for pulling the words you use. I tried to search your blog but didn't find anything, wouldn't be surprised if the feature is just busted tho. Your worldbuilding is wonderful and I particularly enjoy the anthropological and linguistic elements.

Ok the thing is I had kind of decided I was not going to do any conlanging because I don't feel like I'm equipped to do a good job of it, like was fully like "I'm just going to do JUST enough that it doesn't fail an immediate sniff test and is more thoughtful than just keysmashing and putting in vowels". And then have kinda been conlanging anyway (though not to a very deep and serious extent. I maybe have like....an above average comprehension of how language construction works via willingness to research, but that's not saying much, also I can never remember the meanings of most linguistic terms like 'frictives' or etc off the top of my head. I'm just kinda raw dogging it with a vague conceptualization of what these things mean)

I do at least have a naming language for Wardi (and more basic rules for other established languages) but the rudimentary forms of it were devised with methods much shakier and less linguistically viable than even the most basic naming language schemes, and I only went back over it LONG after I had already made a bunch of words so there's some inconsistencies with consonant presence and usage. (This can at least be justified because it IS a language that would have a lot of loanwords and would be heavily influenced by other language groups- Burri being by far the most significant, Highland-Finnic and Yuroma-Lowlands also being large contributors)

The 'method' I used was:

-Skip basic construction elements and fully move into devising necessary name words, with at least a Vibe of what consonants are going to be common and how pronunciation works -Identify some roots out of the established words and their meanings. Establish an ongoing glossary of known roots/words. -Construct new words based in root words, or as obvious extensions/variants of established words. -Get really involved in how the literal meanings of some words might not translate properly to english, mostly use this to produce a glossary of in-universe slang. -Realize that I probably should have at least some very basic internal consistency at this point. -Google search tutorials on writing a naming language. -Reverse engineer a naming language out of established words, and ascribe all remaining inconsistencies to being loanwords or just the mysteries of life or whatever.

I do at least have some strongly established pronunciation rules and a sense of broad regional dialect/accents.

-'ai' words are almost always pronounced with a long 'aye' sound.

-There is no 'Z' or 'X' sound, a Wardi speaker pronouncing 'zebra' would go for 'tsee-brah', and would attempt 'xylophone' as 'ssye-lohp-hon'

-'V' sounds are nearly absent and occur only in loanwords, and tend to be pronounced with a 'W' sound. 'Virsum' is a Highland word (pronounced 'veer-soom') denoting ancestry, a Wardi speaker would go 'weer-sum'.

-'Ch' spellings almost always imply a soft 'chuh' sound when appearing after an E, I, or O (pelatoche= pel-ah-toh-chey), but a hard 'kh' sound after an A or U (odomache= oh-doh-mah-khe). When at the start of a word, it's usually a soft 'ch' unless followed by an 'i' sound (chin (dog) is pronounced with a hard K 'khiin', cholem (salt) is pronounced with a soft Ch 'cho-lehm')

-Western Wardin has strong Burri cultural and linguistic influence, and a distinct accent- one of the most pronounced differences is use of the ñ sound in 'nn' words. The western city of Ephennos is pronounced 'ey-fey-nyos' by most residents, the southeastern city of Erubinnos is pronounced 'eh-roo-been-nos' by most residents. Palo's surname 'Apolynnon' is pronounced 'A-puh-lee-nyon' in the Burri and western Wardi dialects (which is the 'proper' pronunciation, given that it's a Kos name), but will generally be spoken as 'Ah-poh-leen-non' in the south and east.

-R's are rolled in Highland-Finnic words. Rolling R's is common in far northern rural Wardi dialects but no others. Most urban Wardi speakers consider rolling R's sort of a hick thing, and often think it sounds stupid or at least uneducated. (Brakul's name should be pronounced with a brief rolled 'r', short 'ah' and long 'uul', but is generally being pronounced by his south-southeastern compatriots with a long unrolled 'Brah' sound).

Anyway not really a sturdy construction that will hold up to the scrutiny of someone well equipped for linguistics but not pure bullshit either.

