#To characters who still have those core traits and flaws but get the character growth canon denied them

[thyandrawrites]

Inside me there are two wolves. One that came to hate canon with a passion, and the other that wants to read fics where the characters' personalities are accurate to said canon that everyone and their dog (including me) now hates, despite everything. Do you see my problem

[pojofi96]

Finally 😈 a chance to talk about my mans

Short answer is yes obvi but like his character, my thoughts on this are a bit more complicated.

In the flashbacks we see showing his life “before”, he was shown to be an exemplary dad - but of course, this would inevitably change somewhat with being traumatized. Hanzo at his core is a flawed person and the very essence of his story lies in his humanity - most notably, his mistakes and circumstances - and how he copes with his own earned consequences + just straight up awful luck. This is inevitably going to reflect on how he tutors/raises children and MKX Blood Ties illustrates this well with his treatment of Takeda.

Throughout most of Takeda’s shown upbringing, Hanzo is shown to be in a tetchy mental state and it makes him prone to being overly harsh when scolding him for a minor mistake. You get the feeling Hanzo is purposely trying to keep him at a careful emotional distance as strictly “teacher and student”, even though it’s evident that their relationship is more through their own shared needs of familial bonds. It’s not abuse by any stretch of the imagination but the distinction between a “tutor” and a “father” is important to remember when examining their relationship. There’s a plentitude of potential reasons that Hanzo could have for acting like this given his past and what he lost, so you can’t truly blame this aspect of his character for being any fault of his own. Again, he is only a man making sense of the circumstances that were thrust upon him. But this inevitably would affect how he “raises” people.

The comic goes deeper into Hanzo’s mental state and how his hellfire works in the first place - and it’s here that we see something crucial. At it’s core, his utilization of it (i.e. how he has to relive the most traumatic event of his life every time he uses it to put himself in a bad headspace) is counterintuitive by design to his own growth and recovery. His strength, his most defining battle trait, is also what’s dragging him down. Objectively, Hanzo would have to let down his own personal guards (not use his hellfire) to keep from falling back into bad habits. But the current state of his life - strife with combat and the constant threat of sudden gorey death - doesn’t allow room for his emotional growth. On top of that he’s responsible for the well being of a kid, so he doesn’t have room to think about himself - he has to put Takeda first. But that also begs the question of if he had the chance to escape that life - would he? Does he have the capability to let down his hellfire when it’s because of his hellfire that he’s still even alive?

He’s not truly doomed but Hanzo believes to his core that he is and this is one of his biggest obstacles to his self recovery - this belief makes him lash out and self-sabotage - and it keeps him from really making any remarkable progress in getting better.

That being said, I was genuinely surprised to see the reactions for this tweet mostly being unconditionally positive on Hanzo’s side. What I’m trying to say is that Hanzo is far from perfect, he’s far from a perfect mentor and a perfect father. He’s still a good person at heart though - he does his best and Hanzo’s biggest flaw at the end of the day is the result of being human in hellish circumstances. It’s worth noting that Takeda in the end grew up to be an upstanding young man who feels very positively about his father-figure-mentor… so Hanzo did remarkably well overall, a lot better than most people could do in those same conditions. But all the replies being like “Anyone who says no deserves to be executed” feels like they’re missing something crucial about him. Him being attractive doesn’t absolve him of accountability!

In canon, he’s more accurate to the relative that we know has had a rough life that we all have complicated feelings about.

[eternasci]

I'd like to ask you the same questions! What three things strike you about your muse and what do you think others would think? c:

⎯⎯⎯⎯⎯⎯ 🌺┊      LUCIEN HAS BEEN A CONUNDRUM FOR ME. I made them nine years ago, in 2015, and while they haven't changed at their core, I have indulged in things I once felt the need to temper due to the climate of roleplay at the time.   ( don't make your muse — especially not an original character — too powerful, too nice, too unique. don't make changes without reason, what you've written is law and it cannot change, etc. )   Basically, the antithesis of growth as a character and as a writer, as well as encouraging fear of change and stagnancy of development.

I scrapped that December 2020 and overhauled them. It made me infinitely happier with their characterization, and in doing so, creativity was allowed to flourish. That being said, let me get onto what three things strike me about my muse, particularly things that I have chosen to focus on since their overhaul!

I adore their good nature, their inherent belief that everyone should be greeted fairly… but they are not without bias, prone to fixating on those who pique their intrigue, rather than extending a hand to those they find "dull" in attire or personality. If they do extend their graces to someone of that type, it is usually because they have a "I can fix them" mentality. To have that mindset off the bat doesn't particularly insist kindness   ( after all, they are subconsciously deeming something "broken" that needs to be "fixed" in a person )   but their intentions are nevertheless kind.

Another thing I fixate on is flaws. Some are awkward to portray for me. One such flaw would be Lucien's "loyal to a fault" nature, a trope which I often see utilized for characters attached to villains — particularly those who know their actions are bad, but follow through regardless. In Lucien's case, they tend to get in with the wrong crowd without knowing the full story, and will excuse the behavior due to friendship. It takes them some time to finally abandon or "betray" that person — and in some instances, they still will not, causing themselves harm down the line. I find it intriguing if only because I am a person who, while I am content to drop people should they hurt me, Lucien will give many chances, or go against their own morals if they care enough about the person. This pairs with their desire to "fix others." I worry I don't get to portray it enough, because while I don't see Lucien as gullible, I do think this bias in a "good - aligned" character is an interesting factor.

Lastly, while they do come across friendly and caring, I do contemplate how "nice" a character they are. Pushing others into what they think is right, choosing their morals and ethics over societal and legal ones... it's all aligning with their "chaotic good" characterization, but some of these traits in combination can come across as arrogance and snobbishness. Neither of these things would be inherently wrong, either. They are not without judgment, picking internally on a person's attire and either moving to "change" them, or opting to hang out with someone more aesthetically pleasing, no matter their poor personality. It doesn't particularly scream "kindness" to me, but they do see themselves as a good person.

I do wonder what others perceive them to be, especially when it comes to what aspect they display on their first introduction. Particularly, whether it leans towards the stereotypes of an angel — pure, untouchable — or a human — flawed, but well meaning. There have been characters who fall in line with the former   ( for better, for worse, depending on that character's moral alignment )  , and they usually meet them in situations where they are angelic, considering it is a part of their work.

I do believe they are a kind - hearted person with some nasty little issues to work on, but what human would believe an angel/godling would have problems like this? It's often that people think of these beings as inherently perfect... but Lucien themselves fears being seen as such, for they wish not to sully one's opinion of them, nor do they like the idea of failing to meet expectations. But this fear also hints to the fact that they see themselves as perfect, as they struggle to upkeep that opinion.

It makes me wonder... is someone truly good if they think themselves untouchable and perfect deep down? Not that impostor syndrome should be everyone's default, nor should one dismiss their talents for the sake of being humble, but aren't people who are arrogant and overconfident often seen as "bad"?

anyway im done blabbering lol idk where i was going and went xoxo

[lizzybeth1986]

I’ve just dived into your perfect match posts, specifically the ones about the different dialogue for the various Haydens. Holy crap, PB put so much coding behind those and yet these days they can’t handle more than one meaningful romance route at a time, or get a GoC characters pronouns right.

Also I am just amazed at the depth you’ve explored some of these stories……wow!!!

Thank you Anon! I'm so glad to see my Hayden Young Project posts are still helpful, almost 4 years after I put it up! At the time I had planned an essay series to go with it, but I was too drained by the time I finished uploading all the screenshots to continue. Maybe one day...

But yes. Hayden was such a perfect example of customization done with purpose and thought towards the differences, while still giving the character itself a strong default core. No matter which trait/personality type you went for, there were certain things without which Hayden would never be Hayden: their questions about life, their thirst for knowledge, their fierce protectiveness, their desire to make sense of themselves and the world around them. They went through so much growth over the course of those two books.

Even so, in the larger fandom that effort and care for characterization was often ignored. More often than not, when PM was still playing, readers would find excuses to hate on Hayden and pretend they had no value. They spoke of Hayden as if they were an object, they hated on Hayden for normal emotional reactions - while their favourite Damien was hailed for his "incredible growth" even though we never once saw him apologize to the people he hurt - and even after the books ended, I would often see posts about how Hayden is "whiny" (fandom loved to wave around the "he's traumatized!" card for Damien yet waved away the abuse Eros had done on Hayden and the hostility they constantly faced like it was nothing). In fact, the whole reason I started the Hayden Young Project in the first place was because several stans (specially Damien stans) were lying notstop about how Hayden didn't have that many variations beyond the first few chapters.

For a character that really was crafted with a lot of care, the fandom clearly seemed reluctant to show any appreciation. And it's a pattern I see with a lot of the early customizable characters. They are far more easily written off as bland and boring and devoid of any development, meanwhile default white/exoticizable brown mains who get hundreds of diamond scenes yet still stangnate as characters - because their writers don't want to admit to their flaws - are hailed as the best written characters ever.

I definitely agree with your point about the current state of characterization in PB! (though a lot of my info is secondhand, so don't blindly believe me on this). I sometimes have a term for the way PB uses customization now - "bandaid customization". It has struck me, ever since I saw the note (post-BLM statement) from the company, as well as their one-year-later update, that they believe making their single main LI customizable is enough. But that doesn't allow for the character themself to explore aspects of their story related to gender or race (eg: TNA with an f!Sam skips over certain things related to sexism, that should affect her, but doesn't really) because the writers themselves seem unable to move out of the headspace that the "default" is definitely white and mostly male. And this is at a time when they prove that they KNOW how to change dialogue to reflect race or gender (eg. The D&D MC's responses to Luke when they discuss his father, or to Hamid when the two speak about racism). So you can get a black character, you can get a female character to romance...but it won't count for much. Because it's a lot more likely the writer is seeing a white and male main when they're penning the lines, and it shows...now more than ever.

Did these problems exist with the early customizables? Yes, definitely. But there was still a little more care and purpose to the way they were written, and not all the advancements PB has the ability to code in now were there before.

I call the currect state of customizable characterization "bandaid" because the company views this specifically as a solution for the lack of race representation, yet it really doesn't solve the core problem. But I may be wrong, and the new books that I haven't heard much about, could be better in this respect.

To go back to the subject of Hayden - not only was the PM team consistent about divergences in traits, but they also did the same for their different skills (polyglot, animal lover, music, massage). I found a number of incredible and really fun scenes that replaced a skill scene - my favourite one being Sloane trying to liven up our first real visit to their house with "baby-shower games" in PM1 Ch7 instead of us playing with Dipper 😄 Oh Sloane. You're such a treasure 💖

I just found the way they built Hayden so fascinating, and I wanted to share it with the fandom too...whether most of them wanted to admit to the value of such a character or not.

I definitely will try to get that essay series done, someday. Thanks so much once again, anon!

[bumblebeerror]

I really want to like c!wilbur.

Genuinely - he’s an amazing portrayal of someone who’s mentally ill - Wilbur has done a fantastic job of making C!wilbur a very honest look at someone struggling with deep-seated mental illness. We relate to him, and when you watch from his perspective, it’s easy to see him as what he is: someone struggling with a core-deep hatred for himself. When you watch from other’s perspective, it’s still clear that while he’s an antagonist, he doesn’t seem to *mean* to be one.

So I WANT to like him. I really love his character, in fact - he’s made it into a lot of therapy sessions because of how his character explores his issues.

But I’m also very very uncomfortable with the way the fan base sees him.

Having a mental illness doesn’t absolve you from hurting other people. Cwilbur’s self-hatred isn’t a quirky trait, it’s not a miscommunication conflict stand-in - it is a FLAW in his character. I wish the fan base saw it as such, that these apologies are for cwilbur too: maybe if he can be forgiven, he can forgive himself.

But Cwilbur’s arc can’t resolve without growth - he can’t just keep hating himself but suddenly it’s okay, because people forgive him.

Cwilbur’s self-hatred is a character vs themself conflict - not a character vs others.

Cwilbur’s self-hatred is a fundamental flaw in his character as surely as hubris is. It is a conflict within HIMSELF that causes problems around him for others for sure, but the root of it is his own issues that have to be resolved somehow.

I’m sure this distinction doesn’t matter to a lot of the fandom, but it does to me - a lot of the fandom sees it as just a conflict with others - largely, I’m sure, because they are depressed and steeped deep in their own self-hatred, and they don’t want it to be their fault, so in turn they don’t want Cwilbur’s self-hatred to be his fault.

I can understand that. I’m still unlearning my own! I know how it feels to be depressed and for hurt to seem to follow you around, and turning those emotions inward because *why do all these bad things happen to me? Because I’m a bad person? Because I don’t deserve good things?*

And the answer is because depression and mental illness can make you hate yourself. The answer is that your self hatred is a flaw. (And no - you’re not a bad person for having a flaw, either. Remember that hubris (over abundant pride) is also a flaw - flaws are things we need to be aware of and counteract, they don’t make us bad people).

