#but the way the story is developing is developing the kind of character she needs to be for it to actually develop

[big-tiddy-goth-gremlin]

Okay so the finale of Arcane was great in a lot of ways but I feel I need to voice a little bit of disappointment/resentment for Act III.

First of all, Ekko and Sevika deserved better than the endings they got. Ekko did more in that battle than anyone else, and yet he ends up alone and sad. Sevika is the only Zaunite put on a council that will probably be classist asf to her.

Second, the total neglect of Isha (both her life and her death). Acts I and II built a narrative of found family with Isha, Jinx, and Sevika, only for it to not contribute to the greater narrative at all and to be completely thrown out in Act III.

Third, and probably most controversially, I do not think Caitlyn deserved Vi in the end. For reference, I really really liked CaitVi in the first season. I liked seeing a complex dynamic between two well-done lesbian characters. And then in the second season, Caitlyn takes her trauma and misery out on Vi. She essentially becomes a fascist dictator, floods the undercity with poisonous gas, increases imprisonment of Zaunites, works closely with Ambessa, and nearly kills Isha. And I was willing to hear out a redemption arc if it was good enough. But it wasn’t. There was never a decent apology to Vi, never any form of apology or regret for what she did to Zaun, no remorse over pointing a gun at a child. Just a vague air of “my bad” along with killing Ambessa. After everything she did to Vi and her people, I do not think Caitlyn remotely deserved to be with Vi, who spent the season coping, doing damage control, and tirelessly trying to fix her family. I am a wlw with an amazing girlfriend, and I love that we saw an endgame lesbian relationship, but I don’t like their dynamic or the way Caitlyn treats Vi.

Finally, the lack of any kind of conclusion to the Zaun/Piltover conflict. I understand that they were able to unite to fight Noxus, but aside from that, hardly anything has changed. ONE Zaunite was put on the council, and that’s all. No redistribution of wealth, no reparations, no sovereignty for Zaun, no apology for the decades of suffering Piltover caused Zaun. Ekko must return alone to a desolate undercity while Caitlyn and Vi live in the massive, luxurious Kiramman mansion.

My main issues here can be boiled down to this: Act III felt rushed. Very few stories were fully developed and satisfyingly concluded. The ones we did get (Viktor & Jayce, Mel returning to Noxus) were fantastic, but it left much to be desired for the other characters and storylines.

[novlr]

I’m just starting out with writing, and I really want my characters to feel different from each other. How do I make sure they have their own unique voices so my readers can tell them apart?

Experiment with character dialect

Dialect refers to the language people use when they speak: their accent, their slang, their regional or generational vernacular. When we think of “dialect”, we often think of things like “y’all” or “yer man” or “innit” — clichéd indications of place. You can definitely use these in your story, but also challenge yourself to go deeper.

Dialect can be a result of generational trends — you’ll notice that today’s teenagers don’t talk the same way their parents or grandparents do! Words fade in and out of fashion all the time. They can also be tied to a particular industry or subculture. When developing each character’s unique voice, consider what kind of slang or specialised language they might incorporate into the way they speak. 

Vary your characters’ syntax

Syntax has to do with the way we structure our sentences. Some characters will use only short, compact sentences, while others will ramble for miles. Some will always use grammatically correct language, while others will speak in fragments. 

A useful exercise is to write a conversation between two characters who use very different syntax in the way they talk. You can take their different approaches to the comical extreme until you get a sense of their different voices, and then dial it back and incorporate their individual syntaxes with more subtlety.  

Consider your characters’ word choices

There are very few true synonyms in the English language; each word has its own distinct connotation and tone. For example, one character might describe themselves as loquacious, while another describes them as a motormouth. Or, they might describe an authority figure as derisive, while the other character says they’re mean. 

The words a character lands on in any given situation can communicate a lot about how they see the world and themselves. 

Put your characters in moments of conflict

Conflict, tension, and suspense reveal who your characters really are. One character might become loud and aggressive, while another shuts down and speaks only in quiet monosyllables. Sometimes, a character’s voice contrasts the words they’re saying (you can communicate this through dialogue and action tags); for example, if a character says, “I’m not afraid!” in a strained, rattling voice, that belies their fear. 

As an exercise, try writing an argument between two of your characters and explore how the tension changes the way they speak. Then, you can incorporate this into your story.

Don’t neglect body language

On that note, a big part of a character’s distinct voice is the way they behave when they talk. You can convey this through action tags (“She hugged herself tight as she spoke”) or through descriptions surrounding the dialogue. 

Look at how your character holds themself — do they sprawl, taking command of the space, or do they try to make themself disappear? Do they only half-listen to the person talking to them, or do they make them feel like they’re the centre of the world? The way you communicate body language to the reader will inform the way they hear that character’s voice.

Read your work out loud

When you’ve finished the first draft of a story, it’s always a good idea to read your work out loud. This helps you catch any misused words, typos (the age of autocorrect is notorious for this), or inauthentic speech. You don’t have to let anyone hear you while you do this — it’s simply a tool for you as the writer to get a better sense of how your words come across on the page.

When you read, listen to each character’s dialogue and check to make sure it sounds true to that particular character. If you can’t tell the character voices apart, you may need to create a little more distinction through your revision process, using the tools we looked at above. 

Listen to character voices in the wild

A great way to develop your ear for character voices and get inspired along the way is to listen to the way real people talk. Go to a public park, a café, or a marketplace and stealthily absorb the language people use to express themselves. See if you can get a sense of what they’re thinking and feeling underneath their words. Then, you can incorporate elements of these experiences into your characters. 

Remember — human beings are unfathomably complex. Each is the epicentre of their own little universe, with all its dangers and joys. To create characters that readers will follow to the end, ensure that each one has a voice that’s unique and alive. 