[everythingseasoning]

M’s Anime Analysis Masterlist*

includes: Haikyu!!, HunterxHunter, A Lull in The Sea, My Hero Academia, Attack on Titan, Jujutsu Kaisen, Dandadan, more to come!

diary entries and other insights: FOUND HERE*

Character Analysis’

JJK

Suguru Geto In Depth || Revised.

Satoru Gojo

What did Gojo say to Geto before Killing Him?

The Mischaracterization of Gojo in the JJK fandom - Semi Brief

Megumi Fushiguro Brief

Sukuna’s Motivations and some JJK philosophy

Dandadan

Turbo Granny (Dandadan)

Love and Deepspace

Caleb and the MC

Duo/Dynamic Analysis’

JJK

Satosugu brief analysis

SatoSugu In Depth: Why Gojo and Geto could connect despite Gojo’s life of isolation + What the two meant to each other + What could’ve been

[flea-palace]

we need to discuss how erik in the yeston/kopit phantom is probably the most socially isolated version of erik in that he has presumably only ever had a conversation with one other human being his whole life (gerard) until he meets christine. she is the first person he has ever held a conversation with aside from the man who is basically an extension of himself (and whom he has known since birth) and we are expected to believe he would pull off a convo with his new crush smoothly? where are the fics that rewrite their first meeting and erik is an absolute loserboy cringey mess??? hm????

[puppppppppy]

who up seeing their disorder in a fictional character but feel like its not their place to put a name on it

[goldentigerfestival]

Forgot to post this earlier but I did in fact comb the entire Vesperia script to determine how many times he uses ま/まあ throughout the game, along with a few other phrases he uses repeatedly. This counts all of main story, every single sidequest, and every single skit in the game.

Final counts were:

ま/まあ: 280

Ma/Maa; translates to "well". He uses this at the beginning of a sentence usually, but it's sometimes in the middle. "Ma" is usually more quick and snappy. "Maa" is more thoughtful and/or prolonged. Obviously it can vary based on context, but that's the general breakdown.

んじゃ and any variants: 133

Nja, along with variants such as "ja", "soreja", etc. Variants are counted when they're all used to express "let's get going", when they're about to head off ("ja" could be used in a sentence such as "ja/but then, why is xyz like this", etc). They encompass translations such as "well then" (let's get going implied. includes "so then", "then" "alright then", and so on), "we should be off", "let's get going", "let's go", etc. (not to be confused with 行こう(ikou), 行くぜ, (ikuze), and other similar versions of this phrase. That can also mean "let's go", but any instances of Yuri using that particular phrase was not counted because it wasn't a variant of, specifically, んじゃ, which is also his most common "let's go" ja variant).

おい / おいおい: 66

Oi/Oi oi; translates to "hey"/"hey, hey", though "oi" is more or less an accepted word in English nowadays.

おっと: 12

Otto (not to be confused with "oto", referring to sound); an expression of surprise that can translate roughly to "whoa there" (which is the most common translation I do see for it and what I'd use in most cases too, context of course varying). The reason I included this one despite it being so seemingly low in number is because it's not a particularly common expression, much less one used multiple times by a single character? It's so rare from anyone else, which is just a regular thing relative to Yuri and his dialogue/speech (i.e. most characters sparingly use phrases repeatedly, as compared to Yuri... as you can see lol. Other characters use these words/phrases, but nowhere near as regularly, if regularly at all).

Realized along the way I should've included やれやれ (yare yare, "good grief", "oh dear", "oh boy" etc), but by the time I realized I should have in case it was an interesting count, I was too far into the script to be able to handle going all the way back through it LOL.

No. No, I am not joking that Yuri used ま/まあ 279 times throughout the course of the game. That is to say, it could be more if I missed any, but on the assumption I didn't, that's where it stands.

Why do I love this so much? Because it's a very specific character quirk of a character I adore. I'm very fond of his repetition. Thank you.

[kellystar321]

.