Cwilbur’s conflict is with himself. Cwilbur’s self hatred is the conflict that needs to be resolved - either by him acknowledging it and trying to get better, or by letting it destroy him.

So is yours. You have the power to go either way, and the choice is yours.

[hopeswriting]

I meant to do a post about my thoughts on the Daily Life Arc now that I finished rereading it, but I can't seem to find the time and it's been a while now, and if I keep it up I'll forget what my thoughts are to begin with lol, so here's the long story short:

I know it's a long arc, as in it starts being boring and more or less unbearable past some point, because the "gag of the chapter" format only takes you so far, and not actually very far if Amano's humor doesn't work on you much, if at all. I don't think it's an arc you can reread right away/soon either, lest you feel that one flaw even faster.

And I felt it too, starting with the fourty-something chapters I felt like it was dragging on too much, though to be fair that probably had to do too with the fact I knew things much more interesting were coming after that.

Still, all that said, like, it's an enjoyable arc. Amano's humor happens to work on me, and she does it really well, and I liked reading the arc. There are some chapters where you're really asking yourself why they were written for lol, but even then you read it for the characters, and it somehow keeps you going.

And like, even though I think Amano could have seen the fact the comedy was going to turn repetitive and thus boring at some point, and try to diversify it or something, it's just how comedy/humor/gags works? Some jokes land and some doesn't, but for me at least a lot more of them worked than not.

The DLA is a good enough arc is what I'm saying.

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On than note and on the contrary, of course it's fine if you think it's a bad arc, to each their opinion, but personally I really don't agree it's an unnecessary one.

I'm saying this because apparently it's not uncommon to advice new fans to skip the arc and directly start with the Kokuyo one? (Or so I learned on TV Tropes anyway, this might or might not be still relevent/accurate.)

Now don't get me wrong, the DLA does fail to hook the readers to the story for the reasons stated above, I agree with that, but it literally introduces the main character? And all the other characters, and gets us to know them, and establishes the dynamics between them and why they're the way they are, and, though only in a more or less superficial manner (and more than less) by design of the arc's purpose (not being deep in any way lol), it still gives us an insight into the characters and why they're the way they are. A glimpse into the core of their personality, the "stakes" of their characters, the flaws they have to overcome.

And all that in the context of their daily life, so if you skip it to go directly to the arc that challenges them, you can't appreciate fully how they rise to the challenge, how it shows their growth or reasserts their core values. You can't know how much or what it means, for example, off the top of my head, to have Yamamoto sacrifice his arm to beat Ken, when only a year ago he tried to kill himself over his broken arm. Or Hibari losing against Mukuro, thus telling us how much of a real threat he was. Or Tsuna screaming at Lancia for having hurt his friends, anger on his face, clearly despite himself, that Dame-Tsuna.

All these just wouldn't hit you the same, and it'd be such a shame? I mean I guess the ones who start with the Kokuyo arc go back to read the DLA, or you could compromise like the anime did by splitting the DLA between more serious arcs, but like I said I personally don't find the DLA that bad, so I still wouldn't advice it lol.

Even if, I suppose, it'd mean they might give up on the manga somewhere through the DLA, but like? Some mangas just don't speak to you, and that's fine, and it'd be a little of a shame from my POV as a KHR fan, but still, no big deal.

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I'm still very impressed with how smoothly Amano went from a gag manga to a shonen one, and how she made it so the DLA still fits with the rest. I mean the sudden change in tone/stakes/etc is jarring, sure, but it's all based on stuff she introduced in the DLA, which she presumably came up with with no intention to ever make it something deeper/more meaningful.

It's easy to believe the foreshadowing, and generally speaking the worldbuilding was planned all along, which, again, probably not, and like? Super impressive.

(Though once more don't get me wrong, there are inconsistencies/plot holes in Amano's plotlines and worldbuilding, but not, like, at their seams, if I can say it like that? It's more often in the details, and it's fairly easy to fill in the blanks ourselves.)

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Finally it was a lot of fun to rediscover the characters in a new light, and a bit of a disbelieving surprise tbh.

For context before I started my reread of the manga, all this time I was going with the time I read/watched it years ago plus the times I skimmed it, but mostly by all the fanon I was consuming. And it's not to say fanon is wrong per se, but it latched on one to three character's traits, or slapped an easy character archetype on them easy to "relate" to within, and apparently never looked back lol. And also often dialed up those traits (good or bad) in a very noticeable manner.

What I'm saying is, fanon is, in fact, wrong sometimes zldnslsz, and the characters are much more nuanced even in the DLA! (Which still leaves us at a more or less superficial level, because, you know lol, but still!)

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To name the ones that stood out to me the most:

Nana isn't abused by Iemitsu, nor is she unhappy in her marriage despite Iemitsu being an absent husband (which is not relevent in the context of the DLA, but still, you can tell). She isn't an abusive mother to Tsuna either, and she is literally never an airhead. She literally just isn't, she actually does react very normally to the crazy Reborn brings with him, but much like Yamamoto as long as no one gets hurt (or walks it off), she just brushes it off.

And she has friends she goes listen to piano recitals with, and tries to save on money by eating rests, and gets in two-way arguments with Tsuna, and raises his allowance if he gets better grades to push him to work harder, and all around is just your average mom that really didn't read as just The Mom, if you know what I mean.

She has her flaws, definitely, she's not a great mom, namely is apparently used to call Tsuna Dame-Tsuna, but she's not just that.

She takes care of him, worries over him, and seems to be the only one who hasn't given up on him yet when the story starts. She supports him (though sometimes in a tactless to hurtful way), praises him when he does well, and trusts him to watch over the kids.

She's not that bad is what I'm saying, and 100% redeemable (that is, if you think she needs to be redeemed to begin with, which I actually do think she does, calling Tsuna Dame of all things is just a really shitty thing to do.)

(Though it's interesting to note that she doesn't do it again after what happened with Kyoko iirc, even if she might very well still talk to him in a belittling way at times. I just wish Amano would have commit fully to acknowledge it and resolve it, what with already having made it Kyoko's Dying Will Regret.)

(Edit: I had forgotten but she literally forgets his birthday while preparing someone else's birthday, so I take back that she is 100% redeemable because it's being too nice. But my point still stands.)

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Haru is literally such a fun character, it makes me even more sad now to know what Amano did with her (nothing ansknslq 😭😂).

She's unhinged, has zero impulse control, does not reflect on the consequences of her lack of impulse control as Tsuna points it out, is ready and willing to throw hands at any given moment and is unapologetic of it, and is the one Amano actually calls an airhead.

The only problem she had with the mafia is that she thought Tsuna was forcing it on Reborn, and when she confirmed it was all true she literally didn't even blink at it, and immediately called herself the future Decimo's wife djosdkkd.

On that note she is literally mafia right from her first appearance, is more or less involved in almost all the mafia shenanigans, was right there with Tsuna & Co when they went to destroy the Tomaso's headquarters.

And like?? Amano could just have left it at that if she wasn't going to do anything else/more with it. Haru had so much potential, and not only Amano did nothing with it, she actually watered her down and took away all her distinct character's traits 😭.

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Hibari is so much more feral and playful than his fanon cool, overpowered, quiet badass counterpart. Which I love too, don't get me wrong, but these two sides of him don't have to be exclusive!

He talks and smiles and jokes often, and shows off and casually insults you, and licks the blood away from his lips after having beaten bloody other middle schoolers who dared to defy him (I know this happens in the Kokuyo arc, but it illustrates my point the best).

Not much more to add than that, we should just acknowledge that and put it in our works more often.

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Gokudera is a compelling character from the get go, and as far as the DLA goes, he's the most compelling character second to Tsuna. He's the only one to actually have flashbacks and a backstory. And what stood out to me the most that I don't see often in fanon, is that he's really a good friend.

Yes he has a short fuse and snaps easily and is easy to anger, but he's not always angry. And is seen having and being capable of positive exchanges outside of Tsuna (I'm thinking Yamamoto namely, who's made with Ryohei to be the one he gets angry with the most).

And yes he holds Tsuna on a pedestal and sees him through heavily tinted pink glasses, but even through that he's earnestly a good friend. And tries his best, and is hardworking and overachieving, so much so he messes up without meaning to, but he only ever has honest, straight-forward good intentions behind it all (well, maybe not always lol).

I love him a lot more now is what I'm saying.

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And Tsuna. I'm not sure I'll be able to articulate my thoughts properly, but like... he's just your average teenager. Which of course is his whole thing, and I'm saying it in a very not judgy way whatsoever, but he's often made to be at least a little more than that, namely about his bullying.

Like, it's kind of dramatised in fics? And I'm not going to elaborate on that more because it might come out wrong and I don't want that, but it's just, like—canonically he is just bullied, simple as that. Like many other teenagers are.

And it's all in a "chill" way (for unfortunate lack of a better word, I don't mean to trivialize bullying at all, it's wrong and unfair and never deserved or okay, just so we're clear), and by the time the story starts Tsuna is used to it and has given up fighting against it, and actually finds refuge and a twisted comfort in embracing his Dame-Tsuna's monicker, because at least he's not gonna hit rock bottom deeper than that if he does.

And I'm not actually going anywhere with this, it's just? It hit me how differently canon and fanon portray his bullying.

Back on the note of him being a (below) average teenager, Tsuna is not an uwu pure cinnamon roll too good for this world.

He's literally so quick to judge and criticise, whether in his head or out loud when he knows more the person (namely Haru lol, poor girl), it was actually a bit of a shock tbh lol. He snaps easily, and is lazy, does not want to try even one bit, and is happy to run away from his responsibilities whenever he can.

And not only I'm not saying that in a judgy way this time either, but I'm actually saying it in a good way. He really felt like your average middle schooler, and it was so refreshing to see. That, plus the fact the narrative never holds it against him, let alone punishes him for it even if he's made to grow out of these traits, and it's literally part of his character arc, is kind of unique for the shonen genre (maybe, I'm not exactly a specialist of shonen mangas lol).

And I can see why you'd want to change it in fics, but personally I think it really makes his character's arc even more meaningful.

[oumakokichi]

Welcome back!!! I’m not sure if you’re taking any requests regarding analyses/meta, but if you’re looking for any ideas/when you have the time, do you mind doing a character analysis on Shuichi Saihara? I understand that he’s the main character but there is a lack of analyses about him. Although there are few, most explore his role as a protagonist/relationships with the others rather than digging deep into his character/personality. I just feel like there is more to him.

Hi anon, thank you so much! I’d be happy to write a character analysis for Saihara. I’m pretty sure I wrote some pieces specifically about his character back in the day, but those are all pretty old by now, and there’s definitely so much to talk about with his character.

Obviously discussing Saihara in-depth will cover spoilers for the entire game, so be careful when reading!

It’s interesting that you bring up the fact that Saihara tends to lack more character analyses, because I feel like this is kind of the result of a few different factors. First of all, there’s the fact that he was never originally advertised as the game’s protagonist. I know that the bait-and-switch with Kaede left many people conflicted; even years later, I see a lot of people saying that while they like Saihara a lot, they would’ve preferred for Kaede to live, or that they still don’t know quite how to feel about his role as a protagonist as a result.

Combine that with the fact that Saihara is simply so different in his role in the game than either Naegi or Hinata were, and I think this leaves a lot of people either uninterested in analyzing him as an individual character or unclear of where to start. Ndrv3’s themes as a whole are such a drastic departure from the Hope’s Peak arc of the first two games that Saihara himself sometimes tends to get overlooked, despite the fact that I firmly believe no one would have worked better as the protagonist of the game precisely because of these very different themes.

This itself is an interesting proposal, because at the same time, I also believe that ndrv3’s cast had the biggest potential for every single character to be the “protagonist” of their own narrative. Not only is this just straight-up alluded to with the reveal that Kiibo was actually the audience proxy, and therefore the “protagonist” through which most of the audience were experiencing the killing game in chapter 6, but we even get brief playable moments with both Maki and Himiko, further driving home the narrative that these characters all had the potential to be the main character. You could even argue that the abundance of ahoges in the ndrv3 cast is a tongue-in-cheek joke about how many people must have had “protagonist syndrome” when auditioning for the show.

But having a cast full of potential main characters still doesn’t negate the fact that Saihara was simply the best choice possible for the protagonist of ndrv3 specifically. I don’t believe we would’ve had nearly the same experience without viewing most of the events through the lens of his inner narration and character growth, and that his specific role in the story as the detective was the perfect way to encapsulate the game’s themes of truth and lies.