[linddzz]

ok your arcane blogging has almost convinced me to watch the show because it seems WILD and also, visually STUNNING like wowww

but I have absolutely no idea what the show is even about, could you give me a summary? (also what streaming service is it on?)

Yessss excellent! The show is indeed fucking nuts and also visually stunning. Just. Goddamn. Every single episode had moments of us going "that looks so pretty" and/or "holy shit that looks so fuckin sick"

It also does some of the best visual storytelling outside of the Spiderverse movies. They do so much playing around with 2D looking effects and light bursts, with music that slaps and is also used to create in-story sort of music videos to help drop character backgrounds and establishing where people are in episodes, which helps them handle the many characters really well!

Also the animation of micro-expressions in this show makes me lose my mind. I'm sure you've seen the gifs all over my blog and how much facial animation there is in them lmaoo

Good news is it's finished after 2 seasons, which I like as someone who prefers shows that don't just kind of go on for forever. It could have been 3-4 seasons but they did great nailing a rare mix of a plot AND character focused story that had a ton of moving pieces.

You also don't need to know shit about LoL and from what I can tell, it was more used as a base for the world setting and the first building blocks for the characters. They take advantage of the pre-made world really well and do this immersive style of world building where you may not know what all is going on in this world, but you can really tell that it's there and developed you know? But character lore wise we all tried to predict season 2 based on the original lore and then got cold clocked by how the basic character beats actually played out so. Yeah. The most video game aspect of this is the character designs and the FULL embrace of "what if this lady had a big glowing cyber arm she punched things with and what if it was the coolest shit you've seen."

As for what it's about...theme wise big points are

- love as both a destructive and restoring force, especially love between family and friends

-forgiveness and how one draws the line on what going too far means

-self perpetuating systems of classism that can pull even well meaning actors into being oppressors, and even how different forms of rebellion can begin recreating the oppression they're rising against (there are arguments on how this got handled in season 2 but I don't think there's any really solid storyline way to handle such heavy themes)

- the unexpected consequences of chasing progress as an ideal

-big buff hot women who punch!!!!!!! Women who are yoked!!!

-making you kind of hate how much you like that imagine dragons song

-beat drops that make you yell "LETS FUCKIN GOOOOO"

Plot wise it's about:

Set in a trippy art deco/art nouveau punk aesthetic city that has technology and where magic exists, but has been considered dangerous and only used by mages born able to harness it. Scientists learn how to access magic via mechanical and chemical technology. This causes a lot of problems. It mostly follows two sisters caught within the volatile time, along with a central cast from multiple parts of the city.

It's streaming on Netflix!

[mymarifae]

aHA! i have finally figured out why i never jived with the kanade tenma hc. like you know me. THE found family guy. even if i don’t hc it myself i can still have fun watching other people have fun. but this one was always just 1. confusing and 2. not fun for me to see and i could never articulate why but i’ve got it now

the entire problem with Kanade Tenma is as a whole the fandom has a tendency to treat kanade like an orphan. like she has no family, no support system, like she’s all alone and needs to be taken in by the... tenmas... for some reason... (still not sure why the fandom decided she needs to be a tenma like she’s never even met tsukasa or saki. how is she getting over there. if she’s getting taken in by anybody it should be like... the mochizukis) and it’s like... guys. you do realize she’s not an orphan, right? she has family. she has good family. idr all the reasons why her grandma doesn’t live with her, but i’m assuming it’s along the lines of her being too old and frail to properly take care of a child at this point in her life - which is why she set kanade up with that caretaker/housekeeper system. it’s not perfect, but at least she isn’t being left to fend for herself

her dad is alive. just because he had a stroke and is now experiencing vascular dementia doesn’t mean he’s basically dead or that kanade is basically fatherless or something awful like that. (i’m genuinely still not sure what the fuck the game thinks it wrote irt what put kanade’s dad in the hospital but like. it wrote a stroke followed by vascular dementia. that’s what it did. “burnout” my fucking ass) i know at the end of the day kanade tenma is ultimately just a harmless headcanon, but like... please take a moment to think about the message even your most harmless headcanons might send. “if your parent is suffering from dementia and no longer recognizes you... well you don’t have a parent anymore. you need a new one. sorry.” obviously no one intends to say such a horrible thing, but remember that intent <<<<<<< final impression left on your outside audience.

having a family member that you love so much forget about you is a story that needs to be told. the prsk fandom needs to take a step back and just let this be told As It Is. kanade’s family is so, so fucking important to her. she’s only the person she is today because of her parents and all the gratitude and love she feels for them both. like, literally her most recent focus was her realizing how loved she was in light of mafuyu’s mother’s coldness. she knows that she experienced true unconditional love - something that mafuyu’s mom seems incapable of giving her daughter - and she still carries that love and warmth in her heart now. it’s what defines her as a person. it’s what gives her the courage to continue living. it’s why she believes she can save mafuyu and so many other people. she has that memory of what real genuine honest to god unconditional love is, and she’s so fucking determined to share it with the world.

kanade doesn’t... need a “new” family. her family may have suffered multiple tragedies, and it may be fragmented and a little broken, but... it’s hers. i don’t think it’s in good taste to take that away from her and try to “fix” her by placing her in a “better” family. it’s completely unnecessary.

[palossssssand]

A and B for Gingull and Eidwinn? Also I love their designs so much!

For Gingull: A) Why are you excited about this character?