[armentas]

I thought I'd never see the day where I'd finally do a character reference sheet but here we are <3 (click for better quality)

[beardedhandstoadshark]

We‘re all Disney haters here but with Dracula daily going on I desperately need tumblr to know the existence of this comic adaptation of Dracula that exists within a series of monthly published comic books and looks like this:

Please look at this effort - they really went all out on these, NONE of the other comics look anything close to these. It’s just this one randomly sitting between normal Mickey and Donald comics about going to space or smth

Aside from the lack of prominent character death and replacement by transformation into beetroots it seems surprisingly accurate so far

(Also Disney has like. Nothing to do with these books aside from owning the copyright to the characters, so it’s cool. Pretty sure they don’t even really know these exist lol.)

[welcometogrouchland]

I think the disconnect between canon Belos and (a certain genre of) fanon Belos is that in canon he is pathetic (in the dramatic sense) not sympathetic.

[the-far-bright-center]

Ever since the Kenobi show came out the entire SW fandom now seems to think Obi-Wan Kenobi is the main character of Star Wars. Not Anakin, not the Skywalkers. Obi-Wan. Just because Disney made a big-budget fanfic about him. 🤦🏽‍♀️

[kuroshitsuji-wiki]

It's Yana Toboso's birthday! (January 24, 1984)

Yana forgot her birthday this year...

... so there's even more reason to congratulate her and celebrate!

Some trivia:

She chose her penname "Yana Toboso" to indicate what kind of manga she wanted to create: Because there are so many mangas whose central themes are dreams, hope, friendship, and love, she wanted to make a manga whose focus is the opposite. "Yana" derives from "iya" (unpleasant, detestable, disagreeable; here: unpleasant/nasty child), and "toboso" is meant to signify importance: a "toboso" is a cavity in the frame of a door used as part of a pivot hinge; as doors wouldn't work without hinges, hinges are important objects. "Yana Toboso," therefore, is meant to mean "the hated/bad child is in the middle" (憎まれっ子がど真ん中にく る). (Character Guide, page 146)

Yana once stated that Ciel resembles her the most out of her characters. (Character Guide, page 147)

*cough* Obviously.

Exhibit A:

(Downstairs with Kuroshitsuji VII, from Volume 17)

(Chapter 76)

Exhibit B: The iconic Pancake Saga from 2018!

Yana's grandmother encouraged her to become a mangaka, and her mother pushed her to submit her work to a publisher when she was 20. Both have since passed away. (sources: akumadeenglish, The Japan Times)

She is a fan of the band L'Arc-en-Ciel (source). HYDE, the vocalist of that band, wrote the opening for Season 5. Yana was obviously very happy about that!

Yana contemplated making "fluffy spin-offs" to Kuroshitsuji, e.g., "a gourmet manga featuring the canteen of the Shinigami dispatch association HQ, or a manga where the Indian butler cooks curry or the black butler makes sweets, or where the servants make small discoveries." However, she dropped those ideas because her "fluffy concepts" kept becoming ominous after a few chapters. (source)

Kuroshitsuji was not meant to be set in 19th-century England from the beginning. Mr. K and the chief editor eventually suggested England as the setting. Yana, who did not know much about England (and could not find many materials early on; source: Downstairs with Kuroshitsuji II in Volume 2), especially not about 19th-century England, and did not believe the manga would be a hit anyway, then cooked up the wonderfully anachronistic Volume 1. Since then, Yana has become more knowledgeable about Victorian England, got a historical advisor (Rico Murakami) who also, sometimes, translates sources for her (source: Downstairs with Kuroshitsuji Special in Volume 15), has been (re-)learning English, and visited England twice. The manga has, thus, become significantly more historically accurate over the years. Still, as it's a fantasy manga, Yana likes to incorporate anachronistic elements for story purposes (e.g. Grim Reaper tech and possessions, Wolfsschlucht) anyway (or simply because she wants to; e.g. the idol groups, I suppose). Anachronisms have, thus, shifted from accidental to deliberate.

Sebastian's mobile phone will be forever iconic, but it has been retconned for over a decade now.

And The Wild Earl lost more than his head was cancelled when all TVs were thrown out of the continuity with the end of the Indian Butler Arc (TVs are last mentioned in Chapter 23).

May we learn many Victorian things alongside Yana in the next years too!

(Downstairs with Kuroshitsuji II, Volume 2)

And may she have a happy, restful birthday so that she doesn't forget it again^^' (And the best of health^^)