Let’s begin by discussing Saihara’s actual personality: he’s timid, riddled with anxiety, and incredibly prone to doubting himself and his own abilities. These traits are at the core of his arc of character development throughout the story, as he constantly struggles with his own feelings of inadequacy and lack of self-worth despite being the most vital contributor to everyone’s survival in the class trials.

Even before he’s revealed to be the true protagonist of the game, these traits are incredibly easy to see from an outside lens. By playing as Kaede, however briefly, we nonetheless get a good look at what Saihara is like even in chapter 1; his lack of self-esteem and debilitating issues with anxiety and doubt are, if anything, even more noticeable when put into such stark contrast with Kaede’s optimism, self-confidence, and attempts to bolster the group into working together and believing in one another.

In fact, it’s through Kaede that we first get a glimpse of Saihara’s backstory, and slowly come to understand that his timidity and anxiety are largely shaped by his past trauma. Saihara feels personally responsible for ruining a man’s life after accidentally uncovering the truth of the man’s crimes, then later learning that he was attempting to get revenge on the person who murdered his entire family. The knowledge that he not only ruined this man’s attempts at revenge, but that this person actively hates him with a passion, has left Saihara emotionally scarred and deeply afraid of even maintaining eye contact with others.

As simple as this little bit of backstory is, I really love it in all of its presentation, because even in chapter 1, it begins to paint a much clearer picture of what Saihara is like. His inability to say no to people and attempts to please everyone begin to make a lot more sense knowing that he is incredibly afraid of being hated or blamed by other people. His reluctance to come into his own as a detective or acknowledge his obvious talent makes perfect sense knowing that he can never fully “bring justice” to a number of crimes, and that his job is by definition one that sometimes makes other people miserable by shedding a light on the truth—even when, sometimes, it might be better to leave the truth covered up.

This established backstory also immediately sets Saihara apart from previous protagonists like Naegi and Hinata, by first shaping him into a separate character who we get to know in chapter 1, and only later re-introducing him as the actual protagonist of the game. This isn’t to say that Naegi and Hinata don’t have established character flaws, or that we don’t know anything about their life prior to the killing game. But these two are very clearly set up to be more of the “everyman” protagonist than Saihara ever was: characters who the reader can insert themselves into by some degree, and whose primary traits tend to revolve around feeling “average” or “mundane” in a way that your typical reader will usually relate to much more quickly.

This makes sense for the Hope’s Peak arc shared by both dr1 and sdr2. These games in particular are centered around the narrative of a “talent-driven society” where only the most talented, elite in their field are rewarded with entry into the “best school in the country”—a narrative that is no doubt supposed to be commentary on Japan’s extremely competitive academic system and society in real life.

With Naegi, we see perhaps the best example of a truly average, normal person thrust into a group of these whacky elites. We trust Naegi almost instantly as a protagonist, specifically because his lack of any particular superpower-like talent makes him more relatable to the reader. And his contributions to the trials and eventual friendships with the other students are meaningful precisely because they prove that you don’t need these incredible talents or make outstanding contributions to society in order to be a fundamentally good person who helps others and forges real, genuine bonds with people.

Hinata’s narrative takes this idea of averageness among “the elite” and takes it a step further in terms of narrative complexity: not only does Hinata lack any sort of talent or trait that would make him stand out, but specifically because of this, he desperately craves a talent of his own. Hinata is incredibly easy for readers to relate to as someone who, in a competitive society where talent is everything, feels useless and meaningless without an elite-level talent of his own. This struggle with identity and self-worth in a talent-driven society is something that most readers will also have experienced on some level, and so makes Hinata instantly relatable and likable for most people.

Which takes us back to Saihara—again, I want to stress how different the setup for his backstory and even his personality are from our previous two protagonists. Saihara isn’t meant to be a self-insert for the reader, or instantly identified with the same way Naegi and Hinata were.

Even other bits and pieces of his backstory and home life, which we learn from his FTEs with Kaede in chapter 1, as well as portions of their salmon mode together, show how incredibly eccentric Saihara is compared to the other two. Saihara doesn’t come from what one might call a “typical home life.” He’s estranged from his wealthy, celebrity parents, and lives with his uncle, who is also a detective. His FTEs reveal that he’s spent his time wrestling alligators and, to put it nicely, being a huge weirdo for most of his life. He’s not our “everyman protagonist” by any means; he’s yet another whacky Danganronpa character who happened to be thrust into the protagonist spotlight through his role as a detective.

In short, Saihara is not what most people would expect from a protagonist in any story, let alone a DR game. He’s certainly not the “everyman,” between his established backstory and somewhat eccentric home life. And he doesn’t have the usual set of traits most people would expect from a protagonist, either. Unlike Naegi and Kaede, who are by and large optimistic, cooperative, and somewhat confident in themselves, or Hinata, who is assertive and forward-thinking, Saihara is… extremely pessimistic, anxious, and lacks any confidence in himself whatsoever.

And yet, in spite of all this, I think many people can and do relate to Saihara. I know I certainly do. Having a character who explicitly struggles with issues like anxiety and depression, not only as the result of the killing game itself (which would understandably fuck anyone’s mental health up irreparably), but even before entering the game, is something I absolutely love about ndrv3. Saihara is hardly the only character to struggle with these issues within the DR franchise, or hell, even just within ndrv3 itself, but it’s hard to ignore how textually canon his depression is when he spends multiple scenes in chapter 5 lying in bed and thinking, “there’s no reason to live, there’s no reason to live” over and over again.

Saihara’s specific set of character traits may set him apart from the “average” reader, but for people who struggle themselves with mental health and self-worth, I think his character hits close to home in a very different way. Over and over again, throughout the narrative, Saihara is called “weak”—by the people around him and even by himself. This “weakness” is a fundamental part of his character that simply wasn’t there with Naegi or Hinata; while the two of them were certainly considered “average” in one way or another, they were never described as “weak” or “lacking what it takes to survive” the way Saihara consistently is.

And it’s true, on some level, that Saihara is what most people might consider “weak.” At the very least, he’s dependent: quick to latch on to anyone who shows him even the slightest sign of affirmation or support, reluctant to admit to his own talent or take credit for his own accomplishments, and unsure of whether he can actually meet other people’s expectations without some kind of helping hand or support.

We see him immediately grow attached first to Kaede, then later to Momota, constantly seeking out a larger, more charismatic personality to hide behind. He’s so unsure of himself that he would rather let other people who he sees as “more likable” or “more crucial” to the group get all the attention and the spotlight; we see this lampshaded somewhat in chapter 4, when everyone nonetheless begins to single him out as the main reason they’re still alive, and he’s clearly baffled and uncertain as to how to reply to the praise and recognition.

Even what little we see of his pregame self from his audition video fits within this framework. Despite a lot of fan portrayals of pregame Saihara (often called “Inchara” or “Kagehara” in a lot of Japanese fanworks) as someone undeniably “evil” or “irredeemable” for actively wanting to participate in a killing game… in the end, all we really know about him is that he is desperate to die. He talks about wanting to kill people, yes, but the emphasis is placed on how much thought and effort he put into his own execution. Even before entering the killing game at all, we can clearly see that Saihara went in with the specific intention of dying.

He wants to play a detective if at all possible, but it’s clear that he’s desperate, nearly feverish, at the idea of “being a part of the world of Danganronpa” at all, in any capacity. This obsession itself feels like a form of unhealthy attachment, and is a clear sign that he (and most of the participants, if we’re reading between the lines) is so damaged and downright suicidal that he views getting 15 minutes of fame on his favorite TV show as the absolute best way to go out. In a word, he’s still “weak,” long before becoming the fictional character version of “Shuuichi Saihara,” and it’s this weakness that Tsumugi herself says she wanted to encapsulate in the show, by making him “weaker than anyone else.”

It’s this “weakness” that I honestly love best about Saihara’s entire character. Because while a large part of his character arc is certainly about becoming stronger and more confident in himself, it’s also a fact that his “weakness” never explicitly goes away. His depression isn’t just magically cured by the end of the story, and he doesn’t wake up one day deciding that his struggle with suicidal thoughts or feelings of worthlessness are over. If anything, chapter 6 ends with a huge subversion of this “magically cured” trope in most fiction, by having Saihara embrace his own weakness as something that actually helps him arrive at a third option when presented with the seemingly black-or-white choice of “hope vs. despair.”

Saihara is, as he admits himself, “weak.” He’s unable to choose the forward-facing optimism that “hope” represents in the killing game—moreso if that “hope” only contributes to the cycle of the killing game itself, enticing people into wanting to see more and more of it. But he doesn’t pick “despair” either, exactly. His inability to choose between this forced dilemma is specifically because he realizes how sick and cruel it really is, and empathizes all the more deeply with the suffering he and his classmates went through. It’s this “weakness” of his that allows him to really put into words how much pain they all went through, and how their pain matters, regardless of whether they’re fictional or not.

It’s an incredible moment in the game, and probably the point at which he became my favorite protagonist in the DR franchise, as well as one of my favorite characters in the series overall. Saihara’s character arc, unlike Naegi and Hinata, was never about “moving forward” or “choosing hope.” He says himself that he’s not the kind of person who can simply make a choice like that. Rather, his arc is about toeing the grey line between “truth” and “lies.”

As we mentioned earlier, Saihara is a detective. In any mystery novel, a detective’s role is to seek out the truth and expose it, no matter how tragic or upsetting the outcome might be. So it’s interesting, then, that by the end of the game, Saihara ultimately comes to understand and even value the concept of “lies.” For someone who knows exactly how painful the truth can be, and who is unable to simply live life optimistically in spite of that truth, the recognition of “gentle lies” told for the sake of helping someone cope, of finding meaning in an otherwise meaningless or cruel life, is incredibly important.

Unlike the Hope’s Peak arc, which sort of placed “hope vs. despair” as some very black-or-white battle with a clear winner (even when some aspects of the series, like dr3, also sort of suggest the idea that it’s an ongoing cycle that keeps repeating itself), there is no real battle or winner between the concept of “truth and lies.” In the end, both are equally important. Saihara both embraces his role as a detective and acknowledges the power that the truth has on people, while simultaneously acknowledging that lies (and therefore fiction) also has power and can be used to influence people and even inspire the world.

This character development is just absolutely fantastic to see, after watching Saihara struggle with so much pain and grief over the course of the game. Seeing a character actually acknowledge the importance of “lies” and “fiction” precisely because of how important of a motivator it can be to depressed, broken people is incredibly satisfying, and not something we often get in most stories. The fact that Saihara is so undeniably “weak,” that he isn’t the type of character you would usually expect to live to the end given how suicidal and deeply traumatized he is, makes his survival at the very end all the more of an uplifting message.

You don’t need to be “cured” to find a reason to live. You don’t have to magically wake up with the most positive, forward-facing outlook in life. You can be “weak” and depressed and hurting inside, and in the end, you still deserve to live, and have the opportunity to find meaning in your own life, whether it’s through truth or fiction.

This has gotten pretty long by now, but I hope I could make it clear exactly why I love Saihara so much. I understand people’s dissatisfaction with the protagonist-swap, and while I perfectly understand that he isn’t for everyone, he’s still a fantastically written character in my opinion, with a wonderful and meaningful arc of development that really resonated with me, as someone who also has struggled with similar mental health issues. I think the decision to do something extremely different from Naegi and Hinata was an excellent decision, and while I still love both of them as characters in their own right, Saihara is just so compelling both as an individual character and the protagonist of ndrv3.

Thank you for the question anon, and thank you to those of you who read to the end! I hope I could offer a decent character analysis!

[thestupidhelmet]

What would you say are the core personalities of the six? I don't know if you've made a meta about this already since I'm fairly new here. Love your blog!

Thank you! 😊

I’ve written a few metas on the characters’ personalities or characterizations. But I’ll write up what I interpret their consistent core characterizations to be. First, a preamble.

Unfortunately, That ‘70s Show’s writers had a tendency to forget, ignore, or outright change the characters’ core characterizations, too often introducing new elements -- to serve plot -- that conflict with earlier established personality traits confirmed and reconfirmed by many episodes that followed. This is different than character development, which is grounded often in incremental changes over several / many episodes or even seasons. 

Most of these revisions of the characters’ core personalities are negative. Only one I can think of is positive: Hyde’s in “Prom Night” (1x19). The core of his character gets a complete overhaul once his role as Eric’s villainous foil and rival for Donna’s affection is over.

Because of the show’s inconsistent writing, one can pick and choose which consistently depicted attributes are the truly canon parts of a character’s personality. Later in the series, these consistently depicted attributes often conflict. When I write fanfic and @those70scomics​, I depicts the characters according to what I believe are their core personalities. Other people can reasonably view their core personalities differently. 

Now to answer your question.