I'm mostly excited about Gingull because they're kind of the culmination/crossroads point that ties all the other characters together, I think it's an interesting point for a character to be in. Admittedly, I've been having a hard time figuring out exactly how Gingull fits/moves the story forward since she's a product of the circumstances. I'm definitely going to be projecting a lot of personal experiences onto her, so there's a catharsis element to her too. I'm also excited to figure out how she interacts with all the other characters, given that she becomes mute at the beginning of the story, and not everyone would know/understand how to communicate with her and the frustration that comes with it. Also going to have so much fun with electrical imagery <:] The other thing I'm mainly excited to think about is her relationship with Delta(sea urchin), the soldier that pulled her from the malfunctioning machine and saved her life. There's going to be some tension between the two because Gingull is in no way obligated to forgive Delta for it, given that Delta was still actively Working for the military, and Delta has her own guilt complex about it as well due to efforts to break from the military and work towards doing some good. It's a dynamic that I don't think I've really seen or know how to describe, but I feel like it's easily the most interesting one to explore in regards to Gingull's character arc.

B) What inspired you to create them?

Gingull was created for the very initial premise of slug city's story, which was "dystopian government project to 'fix' mental illness spawns beasts that are representative of the illness to stigmatize it", like, the trope of an inner self or unwanted traits being a separate entity and character must learn to deal with it, or something. Gingull's beast is a long, wormy thing made of pure elctricity, and the imagery of that came first, and then Gingull's design, and then the story premise. The above description is currently a bit outdated and a little more nuanced, but the core of Gingull's character concept was built from the electrical beast, hence her helmet shaped like a socket. Initially, the idea was that she wore the helmet to cover her face because she's afraid of the disfigurement, and the electrical beast is a manifestation of her desire to be wanted and understood, so there's a moment plotted out in the story where she discards the helmet and the beast goes after the helmet instead of her. This is still partially true, but I've added a layer where the helmet enables her to not need to make eye contact or mouth expression, so there's an element of new comfort from that. Not sure where I'm going to take the previous concept with this, she's definitely a character that I'll need to workshop more in order to flesh out the core of the story.

Sorry for the really awful image quality but I don't think I've ever shared the beast designs before. Here's Gingull's.

For Eidwinn: A) Why are you excited about this character?

I'm really attached to Eidwinn, I'm honestly still not sure where he fits in the story, but he's very charming to me. Not that he's actually charming personality-wise, he's pretty reserved and generally unfriendly, but he's just very enamoring to me. I'm definitely thinking about a moment in story where Gingull goes to him for solace or happens to meet him, I haven't fleshed out those details yet. I'm also waffling on whether he should have prior relationships to the other characters, but he also just feels far removed from them and I think he's good as-is as a character that isn't directly involved in the other character's happenings but is nonetheless affected by them. He's important in Gingull's context because he's someone that's experienced life in a similar way to her, so there's solidarity in that.

B) What inspired you to create them?

I got started with slug city's premise and began making characters that would make cool beast concepts. Eidwinn's thing is that he's a plant shop owner who has a hoarding problem, and instead of doing anything meaningful about it the govt just dragged him to their machines, so his beast is this massive monstrous orchid that's supposed to represent his (debatably) unhealthy attachment to his plants. I haven't exactly decided if the beast manifestations are decided by Other People's perception of their root issues, or if it's a self-imposed idea, or a combination of both, because each implies something different about the nature of the beasts and how the characters interact with them. There's definitely a sense of shame associated with them, especially in Eidwinn's case where the beast roaming around causes him to be more shut in than before. In any case, I just really liked the concept of his character so he's stuck around. I needed characters that weren't direct players in the story.

also I know I probably could have typed thought up in The Text Post but additional thoughts always get put in the tags and I'm not going to bother retyping them. it's about the vibe of rambling in the tags <3 here's my post-post thoughts:

list of slug city characters question list

[bananasareupsidedown]

[realjem-art]

sometimes you gotta sit down and think about the evolution of The Character

[shidoukanae]

Paris Valerian but i redesign his dragon form for funsies based on how i see him=. Not sure if I like this design bc im not a fan of bulkier looking dragons but for Paris I think this works??

Some headcanons about this design:

has a bit of a bull-like look bc I associate bulls with persistence and madness and idk that fits Paris well so if Fian has a “fox” motif Paris gets a “bull” one for his dragon form 

His design is based a lot on how a stereotypically evil dragon would look???? Because imo OG!Paris reads as a massive antagonist and I think giving him a look that fits that vibe in his dragon form works!! Especially because he still is an antagonist in a way (though god does he not read that way lmao)

he’s stronger in his dragon form than Fian is and he uses this to his advantage to bully Fian around whenever they playfight as dragons. That said, it seems Paris is surprisingly gentle towards Fian in this form and never hurts him.

he uses this form to intimidate people into getting what he wants. He’s not used to getting retaliated against while in this form and quickly respects anyone who does so (read: Fian, Lyla and Helene)

the silver scales on his body can glow in the same way his eyes do. Typically, he keeps them dull-colored (see above) but if he feels a strong emotion of any sorts they’ll glow brightly without him meaning to (noticeably: they glow constantly whenever Helene is around for obvious reasons~).

[assumptionprime]

Playing Dark Souls 2 again and damn, in spite of its rough edges, I think it’s my favorite.

They’re all good, mind you. Dark Souls 1 is the foundation, and 3 is playing the hits while also saying that it can’t just play the hits forever and has to end.

And Dark Souls 2 is doing its own weird different thing and I love it.

I think it has the best story of the three games, because it really concerns itself with people.

The intro isn’t a list of people and monsters you need to kill, it’s your story. How you came into this land. You are afflicted with the curse of undeath, and it’s destroying your life and your mind. Everything that follows is based around that. You’re not the Chosen Undead, a title put on you in the first game because of a role you’re expected to play in some legend. You’re the Bearer of the Curse, because that’s your concern in all this, your curse.