Fez

He’s insecure about fitting in with his group of friends and among Americans in general. This insecurity sometimes manifests as neediness with friends and girlfriends alike.

He’s loyal to his friends and generally caring. He doesn’t like hurting their feelings. He’s in touch with his emotions and sensitive, which means he can be hurt rather easily by his friends’ or others’ thoughtless remarks toward him -- or hurt by what he misinterprets as an insult (e.g., Hyde telling Fez he needs to act aloof to attract women, and Fez believing Hyde is calling him “a loof,” which Fez apparently thinks is a put-down).

He’s not defenseless, however. He’s got a quick wit and comes back with cutting remarks of his own or simply cuts off his friends with his catchphrase and its varieties (i.e. “Good day. ... I said good day!”)

He’s passionate, but this passion variously paired with his insecurity, neediness, and sensitivity can cloud his judgement, which causes him to go too far in many areas: dirty jokes, masturbation, pursuit of unavailable girls, eating candy, etc. 

He suffers from Nice Guy syndrome with Jackie during seasons 2 and 3. This means he has a sense of entitlement to Jackie’s romantic and sexual affection, and his respectful treatment of her is predicated on the expectation of romantic and sexual reward. Once he realizes that she’ll never reciprocate his romantic feelings, his respectful treatment of her diminishes greatly. 

In season one, he’s depicted as insightful to other people’s feelings and motivations. In seasons 1-4, he’s also depicted as romantic and a romantic. He’s a serial monogamist, but he suffers somewhat from toxic masculinity (e.g., calling Jackie little girl when he believes she’s overstepped her bounds) and sexism (e.g., often calling girls whores; once this insult is prompted by a girl who does not put out sexually, which is the opposite of the meaning of whore). With Rhonda, though, this toxic masculinity and sexism seem not to be evident.

He longs for intimacy, whether platonic (men) or romantic (women). See this meta about how the show writes Fez and Kelso’s relationship as near-romantic in later seasons while also (re)affirming Fez and Kelso’s canonical straightness to keep T7S’s universe a heteronormative one.

Fez is obsessed with losing his virginity, but for the first four seasons of the show, the depiction of this obsession falls in line with that of many teenage boys his age. It’s not out of the ordinary. Eric is shown to have the same obsession until he and Donna finally have sex. Further, Fez’s obsession is not so all-encompassing that he can’t put it aside for love. He does so for his love of Rhonda -- until “Everybody Loves Casey” (4x26), where the best parts of his core characterization are destroyed. See my meta The Deterioration of Fez’s Character for details.

My Take: I prefer to write the insightful, loyal Fez who sometimes doesn’t know how far to push a joke. He can be insecure, but he’s also got a strong moral center and sense of what’s right and wrong -- or develops this sense more thoroughly during a given story. He’s flawed but very capable of growing and changing due to his ability to examine his own behavior and love for his friends.

Kelso

In season one, Kelso is a math and tech prodigy who has little common sense and or will power. He’s also loyal to Eric and Hyde and clearly loves them, but his impulsivity and addiction to sexual pleasure drive him to act thoughtlessly. He displays a sense of entitlement but not a pathological one. He’s capable of apologizing for his thoughtless and entitled behavior.  See this meta about “Ski Trip” (1x13) for an in depth analysis of Kelso’s behavior during that episode.

After season 1, his math and technology knowledge is gonet. His selfishness and sense of entitlement overshadow his loyalty to anyone (or anything) other than fulfilling  his own needs and desires. His lack of common sense becomes cartoonish. He acts maliciously when he feels slighted, which happens when he doesn’t get what he believes he’s entitled to. He relentlessly pesters Jackie verbally and physically for sex when she just wants to sleep. He’s pathologically narcissistic, vain, and dishonest.

During the end of season 3 and beginning of season 4, however, he begins to grow and change. He experiences and express remorse toward Jackie for treating her so badly -- without any expectation of return. His selfishness fades significantly, as does his lying, but neither attribute disappears completely. He’s capable of putting his own wants and desires aside for Jackie’s, but she sometimes has to assert herself more than once for him to do so.

During the end of season 4, unfortunately, he not only reverts back to type, he also becomes worse. He rescinds his remorse and gives Jackie the responsibility for his cheating. He speaks misogynistically about women and her, and is just generally awful. See my metas Jackie Kissing Todd “the Cheese Guy” and Kelso’s Reaction and False Equivalency: Kelso’s “Most Romantic Gesture” Toward Jackie for further analysis.

In season 5, Kelso reaches the peak of his self-entitled narcissism, selfishness, hypocrisy, and possessiveness over Jackie. He interprets Jackie dating Hyde as an act of betrayal and an attack on his pride and self-esteem. He seeks out revenge on both of them, even while trying to “win Jackie back” with the same kind of maliciousness he shows Jackie in season 2 when she doesn’t forgive his cheating within a week of her discovering it. 

Throughout the series, he makes unwanted sexual advances toward Donna. He tries to grope her breast repeatedly while she sleeps. He tries to sneak a glimpse of her breasts while she changes, and she’s so sick of his whining that she gives into what he wants (in “Class Picture” [4x20]). The writers intended this scene to be funny, but it’s actually horrific and parallels Jackie’s complaints about Kelso pawing at her and whining relentlessly for sex that she gives in so she can sleep.

He makes these numerous sexual advances on Donna when she’s in a relationship with Eric and when she and Eric are broken up. Yet he when he and Jackie are no longer together, he acts like Hyde has committed a crime against him for being in a consensual relationship with Jackie.

Without Ashton’s comedic timing and likability, Kelso would be unbearable to watch during seasons 1-5. Kelso is funny only because of Ashton’s performance.

But in season 6, Kelso gets another chance at a true character growth arc. He fights his selfish, cowardly tendencies to have a place in Brooke’s life and their child’s (whom hasn’t been born yet). He works hard to prove his ability to be a good father. and himself worthy of Brooke’s love. Even more, he makes an act of utter unselfishness and sacrifice by letting Brooke and their baby go  -- to live Chicago with Brooke’s mom -- because that’s what’s best for them, not him.

That being said, he still demonstrates an amount of selfishness toward his friends.

Season 7 again drops him back to status quo -- almost. Brooke is gone. He’s barely involved in his child’s life. He dates Hyde’s newfound sister, in part to burn Hyde. But at least he treats Angie with respect and is faithful to her, as far as we’re shown. So that part of his growth from season 6 stuck.

Throughout all the seasons, he’s shown to have a vast imagination. He fancies himself an inventor or an astronaut. He comes up with some wild -- and some might say insane -- ideas. He’s creative despite not being very skilled.

My Take: I generally write Kelso as a selfish, self-entitled narcissist because of when my T7S fics take place in the series. I also use his lack of common sense as comic relief. But I prefer the Kelso capable of growth and change, the one who is willing to put his own needs and desires aside for the benefit of other people. This latter characterization development has continued in @those70scomics​, and I’ve given him major growth arcs in my stories Reflections Through the Glass, Beneath a Shattered Sky, and Those Who Play with Demons (which I have yet to finish writing).

Eric

Eric has a compassionate heart. He cares about his family, his friends, and people in general. But he also suffers deep insecurities about his masculinity thanks to Red’s treatment of him. Eric is more in touch with his emotions, like his mother, and Red has trouble relating to him. Red also worries Eric might be too emotionally vulnerable to survive the real world, which is why he’s so hard on him (see “Hunting” [2x13]).

Because of modeling his dad gives him on masculinity, the clear messages that Eric isn’t masculine enough, and what he absorbs from observing how society expects men to behave, he suffers from bouts of chauvinism. Donna.is regularly the recipient of Eric’s insecurities about his manliness. He often feels threatened by her self-confidence, athletic ability, intelligence, etc. -- because she’s a woman and his best friend / girlfriend / fiancée. He falsely believes her strengths highlight his weaknesses as a man.

But he’s also patient and unselfish with Donna, putting aside his own sexual desires for her need to go slowly or for celibacy (in season 6). He’s supportive of her and all his family and friends, including Laurie and Jackie -- both of whom he has an antagonistic relationship with. He’s very loyal to his friends.

Eric uses sarcasm and his quick wit as defense mechanisms. Some might say he’s a little stunted in his growth due to his continued enjoyment of playing with action figures. He indulges at times in his mom’s infantilizing of him while also trying to assert his adulthood.

He has a specific vision for his future: marrying Donna and having a family with her. This vision, however, does not include a career. He doesn’t seem to be passionate about much else besides his relationship with Donna (and having sex with her) and Star Wars. This is a failing of the writers. Eric’s storylines are so Donna-focused that the show gives little space for what else he might be passionate about.

Eric is very much capable of recognizing, owning, and learning from his mistakes. He can be a total ass, but he eventually realizes his behavior and makes correction.

Donna

Donna is confident, athletic, intelligent, and a staunch defender of gender equality (when written consistently). She’s loyal to her friends. She often puts aside her own pride to protect Eric’s self-esteem. She gets angry at him almost only when he’s earned it. See In Defense of Donna (an essay in eight parts) for an in depth analysis on her relationship with Eric.

When she’s in severe emotional pain, she becomes self-destructive. Losing her relationship to Eric at the end of season 3 and her mom moving to California sends her into downward spiral. Earlier, we see this self-destructive trait in “Eric Gets Suspended” (2x09) when her parents pay little attention to her due to their obsession with the latest fads. 

Her parents’ lack of boundaries with her -- exposing her to their marital troubles and making her a pawn in them, as well as not hiding their sexcapades from her -- create a strong sense of boundaries within her.

The state of her parents’ relationship often influences her confidence in her relationship with Eric. She’s afraid sex will destroy her relationship with Eric; but once her parents renew their wedding vows, she has faith enough that romantic relationships can last that she finally feels safe enough to have sex.

She strongly values her independence. She doesn’t want her life and prospects dictated or limited by her romantic relationship with Eric. She witnesses how her dad’s controlling chauvinism stifles her mom’s own independence and dreams for herself, and she refuses to let Eric’s insecurity and chauvinism do that to her.

She’s passionate about writing, both journalistic and fiction, as well as music. She’s playful and forgiving. She doesn’t fit the gender norms of the 1970s. She’s as comfortable playing basketball with the guys as she is decorating a room or gymnasium for an event. She has a mixture of femininity and masculinity, which only Jackie seems to insult her about.

Jackie

At her core, Jackie is a compassionate, generous, and insightful person. She gives far more gifts to Kelso during their relationship than he does her -- despite her always stating how much she wants presents. She gives Donna lots of advice and support during Donna and Eric’s transition from friends to lovers. She continues to give Donna advice and support throughout the series about her love life.

But Jackie can also be very controlling, insulting, and selfish. She’s quite vain, but she’s also insecure about all she acts secure about. See Does Jackie Become Less Insecure about Her Physical Appearance when She Dates Hyde? If So, Why? 

Jackie has abandonment issues because of her parents. Her father isn’t home a lot and often shows his love for her through presents. The latter is why she wants / expects to get gifts from her boyfriend(s). She develops a marriage obsession out of wanting a guarantee she won’t be abandoned by her romantic partner, despite that marriage doesn’t actually guarantee this.

She also has a tendency toward self-delusion. She so needs Kelso to be whom she wants him to be that she goes into denial about his infidelity and all the negative qualities of his I described above. Eventually that delusion is broken, only to be replaced by delusions about Hyde. She transfers her feelings of (relationship-)safety from Kelso to Hyde.

Only when Kelso breaks her heart for the final time at the end of season 4 does she break out of this delusion cycle. She fantasizes about what her future with Hyde might be like, but that isn’t the same as deluding herself. Plus, Hyde consistently disabuses her of these unrealistic fantasies and offers her a much healthier and happier potential reality.

Once she’s with Hyde in season 5, she begins growing and changing significantly. Instead of complaining of her suffering as she does, for instance, during her S2-S3 break-up with Kelso, she hides the fact her mom has completely abandoned her after her dad goes to prison. She tells no one her mom hasn’t come home from Mexico.

This is not one of the healthier changes she makes in season 5, but fantasizing away her pain no longer works as a defense mechanism. Instead, she believes she has to face her struggles alone. Fortunately, Hyde discovers the truth and gives her a safe place and, in a very real way, becomes a literal safe place for her himself. (The writers screwed this up for the sake of a season-ending cliffhanger, but that’s beyond the scope of this meta.)

Jackie can be stubborn and determined. She wants what’s best for the people she loves, especially Hyde. She’s extremely forgiving. She doesn’t trust her ability to take care of herself, but she learns that she can (through getting a job, Hyde’s encouragement, her public access TV show, etc.)

She’s a complex character. When people don’t look beyond her surface, they find her easily dismissible. The writers too often wrote her this way during the series. But they also added many layers to her, as I’ve described in this meta.