You see it afflict others throughout the game, too. Most of the characters in Majula can’t remember how they got here, their goals, their lives before Drangleic are fading, same as yours. Lucatiel is by far my favorite NPC in any Souls game, a tragic view of another cursed undead that doesn’t quite make it. You fight alongside her. She confides in you, forms a bond with you. And then, as the last remnants of her mind, her self, leave her, she begs you to remember her name. Vendrick, the mighty king of Drangleic, is a shell of himself. He shuffles around in his own tomb, having long ago succumbed to the curse. He may as well already be dead. In every way that matters, he is.

And if you don’t figure something out, it’s going to happen to you, too.

Some to do has been made about the world layout not making sense. Some say it’s bad design or development troubles leading to compromises. Others say it’s intentional, that time and space are warped, though I think that’s either not true here or done much better in DS3. I subscribe to a third camp I’ve seen a bit less frequently: These nonsensical ways you move between some of these places are because you forgot how you got from one place to the other.

“So you got to the top of the tower, then what?”

“Oh, then I got on an elevator, which took me up— up to… I was on an elevator… then I was in an old keep sinking into a lake of lava.”

You’re losing your mind and your memory, you just can’t remember what happened between Earthen Peak and Old Iron Keep.

So you go slay the old ones, find Vendrick, seek out the ancient dragon, defeat Nashandra and—

It doesn’t work. You don’t cure the curse. You can either take the throne, or keep looking for a cure. We don’t see what kind of monarch you are to your ruined kingdom if you stay. And we don’t see you find a cure to the curse if you leave.

You lose.

It’s left to you to decide, does continuing to fight this fate have meaning? Is the struggle, in and of itself, worthwhile?

Dark Souls 2 is about going Hollow, and I love that it goes in such a different direction with its lore and story to be that.

[ennn]

Things I Liked About the Agatha All Along Finale - Initial Thoughts

Wooooo boy. Hey look I'm a bleeding heart shipper but I'm old and have been in enough fandoms. Let's process shall we?

Alice! Alice echo-ing what so many fans are saying about her lost potential. Rio actually being kind in reminding Alice her death did have purpose. "You're a protection witch, you protected someone."

The development of Billy's extremely complicated relationship with Agatha. Kid's not loyal to Agatha, he's understanding her, or starting to at least. He sees her being a relationship with Death and he's curious about the story there. He cares enough to connect the dots and see Agatha as a full person. And we see that developed as the finale goes.

"That's it? That's all the time that I get?" The show reminds us that death sometimes just happens – "Sometimes boys die" – I wonder if one of these writers is a Sandman fan because I immediately clocked a parallel to Death of the Endless taking a baby's life in her first comic appearance.

Death of the Endless is of course much kinder than Rio is with her (iconic) reply to that eternal question. "You lived what anyone gets... A lifetime."

That whole convo we got in the preview clip. And then them just sitting down and talking more? Albeit with layers of manipulation but y'know that's them.

Agatha telling Rio that she'll hand over Billy if Rio leaves her alone: essentially making Rio once again choose between her duty and her feelings towards Agatha. The deepest cut Agatha could make – which we see echoed with "If you do this I'll hate you forever." They know each other and the best ways to hurt each other.

I laughed waaaay too much at Agatha ragging on Jen's last vegetable name.

Jen's unbinding ritual was powerful and a fantastic moment for the character. She recognised and embraced her power. Agatha's mask slipping a little at the end as well. Amazing. Sasheer killed it.

The whole scene with Agatha working with Billy to bring Tommy back was beautiful and emotional and well put together and showed the side to Agatha that cements her as a great mentor (when she's not being the biggest murderous asshole).

Agatha using what she learnt from her Alice and Jen – and what Lilia told her – to hold her ground with Rio... okay it lasted like 10 seconds but it was a nice callback! Agatha's such a shameless survivor.

Incredible kissing. We knew Hahn and Plaza would deliver and they did. When it comes to kissing women, these two absolutely go for it.

Rio looking absolutely gutted with having to take Nicky away. Plaza really delivered with Rio's pain in these eps. Agatha calling her "my love", cursing and then begging.

Rio being soft about Nicky despite her job. Nicky willingly going with her with no fear, no hesitation – suggesting that they did bond somehow? Nicky knew she was a friendly face and trusted her. It was really a good death, all things considered. He wasn't sick, he wasn't in pain, he wasn't scared he simply fell asleep and just went.

Rio reminding Nicky to kiss his mom goodbye. She cares so much, as much as a personification of death can. It's funny how some people thought Rio was going to be this manipulative big bad but no, Agatha's the more toxic one in this relationship.

Okay like imagine Agatha finally dying and just straight up BOOKING it before Rio pops up. Rio hates ghosts. The number of times Agatha deliberately pissed her off this finale was amazing.

"I'm sure he'll forgive you for... whatever you did." Aw Billy is a good kid. Just like Nicky was. Agatha needs that reminder, that anchor to not be the Worst.

Chemistry aside, Agatha and Billy being mentor-pupil makes a ton of sense because these Maximoffs do the most fucked up shit (unintentionally) with their magic and Agatha's got the knowledge, charisma, cynicism, and the morals of a spinning compass to support him.

Alright when are they announcing the sequel / spin-off? I know there's a rumour of it happening. Rio's got 2 abominations and one endlessly aggravating ghost of an ex to deal with now.

[xueyuverse]

It's ironic to me that part of the fandom insists so much that Hua Cheng's personality revolves around Xie Lian when in fact MXTX created Hua Cheng first and then had to make Xie Lian his ideal type. Like, the truth is that Xie Lian was molded for Hua Cheng. I find this contradiction very funny, I'm sorry.

But they were indeed created for each other.

Hua Cheng has a strong personality, he is firm in his ideals and beliefs, assertive in his opinions, cold in his justice and someone who does not bend the rules just to fit in, he creates a third way instead of adapting to a world that hates him and was cruel to him.

His ideal type would have to be someone as confident as him, who not only does not bend the rules, but also does not get corrupted by difficulties, someone benevolent enough to see people like him with kindness, because only someone faithful in his beliefs would be able to be so different from everything that the world says is right — because the right thing is for you to annihilate people like Hua Cheng, whether they are innocent or not, just because of a supposed curse that they did not ask for.

This meta is based on this excerpt from the afterword that MXTX put in TGCF ↓

When it comes to character designs, the Shou’s were decided on first for the first two novels, but I was torn over the Gong’s for a long time, and needed a run-in period. Hua Cheng, however, was an exception. Inspiration struck and there he was; inspiration struck again, and I blinded one of his eyes.

[...]

It was actually the Shou, Xie Lian, who tortured me for up to half a year’s time. When the novel started serializing, I was still torn over him for a long time.

[...]

But the most important thing is, by my instincts, someone like Hua Cheng will most definitely love someone like this. So, after a good half a year’s worth of qualms, in the end I still typesetted him: It’s you!

Speaking more about this postscript, I found it interesting how for MXTX, Xie Lian was the most difficult character she has ever played. People tend to think that Xie Lian only has two personality traits: (false, for many) kindness and idiocy. The idiocy may even be right lol, but when you stop to think about it, Xie Lian is a really difficult character to create and, mainly, to develop.

For all the layers he has, he could easily be a snobbish prince, a vengeful and bitter ex-prince, a fallen prince who rises again to reconquer his kingdom and reclaim his throne or a spotless saint who is always intelligent and wise and is above things like sadness, anger, lust, etc.

We know that Xie Lian is none of these things, he was not made for these plots. But if he is none of these things, then what could he be? Honestly, I find it very difficult for anyone to come to the conclusion that your protagonist is a "loser" who failed and has no ambition to rebuild his kingdom and become the new king. It's bold to make your protagonist a poor and extremely unlucky nomad, especially with the princely background that you gave him, we can see from the amount of stories out there about protagonists who lost their kingdoms and then have a path of reconquest that it's difficult not to be tempted to follow that path.

Of course, Xie Lian is a god, something greater than a prince or king, but he is a poor god, known as "the joke of the three kingdoms", he has no wealth and for 800 years he only had 1 believer that he didn't even know existed and he is also known as the "god of plague" and "immortal scrap collector", unconventional titles in the literary world lol

He must experience youthful ignorance, overestimation of his own abilities, have been laughable, been foolish, made mistakes, despaired, felt hatred, gone crazy. But he can’t run, and he can’t hide; everything is what it is. All this was killing me. Not just within the text, but outside the text too. My mediation was useless, and I’ve no energy anymore either, so in order not to be affected, I stopped looking at comments altogether. Since I always habitually vaccinate myself before a serialization begins, speculating on all the worst possible scenarios and preparing myself mentally, by the time serialization started I had already expected how all the negative comments would go down. But after much hesitation, I still thought, why not try all different kinds of characters? I haven’t tried writing a main character like this before.

— MXTX

[chocostrwberry]

Sentimaggedon!!

Sentimonster designs I came up with bc I was thinking about Argos’s debut in my AU! Bc I’m dumb and I haven’t thought too deep about him as a character to the story yet-

They were originally suppose to all be based on the seven deadly sins, especially Gasumptious (gluttony) and Elvy (envy). But I also wanted to branch into maybe Felix’s other hidden emotions, like his deep love for Kagami and his fear of being replaced by Adrien (Bride and Athazagora).

Argos becomes an official enemy when Dragonbug tells him they need to be destroyed. He defends them, saying they’re just “infants” and can learn how to behave properly with time. But a frustrated and exhausted Dragonbug she tells him they aren’t like humans and are created for one purpose: to serve and destroy. This hits home with Argos, and he develops a fear and hatred for Ladybug and swears his loyalty to Madame Morphisa afterwards in order to take her down and prove just how monstrous he can be.

I’m still kinda trying to find a way to make this concept work in my au. He promised to serve her in exchange for the peacock miraculous, and she wants him to use it to take Ladybug’s miraculous. In a novice attempt, he might have just starting creating multiple sentimonsters that he thought were harmless enough (something she did NOT expect), but they quickly spiraled out of control. It’s much easier to make sentimonsters based on others emotions, because you can predict which one you will create it off of. But instead, he chose his own, which makes it more difficult to tell how the sentimonster will act. I think it would show the aspect that these creatures do have a mind of their own, compared to previous Mayura sentimonsters who were easily controlled by their akumas!!

Red Moon

Red Moon is obviously already canon, but her power is instead hypnosis. If you get caught in her light, you stop whatever you are doing to stare at her. The streets of Paris become like a statue exhibit: countless of unlucky citizens are bathing in her glow, staring at the beauty of the red moon.

Gasumptious

As he devours, Gasumptious grows bigger and bigger. He’ll eat anything, so beware! After finishing most of the city, Gasumptious sits atop the Eiffel Tower and gnaws on its metal posts.

Elvy

Elvy lives in the sewers. She can control water and uses it to drain you of happy memories, which she keeps in floating green orbs and guards for herself.

It’s so silly to me how the manifestation of Felix’s jealousy of Adrien is fought and defeated by Chat Noir, who is Adrien ehehehheeh.

She also sounds like a Pokémon!! Probably like a Lapras, or the one that trills really pretty

Athazagora

A timid creature, Athazagora took over the catacombs, and hides in the shadows. You can hear the creaking and rattling of its wooden limbs in the dark as it stalk you. If you can’t escape, it envelops you in its cloak of darkness, never to be seen again.