Hyde

See the following metas I wrote about him:

Hyde’s Core Characterization Steven Hyde: Organic Character Development Steven Hyde: Inconsistent Characterization Hyde’s Character Shift from Season 4 to Season 5 Why Hyde Closes Himself Off More Emotionally in Season 5 Pathological Passive-Aggressiveness: A New Personality Trait Added to Hyde’s Character in Season 5 Hyde’s Potential Career

[itsclydebitches]

I’m Anon who mentioned that Chibi skit that was actually morally complex, and I have to say I love to series and do find it to be funny. Their is a gun where Ruby is driving, she knocks over a trash can, AND BLAKE FALLS OUT. That said, I do find it annoying, because some of the jokes (like one involving SEW) show that RT are aware of the main shows flaws, but have yet to actually correct them. Ruby still hasn’t talked about her SE, yet!

Yeah, I think RWBY Chibi has the potential to show both a lot of RT’s strengths - as well as their flaws - when set side-by-side against RWBY. The tone is more up their alley, constantly silly and over the top, never needing to integrate humor into what’s become a rather dark tale. That’s when we hit problems like Weiss turning her series’ long arc into a joke. 

I’ve spoken with a few friends about how I think RT excels at short, drabble-like stories that use the same characters and world but don’t necessarily have to connect beyond that. Which doesn’t mean they can’t connect or that RT has never hit on good growth - I remember one anon brought up Camp Camp - but the occasional success in an otherwise episodic story isn’t the same as requiring consistency and development for an entire cast across seven seasons, as RWBY does. You can also introduce flaws and conflicts more easily in a show like Chibi because they can be resolved at any point. Having Ruby learn to head-butt in a one-off humor episode is expected. We’ve reached our ten minutes, this story is ending, so we need to resolve the conflict in some simple way. But having Ruby learn to head-butt after not establishing her hand-to-hand as a problem, let alone a problem unique to her, and then not carrying that through to the next episode/volume which does connect to the previous... that’s messy. It’s the opposite for character strengths: there’s less risk of losing traits like Yang’s sisterly love because time isn’t taken up with major plot points or personal difficulties. A Chibi Yang isn’t grappling with something like PTSD, or going off to fight Adam. She just has to be Yang every time she comes on screen and a part of Yang’s core characterization is “loves Ruby,” so that shines through more easily when you’ve got a deliberately static character doing very little plot-wise. These are two different forms that require different skills, and RT has a tendency to try and apply skills needed for one to the other. 

RT also uses Chibi in much the same way any writer would a parody, though they haven’t done as much work to earn it. Meaning, every story has flaws, inconsistencies, ridiculous bits, and the like and while creating something like Chibi most authors would happily poke fun at themselves. If you’ve written a great story then the audience will laugh along with you. However, if your story is suffering... acknowledging those flaws doesn’t feel like an innocent bit of ribbing, but an admission that the writers aren’t willing to put forth more effort to fix those mistakes. The better a piece is, the more forgiving your audience becomes and sadly it’s (usually) the opposite as well. For example, I’ve been laughing at this author who mistakenly used a Zelda recipe in his very serious historical novel. 

That’s legitimately funny. But it’s funny in part because others know and I assume that this is not so prevalent a mistake that it has become a problem. If Boyne had a history of shoddy research practices, or was even just considered a sub-par author overall (he wrote The Boy in the Striped Pajamas), then this wouldn’t be a fun outlier but a persistent flaw - one audiences may eventually get fed up with. RWBY, at least to me, feels more like the latter. They haven’t put enough work in to fix the problems in their story, so when they laugh at those numerous mistakes I’m not necessarily laughing too. 

[mymindsmadness]

Why I hate seeing the Uchiha logo on Sakura’s shirt/why I don’t ship SasuSaku

DISCLAIMER: I’m not shitting on anyone’s ship. I get it. You love them. You do you booboo, I’m just here to speak my truth. Don’t come at me with comments shitting all over the things I love. You have your opinion and I have mine.

If you are a SasuSaku shipper and you read past this point, you have no one but yourself to blame for your anger!

I’m probably gonna rant a bit, so I’ll start with the bottom line. Sakura and Sasuke’s relationship is one of the most toxic relationships I’ve ever seen.

Unrelated (but kind of related): All the female character are written pretty shitty, and that adds to this whole mess.

Part I [Young Love]:

Okay. I get it. She’s all for Sasuke and he doesn’t give her the time of day. We love a queen that gets hers in the end. The problem is that Sakura’s core personality traits are based off of her obsession. Her wants. Her flaws. Her essence as a [non] person is completely defined by Sasuke’s character. This is even verified when Kakashi asks them about themselves and Sakura literally gives [giggles] Sasuke for every answer.

When they’re tested with the bells, Sakura shows no ninja prowess whatsoever. She shows no skill beyond hiding in a bush. The only time we really see her moving/thinking/talking, is when it’s to ‘rescue Sasuke’. She even refers to him as ‘my Sasuke’ a dozen or so times. Seriously, it could be a drinking game.

During the chunin exams, we see a little more of a backbone from Sakura. But even as she struggles to make herself be seen, she really only wants to be seen by – you guessed it – Sasuke.

When Sasuke gets extra angsty [YOLO style], and tries to leave the village, Sakura tries to go with him. Think about that. Sakura tries to leave the village. Her home. Her family. Her friends. Everything! She does this because the idea of becoming a criminal is more appealing than being left behind by Sasuke.

But you know what? I’ll excuse it. She’s only thirteen at this point. She’s entitled to make stupid choices in the name of puppy love. We’ve all been there, man. And sure, at thirteen all love feels like true love. You know what girl? I forgive you.

Part II [Personal Growth]

At this point, Sakura’s whole character arch is defined by the people that leave her. And I could forgive this – almost. Enter Tsunade. I love Tsunade. I worship Tsunade. She is probably the one female character in the whole show that is as well integrated as the men [if we ignore the fact that her whole backstory is revolved around them]. When Sakura started training with Tsunade, I knew there was about to be an Eye of the Tiger montage. Sure enough, my girl comes through. Come Shippuden, Sakura is kicking ass and taking names [literally]. Better yet, she found her niche in medical ninjutsu [insert joke about how females always play the healers]. She’s got chakra for days and the control of a saint. Piss my girl off? You ‘bout to lose a lung.

Yes, Sakura’s still insecure when it comes to her place among the others, but can we blame her? She had demi-gods as teammates. But it’s different now. Sakura knows she’s a badass. She’s fully aware that her control and strength are something to be proud of. She uses those years of neglect and training to help her comrades!... and chase down Sasuke.

By the beginning of the 4th war, this bitch has lost her damn mind. At this point, Sakura and Naruto have been searching for Sasuke for the last 3 [or so] years. All this time, Sakura is under the impression that she’s in love with him. The times from when Sasuke left to the end of the war, are some of the most defining years in a person’s life. At 13-17 is when a person’s personality really starts to develop and lay out the foundation for the adult they will be.

Part III [All’s Fair]

Now, I’m not saying that Sakura didn’t hold a certain level of love for Sasuke her whole life. It’s very possible. However, there was no way it could be a romantic love. Think about who you were when you were twelve. Now think about who you were at seventeen. Did anything change in that time?

Sakura could not have been in love with Sasuke because she didn’t know who he was. They hadn’t been in contact in years! She had the memory of who he had been on a pedestal, and without him around to alter that image, it became more and more idyllic. By the time Sasuke returned [at the end of the war], Sakura was still in love with the idea of him.

She had put their relationship and romance in the forefront of her mind all of her life. It had been her driving force and defining mindset. When this crazy ass bitch [ily gurl] activated her seal and literally jumped on a pike for her boys, it was the most badass thing she’d ever done. And when she was done with that? She got upset that Sasuke hadn’t noticed/cared. She was fighting for her friends, her family, her village, her life… and all that confidence she had gained was brought down by the fact that the boy she thought she loved didn’t notice.

Part IV [In Which Sasuke Cares… Allegedly]

Remember when Sakura finally got Sasuke to notice her? When he overcame his terminal broodiness and admitted that he was touched that she never gave up hope in him? When he kissed her goodbye with the promise of returning and being worth all of her unfounded love and attention?

Oh… right… that never happened.

I mean… he tapped her forehead like Itachi did to him that one time… Same thing I suppose.

Okay, okay… I might be being a little harsh. I’ll concede that it is a genuine act of affection for Sasuke. But… a minor one. Alright, our broody boi doesn’t like PDA… Still, we’re given no indication that they talked about their feelings before this goodbye. That’s backed up by the fact that she asks to go with him – something she would have done before now if they had. Legit, Naruto got more of a goodbye than Sakura did [two dudes, chillin’ in the woods].

To the best of everyone’s knowledge, Sasuke only stayed in Konoha for about a year after the war. Now, depending if you follow the manga or anime, some of that time might have been in jail. My point is, that a year or less was spent in the village after several years of Sakura loving him from a distance.

At this point, she very well might have learned about the older Sasuke. She might have decided that she did still love him [doubtful on a realistic level]. But then he leaves. We’re not sure for how long, but if we look at Boruto, it’s common for him to leave for long periods of time.

Once again, Sakura is left behind with her memories of the man she thinks she loves [because without a functioning adult relationship, there’s no way to be sure].

Part V [Sakura Achieves Her Nightmare Dreams]

Let’s step into Boruto for this next part. We flash forward to all of our beloved characters in their adult years. I know what you’re thinking ‘Oh! I’ve missed so much! They’re all so grown up!’. Hahaha, don’t worry. They’re not at all the same people.

Since the series is based on the children, we’re forced to fill in some of the blanks ourselves. Sakura – the best medic nin in Konoha. The woman whose strength rivals that of her mentor’s. The woman who mastered the Seal of 100. The woman who grew into her own as a character, even if the driving force was a boy - is living her best life as… a housewife? I mean... maybe?

We don’t know this for sure, and a lot of us hope she runs the hospital or something [because we want all good things for our girl], but have you noticed that she doesn’t wear a headband? A ninja one that is. The girl who worked hard to not be left behind’s whole adulthood is… the woman left behind.

Even if it can be argued that she achieved her goal… has she? Yes, she wanted to be Sasuke’s wife and baby mama since waaaaay too young of an age to be thinking about that shit, but like this? We know from the fact that Sakura fainted when Sasuke came home that he’s rarely there. This means that she probably raised their daughter alone. Even now, she can’t just leave because Sasuke’s always away.

If you think I’m taking libraries with filling in the gaps, I refer you to that one time her daughter basically asked if they were really married. And if you think I’m exaggerating Sasuke’s absence, I refer you to that time he almost killed his fucking daughter because he didn’t know what she looked like!

Let that sink in.

Part VI  [In Summation]

Sakura was a girl that grew up with a false ideal of love. She obsessed over a person that didn’t exist and carried that falsehood into her adult life. When presented with everything she thought she had wanted her whole life, Sakura jumped on the chance because it was the logical move. In gaining everything that she thought she wanted, Sakura lost any personal growth that she had gained by the absence of her obsession aka Sasuke.

Sasuke, who had ignored her as a child, tried to kill her as a teen, and barely acknowledged her beyond using her to revive his clan, can’t be bothered to even appreciate her. Even as he leaves again as an adult, he says goodbye to their daughter [again, with an oh-so-affectionate poke], but simply walks away from Sakura.

The truth is that given the way she blushes and faints around him still, Sakura doesn’t know him. She’s still in love with an idea of the man that grew from the boy she had been obsessed with all her life. She wears the Uchiha symbol on her back as a reminder that she did it. She got the guy! True love wins again! I mean… maybe? He’s fucked her at least, so…

There’s a chance that Sasuke loves Sakura. I think he loves her for loving him. At the very least, we know he’s fond of her… I assume.

Sakura was a character that was used to further the plot of a man. Even as an adult, she’s left to sit and pine as the boys go off on their adventures. She’s a woman that’s stuck in a hell of her own creation – even if she loves her daughter and the things that marrying Sasuke has brought her.

There’s ‘getting the guy’ and being trapped in a toxic idealized relationship. How you choose to see this one is up to you.

[tirorah]

In ‘Shizuka, Come In!’ Everyone Still Has Much to Learn

That’s right, kids, it’s that time of the week again! I’m back with yet another Strike Witches rant!

This week we had the Shizuka episode, or at least, that’s what the episode’s title led me to believe. But interestingly, this wasn’t totally a Shizuka spotlight. Although it did show us how far she’s come, it also hammers home one of the central themes of Road to Berlin: everyone has flaws, and they need to overcome them to win the day.

The Hattori Dilemma

I’ve had mixed feelings about Shizuka so far. When she was first properly introduced, her hero-worship of Yoshika was understandable but grating. Thankfully, that only lasted for one episode, and she became a nice support character thereafter. Through her, we’ve also gotten a bit of an outsider’s perspective of how the 501st behaves, showing us how much their lofty reputation can deviate from reality. But I wouldn’t say she’s filled any particular roles that couldn’t be handled by one of the other members of the cast. The fact this has come at the cost of so much potential Lynne screen time is a bit disappointing.

When I went into this episode, the above was the number one thing I hoped to see resolved, or at least somewhat alleviated: giving Shizuka a clear role that would justify adding her to a roster of 11 already-developed characters.

Did this episode do that?

No. But I don’t think that was the intention either.

Shizuka Is a Great Soldier

Although this episode wasn’t all-out combat, owing to the setbacks the cast faced, this was definitely the start of a three-part finale. And I think we’re going to see more of Shizuka in the rest of it, all the way up to the ending. Plus, there’s still the matter of what her special magical ability is (if she has one; it might be cool if she didn’t), and this episode seemed more about showing us how much she’s improved since joining the 501st.

In particular, I really enjoyed how much Shizuka valued communication. She’s good at following orders and protocols, and she showed that here: constantly communicating with Minna whenever needed, and holding her own in the meantime. In fact, Minna implicitly trusts her to do well, as when Shizuka reports she’s fighting a new Neuroi solo, Minna doesn’t sound all that concerned. She doesn’t immediately send someone over to help, either (although Shirley did show up to catch her later.)

Did you notice the pool of blood is bigger later on? RtB has been so good at these little details.

Shizuka did everything right, and others even comment on how much she’s improved. But her strong suit is also her glaring flaw: she’s stiff and is incapable of thinking on the fly at times, making her less adaptable in the heat of combat. This is most clearly seen when she realizes the Neuroi’s core isn’t where it was last time; shocked and flat-footed, she stops moving around, and it’s in that moment that the Neuroi’s drones surround her and self-destruct, wounding her. This stiffness also stems from her inexperience; as she matures, she’ll likely learn to adapt to rapidly changing battlefield conditions. And she’ll probably loosen up a bit like Trude has.

This comparison to Trude isn’t accidental: in the Movie, she was introduced as an inexperienced Trude knock-off at first, and in the tail-end of this episode, their similarities are on display once again. As Shizuka sees what’s happened to Yoshika, despite having done everything perfectly fine, she blames herself for her friend’s condition. Yes, her injury did put everyone else in a very tight spot, but there was nothing she could’ve done better. There’s also the factor of her self-confidence; while she’s improved in this regard, there are still moments in this episode where she feels useless—lesser—compared to her more experienced colleagues.

And Shizuka isn’t the only one whose flaws were shown this episode. Episode 10 was, surprisingly, more of an ensemble work than previous episodes; Yoshika, Minna, Trude and Shirley were all given some time in the limelight.

Yoshika Is a Terrible Soldier

Let’s start with Yoshika, because oh boy, she was flawed as all hell. Longtime viewers of Strike Witches will already know that Yoshika isn’t much of a soldier. She starts out as a pacifist, and only takes up the gun when she realizes she can use her power to protect others. Protecting people is so ingrained into her psyche that it’s the very foundation of almost everything she does in this show, and nowhere is this as apparent as here.

This means that although she’s a sweet girl who will happily follow orders, she also disregards those orders the moment it conflicts with her desire to protect people. This trait ebbs and flows throughout the episode: at first, she does her bit for the plan, but when things go tits-up and she’s ordered to retreat fully, the lives lost around her push her to defying her orders. Shizuka manages to placate her by saying she’ll fight in Yoshika’s stead, and Yoshika does end up doing as she’s told; a fact that has Lucchini and Shirley ribbing them, stating that’s the biggest headline of all.

Ah, but then in come Patton and Bradley, and when they find out what’s wrong with Yoshika, they tell her not to use any magic until they go for another attack on the Hive. Before Yoshika can respond to this, a Neuroi appears to attack their facilities in Kiel.

When the need is this great, Yoshika ends up undermining her earlier character growth and runs off to the hangar before Minna or anyone else can even get a word in. She remains adamant when Minna stops her; it’s only Mio’s stinging reprimand, saying she should trust in her comrades, that makes her relent.

You say this, Minna, but it didn’t do much good in the end, did it? Also, another good Commander moment for Minna.

Keep in mind: this relapse of sorts may be frustrating for us as viewers (it did annoy me a little), but it’s all part of the struggle to become a more balanced person. Whether Yoshika will move past this compulsion is hard to judge at this point, but setbacks are also a natural part of progressing as a person.

Finally, when Shizuka is wounded and the others are struggling to stop the bomber Neuroi from crashing into Kiel, Yoshika decides to use her amazing shield to save everyone. Unlike the previous situation, this action is at least justified: Kiel is important for the operation, and had it been wiped out, Operation Southwind would be back at square one and many people would’ve died, including high-ranking personnel.

Her condition is unknown by the end of the episode, leaving us to wonder if she’s finally pushed herself too far again. I suspect the ramifications of this ending won’t be fully felt until the show’s final episode, at which point Yoshika may pull another deus ex machina and fly once again. (I think there’s still one shot of the first PV left unused, where she’s alone in a hangar and she says she wants to protect people.)

Minna Is a Great Commander

Yay, Minna got more to do! She actually gets to fight again, and she also gets to lead the 501st into battle, meaning we were finally shown some more of her leadership abilities in the field. She keeps a cool head, and this time suspects the trap before it’s sprung. She also has to rein in Trude a little this time around. Best of all, she somehow finds the time to give Shizuka some pointers even though they weren’t fighting alongside each other. It’s this grasp of the bigger picture where Minna performs better than anyone else.

But Minna is still incredibly protective of her girls, so when Shizuka’s out cold and they seem to be in an unwinnable situation, Minna gets a bit crazy again and flies at the Neuroi to slow its descent with her shield. This, at least, is born purely out of compassion; she wants to give the others more time to rescue Shizuka. But it is a loss of self-control in a way, not a good look for the person who’s supposed to keep everything under control.

Trude Is Put on the Back Foot

It was interesting to see Trude in this episode. She seemed her usual, level-headed RtB self…right up to the moment things started going wrong. Even though the Wall-type Neuroi have drastically altered the situation—making it clear the Neuroi were prepared to deal with them—she disregards Minna’s warnings and dives at the core. And when the retreat is ordered, she makes it obvious she’s unwilling to leave. Fortunately, for her sake, Minna hits back with this:

Trude does follow orders again after that, but these are curious lapses in her self-control that we haven’t seen for quite a few episodes. And now that Trude is officially the second-in-command of the Wing, such errors in judgement potentially spell disaster for the very people she wants to keep safe.

She indirectly faces a similar challenge later in the episode: when Shizuka is stranded and unresponsive, everyone tries to save her, only for the Neuroi to crowd its explosive drones around her prone body. Trude and the others stop short, and as Shirley asks her for orders, it becomes clear that she has none to give. She doesn’t know what to do. At least she doesn’t lose her cool, which is a small victory.

To contrast her actions earlier in the episode, when the Neuroi starts descending toward Kiel, Trude’s role shifts from attack to support. It’s very fitting that when Minna attempts to slow down the Neuroi to save Shizuka, Trude first once again calls her an idiot—and then goes in to help her anyway, because damn it Minna, you can’t do it by yourself. The two of them, plus Erica, go completely on the defensive, trusting in the others to save Shizuka.

Shirley Is Overconfident

Shirley had a very interesting role this time around. Early on, everything seems to be going smoothly and she gets quite cocky, even saying they might not need Yoshika at all. But she does change her mind once things start going awry; she’s obviously matured a fair bit since the early days, and in this episode, she’s very responsible and quickly feels like things have become dicey.

There are also a few moments where she’s supportive of the others, like telling Yoshika they’re almost in firing range and she just needs to hold on a bit longer, or telling Shizuka she did well and kicked lots of Neuroi ass. This is important, as Shirley technically has a responsibility for many of her younger comrades. But instead of Minna’s nurturing, motherly attitude, or Trude’s mix of tough love and gentle attentiveness, Shirley is the fun big sister who tells the best stories during parties. You need all three.

She also saves Shizuka’s life twice, first when Shizuka faints after defeating the bomber Neuroi solo, and later, when Shizuka is stranded on the Neuroi with a wounded leg. That second rescue is especially nice to see: Shirley zipping between Neuroi mines and grabbing Shizuka’s hand so precisely at that speed; it’s quite impressive! It also rewards the trust Minna and Trude placed in their subordinates (who would then, technically, be under Shirley’s command) to find a way to save their friend while the Karlslanders bought them time. Shizuka’s rescue is a nice team effort, spearheaded by the woman who used to be far more concerned with her own dreams instead of being a responsible figure.

Patton Is a Goddamn Idiot

I would not at all be sorry if he got blasted into space by a Neuroi beam.

What, you thought there’d be more here? Nope. The man is so flawed he wraps right back around to a void of nothingness.

More Importantly, There’s Also Something Fishy Going On

At least Patton and Bradley had some narrative weight in this episode, though, first with the reveal of Yoshika’s old prototype Striker, and then…with this:

For the first time in the season, we see hints of the military being dumbasses by holding onto some sort of secret weapon. Ah, Strike Witches traditions, what wonderful things they are. Anyway, the weapon seems to be some sort of huge tank with two frontal cannons. (Other commenters think it’s this thing, and I believe them.)

Either way, they seem to highly regard this thing as some sort of trump card, and Bradley also had this bizarre line:

…Luck?! I’m pretty sure that’s not how commanding works. If it did, I’d be much better at strategy games.

To me, their dialogue about the secret weapon seems to indicate they have some sort of ulterior motive. But they don’t seem to dislike Witches like Maloney did; it’s more like they’re using them as tools, ready to discard them when they think Witches are no longer needed to achieve victory. That was obvious when, after two tense episodes of retaking Kiel, the military just rolled past the Karlsland Trio with a cheery “Hey, good job! We’re going to go and retake Berlin now, choo choo!” They didn’t even inform Minna and co. of that before their arrival.

There’s also this little fact that Trude—of all people—points out:

Because Operation Southwind has faced delays and the like, the military’s apparently decided to keep the public unaware of their struggles. Instead, the newspapers paint a rosy immediate future, even though they failed in their objectives.

I’d also like to point out that this tidbit, while not followed up on in this episode, was impressive to see mentioned. War propaganda is a real thing—we’ve seen some examples of it in headlines before, such as when Shirley was reading the paper in Episode 4—and it makes perfect sense that the narrative’s been twisted like this to keep people calm. Minna doesn’t show much of her personal feelings on the matter, but while Trude doesn’t show any anger, it’s clear she’s not a fan. I really hope this gets some payoff later, and RtB’s track record gives me confidence it will.

But yeah, all this secrecy and stuff is a bit suspicious. I can’t put my finger on it.

…Or maybe I’m overthinking this. Maybe the military’s higher-ups aren’t as bad this time around. After all, Mio was witness to the whole thing with the secret weapon.

…

Oh shit, Mio!

O Mio, Mio, wherefore art thou Mio?

Considering we heard her in the preview, I was 100% expecting Mio to have a big role in this episode. Except…she didn’t? She barely did anything important. I was very thankful when she told off Yoshika, as Yoshika’s flaw was getting out of control, but she didn’t do much else of note, mostly serving as a link between scenes or conveniently broadcasting Shizuka’s injury just before the chaff cuts off communications.

Heck, she didn’t even have any dialogue with Minna! I was fully prepared to roll my eyes at their drama-filled shipbaiting (wholly different from Minna and Trude’s drama-filled shipbaiting, of course), but no, nothing.

I assume she’ll still have a role to play in things to come. That plane of hers has been teased all season, and in an earlier post I alluded to a way she might be able to fly into combat with it. Well, we’re almost at the end, so I might as well tell you my theory:

I think this has been set up as far back as Episode 2. In that one, we found out some sort of anti-Neuroi technology has been invented. It can be incorporated into an object (like that ship) and it will give that object a certain degree of resistance to Neuroi beams.

It seems to show up as red dots in the material itself, whenever a beam hits it. This shielding isn’t infinite, but it did allow the Doge to survive several otherwise fatal hits. With this technology, as well as the maneuverability of a fighter plane and Mio’s experience and skills, she could be capable of contributing somehow.

Road to Berlin

Is the title of episode 11, which is intriguing. Usually, namedropping the title is reserved for final episodes, or very special ones. As we know, the ‘Road’ is the personal challenges and setbacks the cast must overcome along the way. With some of their flaws built up in this episode, it seems natural for episode 11 to continue this theme, as the final offensive on Berlin begins, Patton and Bradley reveal their weapon (which I assume will backfire in some way), and we’re treated to an ominous shot of Mio watching over a bedridden Shizuka. Will Yoshika and Shizuka recover? Will Mio finally fly into combat?