Bride

The supposed advisor of Argos. She never leaves his side, and is always whispering something in his ear. To protect Argos, she showcases her ability to turn her arm into a long spear/sword, incredible strength and mobility, and that her body is made of an indestructible crystal.

Plus, he can make multiple sentimonsters bc he’s a sentihuman himself (Other people can’t. You can only make one, kind of like how the Butterfly miraculous can only Akumatize one person at a time, unless they share an object. Current excuse I’m going with that makes semi-sense HEHEHE) . So Lila totally wants to use that to her own advantage!

Ofc he fails, but she’s impressed with his resolve (and the lengths he was willing to go, albeit unintentionally), especially after sharing her goal of destroying Ladybug. Lila was feeling the effects of unification and now has a willing minion to do her bidding whenever she pleases.

If I decide to go with this plot, Lila has to end up forgetting Felix because of the curse. But she doesn’t care: all she really needs is Argos. I might need to retcon her revenge against Felix because of this but idm! It wasn’t very important to the plot anyways!

I was considering having Dragonbug in this episode, since she could use Perfection to snipe Red Moon out of the sky! The lucky charm would be like a wand that creates a sticky translucent web to keep the sentimonsters secure so they can go find their amoks.

And a sentimonster I never ended up including, Ava. I just didn’t have a reason to put her in there but I liked the yin and yang style of her design!!

[tofixtheshadows]

Hot take: Laios wouldn't actually mind an arranged marriage. Obviously "reluctant royal being pressured into marriage" is very fun for shipping purposes. But I have harlequin blood, so bear with me. Join me on this journey of character theorizing/shipping nonsense that makes it abundantly clear I have a Scrivener document I'm neglecting.

Laios was promised to someone from a young age. He and Falin both were; it's probably how their parents ended up together. They both broke it off by leaving their village, but it didn't seem to be a factor in Laios's own decision. And when Marcille, presumably, asks about his hypothetical love life (bicorn chapter), he not only brings it up readily, but actually seems kind of flattered? lmao

I love when smug Laios comes out. Underrated factor of Laios's personality for me is how much he enjoys being seen as cool. I think you'd expect Laios to be embarrassed or uneasy over this line of questioning, and the fact that he isn't is fun to me.

So when Yaad and his other old advisors bring up his need for a wife, Laios is ready to go along with it. Not necessarily thrilled by the prospect, but he was raised to think of marriage as a business arrangement you do because it's beneficial for your household/bloodline (as was often the case historically). He's already made the big step to claim a throne, and the idea of becoming village chief after his father seemed to have been vaguely in the back of his head all his life. Besides, if he has to do it anyway, I think he'd take comfort that there was a formalized process for an otherwise socially messy undertaking.

This dovetails neatly with my personal headcanon that Laios is gay but unaware of it. He comes from kind of a repressed culture- or at least I can imagine he does based on context clues- and has spent most of his life being ostracized in one way or another, feeling like he's on the outside of humanity. So he doesn't realize that his lack of attraction to women is unusual- he assumes that nobody really enjoys romance that much. It's not like his own parents married for love. It's just something people play up for stories, right?

It's all tangled up with his fraught desire for human connection and platonic companionship anyway. Meanwhile he's blithely unaware that the things he says about Toshiro are not normal bro things. Oh you'd totally marry Toshiro, Laios? Tell me more.

I see this in Marcille too. Firstly due to her unstable development, which has only recently allowed her to reach maturity (I headcanon her as somewhere between 20-22) and secondly due to her being a half-elf (infertile+a too-long lifespan), I think she has the expectation that she's simply not destined for love. The half-elf character she relates to in her favorite books says as much. So she, too, confuses a genuine lack of heterosexual attraction with the belief that this is just because of her half-elf status distancing her from it. Plus, she spent over a decade as a student/researcher in a nice little sheltered academic bubble, at an all-girls academy populated by adolescents. She's the most sheltered of all the characters: she's only spent the past year in the "real world", and she still focuses all her romantic attention on living vicariously through her favorite characters or her friends (except for Falin, conveniently!).

And Marcille would absolutely want to live vicariously through Laios and his future wife. She would not want him to go through a dispassionate formalized process: she wants her bestie to have a fairytale romance! What is the point of being a heroic king in a mythic castle if you can't even get a love story for the ages out of it?

This would result in a lot of Laios meeting with eligible bachelorettes at Marcille's urging, looking to Kabru for help the entire time and being grilled by Marcille afterwards about what he liked best about each girl. "She had nice, um, teeth?" They're both so close to getting it.

Kabru, meanwhile, is agitating for Yaad and the other advisors not lock the country into a hereditary monarchy, they have the chance to do something radical here, to break away from the systems that the elves and dwarves uphold. At the very least, let Laios marry for love, or formally adopt an heir and name them his successor if he wants, he's already sacrificed enough for the sake of Melini. Don't make him jump through these circus hoops for the chance of some trade agreements, we can get those without a royal marriage. And even if Laios was willing to go along with it, he does look at Kabru like he's his hero for sticking up for him.

The vague unhappiness Kabru feels at the idea of Laios being married off is easy for him to ignore. Kabru didn't actually get better at honoring or even recognizing his own wants just because he's moved past the dungeon. And Laios hasn't gotten the hint about his crush on Toshiro and is still 50/50 on saying casually shocking things, so when he remarks that he doesn't need a wife anyway when he has Kabru, he has no idea why that gets him the looks it does. After all, where he's from, men marry women to run their households, but Laios has castle staff for that, and Kabru is handling the rest?

That comment alone ticks one month off their collective gay awakening countdown.

Anyway. How many repressed gays in their twenties does it take to run a country?

Answer: Yaad can tell you.