Interestingly, the preview doesn’t have Mio’s voice in it at all, which makes me wonder how big her role is going to be. Instead, it’s Minna, Erica and Trude we hear, signaling we may have more Karlsland Trio goodness coming our way. I know which I prefer, but I do hope Mio gets one awesome scene all for her, so that Mio fans who’ve been waiting for her return all season won’t be left disappointed.

[tsainami]

happy sts sai! Do you outline or plan your story in advance somehow? If so, how?

happy sts ani!

i do. i didn’t always - and no wonder i had a thousand plot holes each time and always lost my motivation, hah! since @nouveauweird​ recommended take your pants off! by libbie hawker to me though, i’ve been outlining. that book is a total game-changer. i strongly recommend it.

under the cut, you’ll find the basic process of outlining i’ve learned from it. i also recommend you check out runi’s post - her whole blog really - as she provides some very useful tips and tricks on writing. disclaimer that there is no one-size-fits-all rule for writing. always take what works and leave whatever doesn’t! what lies below is what’s worked for me.

1. Find Your’s Story Core

The Story Core is composed of five elements Hawker claims every compelling story contains - and it’s true, if you take a moment to think back over your favorite books/films/shows. The Story Core is consists of:

A character.

The character wants something.

But something prevents them from getting what they want easily.

So they struggle against that force.

And either succeeds or fails.

Once you’ve figured this out, you’ve readied the bones for a solid outline and story.

2. Plan Your Character Arc

Plot comes from character. If you want to write something your readers won’t be able to look away from, you got to add depth to your characters. The basis of depth - and what people will be able to relate to - isn’t the trait(s) that make your main character heroic, but their flaw(s). Hawker says, ‘Story is all about internal growth, not external events.’ The book provides a more in-depth explanation on all of this.

The outline for Character Arc is composed of the following:

1. Main character: brief description of them. Key things to remember. 2. External goal: what the main character wants - something that they’ll have to overcome their flaw for. 3. Antagonist: who will fight the hardest to take that external goal for their own? 4. SEE BELOW (the plot headings below). 5. End: Is the lesson the main characters hard? Soft? Ambiguous?

Flaw: Make the flaw serious. Ally: Who has the power to force the Main Character onto the ‘correct’ path of overcoming their flaw? Theme: What is the main point of your book in one sentence?

3. Plot

The next part is really just filling the following template out - while Deep Thinking, of course, but the book explains this best so if you’re curious, do read it!

Opening Scene Inciting Event Character Realizes External Goal Display of Flaw Drive for Goal Antagonist Revealed Thwart #1 Revisiting Flaw New Drive for Goal Antagonist Attacks Thwart #2 Changed Goal Ally Attacks Girding the Loins Battle Death Outcome

Make sure, while filling this out, that you only fill it with - and only with - sequences directly related to one of the following - Story Core, Character Arc and Theme.

4. Configure the Pacing

Not gonna lie, this is the hardest part to me - and it’s somewhere I’m still stuck at. After you’ve plotted your entire book, the task is now to make those scenes more definite - while not giving into the temptation of adding random irrelevant things that jumble up and cloud the soul of your outline, which is your Character Arc. Hawker compares this process like drawing an upside-down triangle. The narrowest tip of it, where everything balances on, is the climax of your story. The wider part, your opening scene. As your story progresses, it is important to narrow your character’s path, forcing them to slowly - but inevitably - face their flaw.

Pacing is very important. It is mostly the reason why people drop books - because the pacing flag went up too many times and has ceased to keep their interest. And is also the reason why I can’t quite finish my outline sldkfjsldf (but that’s on me).

Not to advertise it again (Libbie Hawker should be paying me for this jk), but to learn more about this, I really do suggest reading Take Off Your Pants!

[threewaysdivided]

I saw your conversation about Sam Manson. I was talking to Imekitty about this, but I’ve noticed a few things that (sort of) make Sam’s relationship with her parents seem more like teen-drama than actual hardship. If you look closely, she’s got a lot in common with them: outspoken political-activism, possible shared-interest in vintage clothes, and no shame in saying they don’t like certain people. Also, after the Fentons, they were the first to volunteer to use the Ecto-Skeleton, risks and all.

(In reference to this post.)

It’s been a little while since I rewatched DP so I’m not well-placed to do a detail-analysis implication-breakdown right now, but yeah - that fits with the overall impression I remember getting.  To me they came across as being sort of old fashioned set-in-their-ways conservative and snooty, and maybe a bit too Pleasantville -  but more often in the way of parents who do genuinely want good things for her and to be able to be proud of her despite not really understanding her interests, choices or friends and being very bad at expressing it.  Plus she seems to have her grandmother fully in her corner a lot of the time.

I really wish that the writers had committed to one or the other; either making it clear that Sam’s martyr/ persecution complex is mostly just regular self-inflicted teen-drama BS and giving her an arc addressing it, OR fleshing out the idea that she faces a lot of judgement/ pressure/ control/ nonacceptance in her home life and that her negative traits are a bi-product of defensive/ coping mechanisms resulting from that strained dynamic, rather treating things with Roger Rabbit Rules.  

(Which isn’t to say that a person can’t have similar interests/ personality traits to, and positive interactions with, their parents while still having a strained, broken or even abusive relationship with them on a deeper level, but the show never really goes hard enough in either direction to make it work.)

As mentioned the last post, this is kind of a consistent pattern across DP - the writers tend go with the low-effort first answer for whatever is Funny or Awesome or Convenient in the moment rather than putting in the work to find a solution that’s consistent with the characterisation, themes and world-lore overall.  There’s enough internal contradiction in the show that I don’t think it’s actually possible to take every canon detail as canon without fundamentally breaking things.  And in some ways that’s kind of cool; it makes the series more open to interpretation, and trying to distinguish authorial intent from authorial incompetence and come up with theories that account for as many pieces of canon as possible is really satisfying.  But, you know, it’s also kind of bad writing in general.

I think the thing that bothers me about Sam’s characterisation in particular is that - where it tends to be more obviously out-of-character when it shows up in other places - there’s a pattern to the inconsistency with how the writers handle Sam:

Throughout the series there’s a double standard in how Sam sees herself/ seems to expects others to act, compared to her own behaviour:

Despite being pro-pacifism she’s okay with smacking Tucker and encouraging Danny to destroy the trucks she doesn’t like

Sam values self-expression and is a feminist, but derides other girls for wanting to express themselves in a conventionally feminine way

Sam doesn’t like being forced to conform to others’ values but is okay with forcing others to conform to hers

Despite being anti-consumerist she shows very little discomfort at, or awareness of, her lavish home life and material belongings

She encourages Danny to take the moral high ground towards his bullies but has no problem antagonising and getting into petty verbal spats with Paulina herself

Sam stalks Danny and his love interest out of jealousy/ protectiveness but threatens to end their friendship when he does the same

In Mystery Meat, when Danny tries to express his discomfort/ anxiety, Sam hijacks the conversation to complain about her own parents instead of listening.

In One of a Kind Sam photographs Danny and Tucker hugging in their sleep, without their knowledge, with the stated intent of putting it in the yearbook, then uses it to blackmail them into silence. 

Side note: this joke is also tacky on a meta-level because it boils down to “male intimacy ha ha toxic masculinity no homo amiright?“ Would have been nice if show didn’t use low-key sexist humour as much as it did.

Instead of expressing that she’s hurt by Danny’s “pretty girls” comment in Parental Bonding, Sam retaliates by pushing him to ask Paulina out - a move she knows will most likely result in him getting publicly shut down and humiliated.

Then, after getting the result she wanted, she comes over to gloat and insults Paulina, rather than dropping it now that her point’s been made, which is what ultimately sets off the episode’s subplot.

In Memory Blank Sam permanently physically alters Phantom’s appearance to better suit her tastes while he’s not in a position to understand or give informed consent, then lies when Danny notices and asks about it later.

To be clear this definitely isn’t the be-all-and-end-all of her character and it’s not there 100% of the time - there are plenty of moments when she is loyal and generous and helpful and sincerely kind and where her stubbornness comes in handy.  But it’s the aggregate pattern of all these small instances that drives a crack through the foundation of her character integrity; producing this insidious undercurrent alternate-reading of Sam as someone who, at a deep level, just doesn’t respect or recognise that the emotional needs, pains, opinions, autonomy and boundaries of others are as real and valid as her own, and who responds to criticism with passive-aggressive hostility.

Again, I think that’s why people are so quick to point out that line from Phantom Planet, even though we all know the episode was a complete mess.  None of the examples above are particularly bad in isolation - you can’t really point at any one of them and say “oh no, bad girl” without sounding like you’re making a mountain out of molehill and irrationally hating on her just to hate on her.  It’s an uncomfortable slowburn pattern of subtle micro-transgressions that accumulates across the series - a “you might not notice it but your brain did”.  And it makes sense that it would be the worst-written episode that amplifies and brings that regular bad-writing undercurrent close enough to the surface for people to consciously recognise and use it to articulate those frustrations.

To wit: Not because it’s most telling of her character but because it’s most telling of the specific bad writing that regularly hurts her character. 

And again, from a storytelling point of view, it’s okay for Sam to have flaws.  She’s a teenager!  She’s learning.  She’s allowed to be egocentric and self-important and do things that aren’t the best at times.  It’s okay if these are her character weaknesses and a source of conflict with the rest of the cast.  But again, for that to be satisfying something really should have come of it.  It would have been nice if the writers were willing to have any self-awareness about these flaws being flaws that a person should recognise and grow past in order to have healthy relationships with others.  But they didn’t - because it’s easier to keep her as she is - to the point that they’ll actively bend the narrative to roll back or skip over moments that would have necessitated that growth.  So, even though they call attention to her flaws, the writers end up rewarding and enabling them instead of letting her learn.

And again, this isn’t meant to hate on Sam.  Hanlon’s Razor in full effect: it’s clearly a result of authorial/editorial incompetence rather than deliberate malice.  I know this isn’t the intended interpretation.

My preferred reading of Sam Manson is that she’s a Rosa Hubermann/ Hermione Granger/ YJS1 Artemis Crock-type character.  Someone who’s passionate and forceful and maybe a bit abrasive and hard to love at a glance, but whose core nature is compassionate and sincerely kind and loyal-to-the-death for the people they value.  I wish I could 100% like her without caveats; to be able to say that even if I don’t agree with her flaws I can at least understand that they’re a valid product of the life she lives, that they make her who she is and that she’s trying her best to be a good person who will get better despite them.  

But I can’t because the writers don’t give her that.  They’re always prioritising other things over the integrity of her character.  They don’t give her background enough time and context to make her negative traits feel resonant with it (because that would take time away from the Wicked Cool Radical Ghost-Fighting Superhero Action™) and the framing and plotting doesn’t give her chances to recognise or grow past them (because that would mean character development and those negative traits are an easy source of cheap conflict).  The writers just don’t seem to care all that much about Sam - her actual character, who she is, how she came to be that way, what she wants or how her negative traits would actually play against Danny and the others.

And that sucks.  Because she has a lot of potential to be a well-rounded and great character.  I’ve seen plenty of fics that seize that potential and roll with those gaps and the result is very good.  I wish I could like her canon depiction without feeling like I have to actively ignore a bunch of latent behavioural red flags as the price of entry.

She deserved better.

[writingonesdreams]

Soso! Happy STS! ✨ I really need to know - how do you actually plan a novel? How did you go about it for 5th magic? Where do you start, when do you know it's time to stop and go writing? How detailed are your plans?

My outlining method

That's a really nice ask, I'm going to enjoy this😁thank you for the questions, Rie!

My novel development looks like this:

Braistorming the concept, ideas, tropes, characters. Feelings, images, topics and themes. All in one bullet point list to look and play around with. For example the first ones I had for 5th Magic were magic types, learning from differences, estranged brothers, enemies to friends and clones

Themes in focus. What are the questions this book could try answering? What do the things I can imagine happening lead to

Characters. What do I know? Who are they based on? What fascinating traits are they embodying? What are the contrasts in their personalities that make them unique and intersting? Like Kyler being stoick but driven. Acacia being an inspirational leader, but also torn by her obssesive passion for magic.

Their flaws. What is their arcs about? What beginning would be the best to show their growth at the end when they realize the theme's statements on their journey?

Relationships. What are their dynamics? How do they knock off each other? How do they help each other in their respective arcs? Where do their personalities clash, where is the conflict potential here? Like Acacia helps a lot in Kyler's growth, she is the static character for his development. But she has her own problems and arc that others will be important for. 