[empyrealarthropod]

not sure how to put this but does anyone else feel like some of season two’s writing and the stakes constantly being upped has undermined several important moments and instances of character development from season one?

i don’t understand the reasoning behind throwing in so many new conflicts? instead of the story expanding upon and continuing the first season, exploring what it would look like for piltover and zaun to be at war or teetering on the edge of it, how the characters would be affected by it and decisions they would make in response, they’re being involuntarily flung across dimensions and attacked by eldritch monstrosities.

the piltover vs zaun conflict, the center of the plot that everything else revolved around, was present in act one but is now being gradually sidelined and minimized for the sake of ominous magic drama and painting noxus as the one true villain.

the council attack was a grand finale, the culmination of long standing conflicts and tension that finally tipped the balance into war. but now, nevermind, it only killed a few nobodies with a lot of political power but about 30 seconds of screentime. and the blast radius was tiny.

the characters’ decisions and internal struggles are either portrayed in an unclear way that doesn’t communicate what’s going on in their heads or flat out explained by them in conversation. flashbacks are, instead of glimpses of the past overlaid with current events while the present version of the character works through their emotions about it, just straight up replays of scenes from season 1. nobody sits with their thoughts and considers what they want because there’s no time for anything that isn’t pushing the plot along at breakneck speed.

vander, as the person he used to be, served his purpose in the story. yes, he was still alive in warwick, but he would never be the same. but now suddenly it’s all family group hugs? one flashback lets him regain full control? he’s mentally back to his past self and making heartwarming comments about his love for his daughters, with no explanation for how but the power of friendship? it felt about as plausible as if silco swam back up and booked a family therapy appointment.

vander and silco knowing jinx and vi’s parents and the vaguely implied love triangle is an absolutely egregious retcon. there was no need to add that. it doesn’t add any depth, just feels forced and implausible. not everything needs a reveal of “oh these characters were actually already connected before the deliberately chosen circumstances that brought them together and played a large part in defining what they were to each other.” it completely changes their dynamics, the timeline makes no sense, and the world isn’t that small.

i get that jinx feeling unmoored and lost might kind of be the point, that not knowing what to do is just where she is right now. but instead of being a step along her way, it ends up feeling like it’s just an excuse to not do anything with her character, because she suddenly doesn’t have any relevance to the plot whatsoever? she’s just been placed in a box off to the side. and the moment she just started to get out of that lost state and begin thinking about who she was and what she wanted, she gets kicked right back into another grief arc and another devastating loss that’ll likely sideline her again with only three episodes left. at this point there won’t even be time for her to do anything outside of her own head but maybe contributing to the final battle in some dramatic action sequence. that just isn’t a complete or satisfying character arc in any way and i don’t have any idea how they’re going to end it in a way that doesn’t feel cheap or like it’s missing something.

vi is completely adrift too, but that makes sense with the rest of her story, or at least more sense than her immediate flip into wanting to kill her sister. i loved isha but she didn’t get a backstory or personality. she was reduced to a vehicle for the plot. caitlyn’s anger has suddenly dissipated, which could be explained by the progression of grief and her growing tired of war, but it comes immediately after that sequence where she was set up to be a much more authoritarian character and go on a downward spiral. like i assumed that her donning the cloak was the starting point for the next phase of her character, but then that arc was completely fast forwarded to the end. has ekko had more than two speaking lines? is heimerdinger ever going to be held accountable for his neglect? does jinx genuinely care about being a symbol or hero or is this another attempt at seeking outside validation to reassure herself? does she know what she wants? will she ever get the chance to find out? will vi ever manage to define her identity as anything other than a protector if she only has three episodes left where she’ll probably be busy fighting noxus and god or whatever insane thing is going to happen? has ambessa ever showed any vulnerabilities or human qualities besides her blunt statements that she’s protecting her family? was it necessary for ambessa to be the evil force behind renni and the chemtank’s attack, when renni had the motivation and ability to do it herself without prompting? where is sevika? what happened with the chembaron war? is zaun completely without a governing body? how are the citizens of piltover affected by noxian involvement? is there time to answer all of this?

also, i can’t figure out what it’s trying to say, if there even is anything it’s trying to say.

i don’t mean to be excessively negative, and i should clarify, i do still like the second season overall. it’s visually gorgeous and there have definitely been moments i loved. but it’s leaning closer to the enjoyability of a fun action movie than the impact of something that hits you in the feelings and leaves you thinking about it and considering it for months or years after. i would have been willing to sacrifice half the action if it let them focus on making the character writing as multifaceted and interesting as it was season one

[saddleups]

𝐇𝐎𝐍𝐎𝐑 𝐀𝐌𝐎𝐍𝐆 𝐓𝐇𝐈𝐄𝐕𝐄𝐒.

★ STATUS . . . ongoing, arthur morgan x f!reader. 18+ smut mdni !!

★ CW . . . voyeurism, female masturbation, male masturbation, arthur's kind of a meanie.

★ SUMMARY . . . recently welcomed into dutch van der linde's gang, has a tense first encounter with arthur morgan, who is suspicious of her and questions her trustworthiness. after a sharp exchange, she withdraws to her tent to find solace. meanwhile, arthur, tasked with returning her forgotten journal, approaches her tent but hesitates when he sees the intimate silhouette of her body through the illuminated canvas.

★ AUTHOR'S NOTE . . . really don't know what washed over me. this was initially meant as a drabble , but somehow bloomed into what is going to be a continuing story. as the start of the story, it's loaded with "setting the scene" mostly to establish a dynamic between the reader and arthur. however , it does get spicy towards the end ;)

An orphan, a wanderer, and most notably, a thief for hire. Your occupation brought you countless adversaries, shaped by a lifetime of hardship. The Wild West wasn’t forgiving, especially for someone like you. It forced you to compromise whatever moral compass you’d developed, exchanging it for a life filled with unsavory characters. Your skills became notorious in Lemoyne, earning you a wanted poster of your own—though the paltry $3,000 bounty made you wonder if the authorities truly knew your worth.