What setting and situations would best press at the character arcs? What would set the themes in conflict with the environment the best? Like for Acacia magic is artistic self-expression in a world that culturally values magic for its usefulness and effectivity as a weapon. 

The central external conflict. What could this be? Does one logically come out the setting and arcs? What plot would best show the themes and character growth in action? I go with the rule "Plot is there to create circumstances that wil showcase your theme." 

Key plot points or the main beats. What absolutely has to happen? I write down what I know - sometimes it's just the beginning and end. Maybe it's the middle and end. I write those down in a list and expand on them with time. Little details, notes, other bullet points with ideas for scenes. Key happenings that need to happen and what leads to them.

Research. What things do I need more information on? What does this setting or plot or character issues need me to find out more about before writing? 

Overview. All main characters developed and figured out to their core? Is there something to add or change about the themes? Any more side characters needed that represent important milestones for other arcs? Is the list of key points long enough to be a whole outline? 

That's basically it😂. After this I polish the outline, collect scene ideas and possible quotes. I often reread some outline books to check if I'm not missing something structurally. I keep the outline in the key events and smaller points that expand on it, so not very detailed. I want to leave this creative freedom for the actual writing, so it doesn't get boring or set in stone. All of this is in the end the preparation, a guide, a blueprint full of suggestions. I can deviate or expand on this. It's to make it easier to write and keep the story cohesive, open for changes before I write 100k of words that could lead nowhere. In a way it's my hope to reduce the draft count from 10 to 2😂 because rewriting is a nightmare to me, while planning is fun.

The scene ideas get added and crossed out over time. New inspiration gets a new file for consideration. Each of these has their own file actually.

I also reread outlines from older ideas. I found out I take and learn something from each story concept even if I don't write them. Jayden was for example created by the idea for Magic never lies about a battle royal between mages where he was the mentalist that befriended the main character. Grayson was developed as an alternate version of Kyler in the roleplay with @kosmosian-quills in @cirianne's universe, but became his own person. Casey is the result of my long desire to give the main girl a younger brother with a good dynamic. The magic war setting came from me wanting to highlight how magic doesn't need to be about wars, but can mean many other things, something that Acacia represents. 

Favorite movies and books are handy too. I have a list to see what the common elements are to help me figure out what it is that draws me to them.

I talk the initial ideas over with @thewalkingnerdx. Discussing them with her helps me develop the characters and plot more. She is amazing with her questions and incredible points. I run this down by as many writers as there are willing to listen, but she is the best.😁 

You might have noticed that I focus on themes a lot.😂 They make the book for me, I am honestly always surprised how unpopular they are among writers. I love analysing them in other stories, reading into context and symbolism and I love them in my work as well. Although I pride myself in knowing them early and building the plot and characters around them, they still surprise me. Like in 5th Magic I had this long list (all those lists I know) with main themes, but I figured out the big unifying theme only recently. It showed me many of the smaller ones were just the unifying theme from different angles. 

Theme for me is the broad topic, the statements/opinions for each character, their respective arc's issue and question. For example in 5th Magic there is importance of being in the present moment, the necessity of human bonds and closeness, the learning from differneces and the main one is being true to oneself. It's the main one because it concerns all the main character arcs in some way. Kyler's about finding himself, Acacia about not fighting who she is, Grayson about expressing himself the right way... 

Is this like that only for me? What are themes for you, something you figure out as you write? 

Thanks again for the ask🤣

How does your novel writing process look like? From 1 draft to satisfaction?

[elitaxne]

Does Elita have any flaws? Like she seems to be described as perfect at everything, and idk it seems off? I’m praying to god she’s not a Mary Sue in disguise. I absolutely love your take on Elita, and this isn’t hate in any form!! It’s just really strange to read things on your blog and see perfectionism everywhere? If it is that Elita is some superwoman then that’s a good enough answer for me

「 OOC. 」

I mean, if you want the short answer then: yes, of course, she has many flaws and in different capacities — that’s what makes her a complex character. For a longer more fleshed out answer, I’ll break it down under the cut, tbh I’m glad you asked because it’s an interesting character study ( at least, I think so ) :3

Elita’s personality in terms of strengths and weaknesses range from blatantly obvious ( in certain verses ) to more subtle in nature that are picked up by reading threads, memes, headcanons, etc. But, the way I’ve written her has everything grow or decrease gradually. I’ll explain in more detail since her flaws / character changes from verse to verse, as markers of growth depending on what stage of her life she’s in.

First though, I want to touch on the perfectionism you mentioned because that is a huge part of who Elita is. She is, by nature, a perfectionist and it stems from her innate desire to be the best of the best in every capacity, and also, to be in control. This trait has a dual-purpose as one of her major flaws: the need for perfection and the need for control. She is highly intelligent and is curious by nature, mixed with the need to be perfect, all three traits fuel Elita to her core.

This leads to another flaw of hers: pride. In her early verses, especially the war verse, Elita has worked hard to become ‘perfect’ and continues to push herself towards the unattainable goal of being truly perfect. Thus, she takes tremendous pride in herself and is highly judgemental and critical of others not at her standard. She KNOWS she is one of, if not, the best in the room, and the ego-inflation is most prevalent in the war threads when she first meets Optimus.

The pride and perfectionism have since tempered over time as she’s grown, since with age and war comes humility and wisdom. During the war she was a young hot-shot, now, she’s a mother, and helping to lead a planet. She’s grown out of those flaws, but, isn’t immune to them. She still has trouble relinquishing control and struggles with things not being perfect, having the twins has been the biggest test for this. She’s getting better at it but, subtly, it’s still there and something she is actively working through.

Keeping with the theme of perfectionism, this can also be seen really clearly when her and Optimus were trying to get pregnant. It could almost be considered an obsessive-compulsion: having everything in order and being in control. Truly, it stems from the anxiety of not being in control and things not being to her perfect plan. Biggest takeaway is that everything is cyclical.

In terms of other personality flaws I’ll just list them out since they all stem from the major flaws listed above: highly competitive ( feeds into perfection, pride, and inflated-ego ), can be very jealous ( see the war-verse threads ), cold / detached ( seemingly emotionless and robotic as a commander and councillor at first glance. This again stems from being in control, and keeping her emotions in control is the biggest stressor / fatal flaw imo), slight workaholic ( having kids has placed tension in this area ), bad at asking for help / admitting she can’t do something ( again, pride / perfectionism ), anger / wrath ( can be very volatile if she lets her emotions bubble over ), impatient. All of these traits are prevalent in her current / main verse, but are most notable in her ‘younger’ years: I.E. war verse, crossing into earth verse.

Another to note is that Elita does suffer from PTSD. These flare-ups, again, had higher stressors / triggers during the war, but does pop up every now and then in her mainverse. In all honesty it’s something I want to explore more of but just haven’t yet.

Personality aside she also has physical set-backs that I don’t necessarily want to consider FLAWS, but impede in one way or another. Elita has a degenerative disease in her T-Cog which will lead to her inevitable inability to transform. This is something that’s been explored and seen start to take hold during the war, in the earth verse, and now the affects are at maximum in her main verse.

Another, which is something most noticeable in the AU as Ariel, but, Elita has a speech impediment / stutter. Over time she’s trained herself out of it but when she’s very stressed or highly emotional the stutter returns. It’s another reason why she is hell-bent on keeping control because it’s a personal point of shame in herself, and something about herself she loathes deep down.

I hope that helped explain things !! I love answering questions like these :3

[ocean-in-my-rebel-soul]

A-J for rhiona cousland? and/or 7, 15, 17, and 18? i love your OCs!! ^^

Yaaaasssssss! Thank you for the asks!

Rhiona Cousland, as drawn by @lady-scribbles​

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Author Questions

A) Why are you excited about this character?

I really love redemption stories. I love sincerity in the face of adversity. I love strong moral compasses. I love her trait of lovingkindness, her compassion and her honor, even though she has to make the hard decisions. She doesn’t take this responsibility lightly, even though it should never have been hers in the first place. 

B) What inspired you to create them?

I wanted to see a world where Loghain wasn’t only the evil villain, but had motives and wants and needs and flaws beyond being the adversary. I wanted a character who knew this, who knows the game of politics vs personal interest. I wanted a true patriot--not a nationalist who favors the sovereignty of Ferelden over all others, but someone who wants the best for her country and fights for it, shedding her blood on the front line because she only asks others of what she’s willing to do herself. She is Loghain’s catalyst to become a better man, better than who he is in Origins, but Rhiona first and foremost is a great woman. She is my Mother Ferelden kind of figure, noble and heroic and complicated and at her core, honorable and loving. 

C) Did you have trouble figuring out where they fit in their own story?

Not really. My only trouble really has been not letting her be a sexy lamp for Loghain’s development. She is important to his growth and eventual redemption, but the story is about her having to face the Blight and risk losing everything. My Surana fought because she had to--she had no other choice, being swept away from the Circle and all--but Rhiona fights because she feels it’s her duty as a Ferelden. These are both “had no other choice” kind of situations, but Rhiona’s sense of honor would have pointed her in that direction anyway. 

D) Have they always had the same physical appearance, or have you had to edit how they look?

I kind of come at characters with certain traits--what length and texture of hair do they have, what’s their general age and look, etc.--then fill in the blanks. She’s always had long, wavy hair, hazel eyes, and a fairly glowy complexion, and I just go from there. 

E) Are they someone you would get along with? Would they get along with you?

I think so. She is kind of my ideal patriot, who I would want to be. Honorable, noble, ethical, strong in her convictions, these traits I see in myself and want to highlight. Not to say she’s infallibleor perfect, but these good traits are things I see and try to activelycultivate in myself. 

F) What do you feel when you think of your OC (pride,excitement, frustration, etc)?

Pride,I’d say. I really enjoy her story. It comes with high stakes and high risks,but the reward is pretty great.

G) What trait of theirs bothers you the most?

Shecan be naïve. For as badass as she can be, as worldly as she thinks she is, shecan be pretty naïve about people’s motivations. She wants to see the best infolks. Rhiona wants people to have integrity, to be honorable, to be rational,reasonable people. Her faith in the Maker and Andraste urges her to see thebest and redeemable qualities of a person, but that sometimes gives them toorosy a glow in her eyes.

H) What trait do you admire most?

Iadmire that she does keep searching for the best in people, even when they hurther. She so desperately wants people to be capital-g Good, because surely that wouldbe best for everyone, and so she goes to great lengths to affirm the goodnessin others. She also is steadfast, and loyal. When she gives her word, she willmove mountains to keep it. She takes oaths very seriously, and does not makethem lightly.

I) Do you prefer to keep them in their canon universe?

 Ithink so! There’s a lot to her story that is directly influenced by the eventsof Origins in its canon universe, but I suppose there could be an AU that wouldsupport her growth in similar ways. I mean, more of an AU than her canon is,already.

J) Did you have to manipulate or exclude canon factors toallow them to create their character? 

Ha, oh yeah. She fucks with thecanon in that Fergus ends up king-consort to Anora, to assuage the Landsmeetand reconcile the various factions (especially those who have been calling/vyingfor a Cousland monarch); her younger sister Elissa becomes Teyrna of Highever; andshe and Loghain eventually reconcile and marry after Anora awards her Gwarenand its wealth as thanks for her service to Ferelden. She even manages to helpAlistair thoroughly abdicate any claim to the throne, and he becomes WardenCommander of the Grey Wardens of Ferelden.

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OC Questions

7) What triggers nostalgiafor them, most often? Do they enjoy that feeling? 

After she settles into Gwaren, she spends a lot of her free timein the solarium. It reminds her of her mother, with whom she was particularlyclose. It’s nice, but bittersweet. She misses her parents, misses the way lifewas before the Blight. It seemed so simple back then, but she knows she didn’tknow a lot of things about the world and the people in it. The scent of campfire reminds her of the blight, of being on the road. She has mixed feelings about that, for sure.

15) How do they speak? Iswhat they say usually thought of on the spot, or do they rehearse it in theirmind first? 

It depends. With people she’s close to she’s more cavalier and casual,even a touch flirtatious, but if she doesn’t know someone very well, orespecially if she feels they’re more important or better than her (particularlywhen she’s still young and a bit sheltered), she tends to be much morethoughtful about what she says and how she presents herself.

17) Are they easilyembarrassed?

Not particularly, but she doesn’t like it, all the same.

18) What embarrasses them?

Reminders of when she doesn’tor didn’t live up to her ideals. Case in point: she pushed Lady Habren Bryland,daughter of Arl Bryland of South Reach, into a pond in the Highever gardensafter days of listening to her badmouth her sister and generally be a pissyhouseguest. It wasn’t her proudest moment, and she’d do it again in a heartbeat(*no one* messes with Elissa), but it embarrasses her that she didn’t dosomething more constructive and meaningful. 

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Ask your own questions!