One man, however, saw your potential: Dutch Van der Linde. Knowing Dutch’s reputation, you were well aware there was no honor among thieves, but the price he offered for your services was one you couldn't afford to refuse.

"I'm a man who keeps his word," Dutch said, locking eyes with you. You stiffened momentarily, your guard raised.

"And if you don’t, I’ll have you dead," you warned, your voice steady.

Dutch chuckled, raising his palms in mock surrender. "I'll take you to my camp, introduce you to my people," he said, patting his chest for emphasis. "I take care of my own. I'll take care of you too, ma’am, ya hear?"

You clenched your jaw, swallowing hard before releasing a sigh. Camps, people—these weren't things you were accustomed to. Yet, the promise of a warm fire and a decent meal was hard to ignore. Stepping forward, you motioned with your boot. "Be a gentleman and lead the way."

Dutch quickened his pace, guiding you to his horse. Retrieving your own, you both rode off toward the confines of Clemens Point.

As you arrived at the secluded camp, the thick forest enveloped the intimate commune. Pulling on the reins, your horse came to a halt behind Dutch’s. He dismounted and extended a hand to help you down. You ignored his gesture, earning another chuckle.

"Your independence is admirable," Dutch said, amused. "Maybe you'll set a good example."

"I won’t be staying long," you replied curtly.

Dutch nodded, unfazed. "Come on, now, lemme introduce ya."

You followed behind him, scanning your surroundings, planning your escape if needed. Clemens Point had its rustic charm, much like the rest of Lemoyne, but it wasn’t a place you intended to linger. As you approached the heart of the camp, the residents began to take notice. Some watched from a distance, while others stepped closer. You stayed close to Dutch, observing the crowd.

"Bring a lady for the night?" one man jeered. You tried to get a glimpse of the man behind such a crude remark, catching only the sight of a weathered hat adorned with a feather.

"It ain’t like that," Dutch countered.

"Well, if she’s with you, she sure ain’t cheap," the man sneered.

You felt anger flare in your chest.

"Arthur!" Dutch barked.

So, that was his name—Arthur.

Stepping out from behind Dutch, you made yourself visible to the Van der Linde gang, especially the man at the center of it all.

He was tall, built like a seasoned gunslinger, with the brim of his hat pulled low, hiding much of his face. But from your shorter vantage point, you could see beneath the brim—strands of sandy brown hair fell just above his eyes. You squinted, trying to get a clearer look at the man responsible for the comment.

"My, my," Arthur drawled, his voice low. "What do we have here, then?"

You stared Arthur down, unfazed by his comment. “What you have here,” you said, voice dripping with sarcasm, “is someone who doesn't take kindly to men who don’t watch their tongues.”

Arthur raised an eyebrow, a smirk tugging at the corner of his lips. “Bold. I like that.” He crossed his arms, eyeing you with a mix of amusement and curiosity. “But talk’s cheap out here, darlin’. You gonna back it up?”

You took a step closer, not backing down. “Guess you’ll find out soon enough, cowboy.”

Before things could escalate further, Dutch stepped in between the two of you, raising his hands in a gesture of peace. “Now, now, let’s all calm down, shall we?” He chuckled as though this kind of exchange was nothing new. “Arthur, meet our new friend here. She’s more than capable, I assure you. She’s got quite the reputation—thief for hire, and from what I’ve heard, she’s damn good at it.”

Arthur’s gaze flickered to Dutch, then back to you. His smile faded, replaced by a skeptical scowl. “A thief, huh?” He tilted his head, clearly unconvinced. “And you’re just gonna bring her into camp, just like that? You don’t think maybe we oughta vet her a little first? Or better yet, see if she’s worth her salt?”

Dutch sighed, clearly accustomed to Arthur’s protective nature. “Arthur, you’ve got nothing to worry about. I wouldn’t bring someone into our fold if I didn’t believe in their abilities. You, of all people, should trust me on that.”

Arthur scoffed, shaking his head. “It ain’t about trust, Dutch. It’s about common sense. You’re always bringing in strays, but how do we know she’s as good as you say? How do we know she ain’t just gonna take what she wants and bolt?”

You folded your arms, feeling the heat of Arthur’s scrutiny, but before Dutch could respond, you cut in.

“If I wanted to bolt, I wouldn’t be standing here listening to you question me like some washed-up lawman,” you said flatly. “And as for being good at what I do… Why don’t you give me a chance to prove it?”

Arthur’s eyes narrowed, his expression unreadable for a moment. The tension was thick between the two of you, the unspoken challenge hanging in the air.

Dutch clapped his hands together, cutting through the silence. “See? That’s the spirit! Let’s not get too hung up on doubts and suspicions. Besides, Arthur, you know better than anyone—we all had to start somewhere.”

Arthur shook his head, still unconvinced, but his tone softened slightly. “Fine. But if she messes up, Dutch, it’s on you.”

Dutch grinned. “I’ll take full responsibility. You’ll see, Arthur—she’s gonna fit right in.”

Arthur gave you one last look, his blue eyes hard, but he stepped back, leaving the matter for now. “We’ll see,” he muttered, turning his back to head deeper into the camp.

As he walked away, Dutch leaned in close, speaking just low enough for you to hear. “Don’t worry about Arthur. He’s always cautious with new faces, but once you prove yourself, he’ll have your back. Just give it time.”

You nodded, though your eyes remained fixed on Arthur’s retreating form. “I’ll prove myself, alright. To everyone.”

Dutch patted you on the back, his voice light once again. “That’s the spirit. Now, let’s get you settled in.”

Your shoulders relax slightly when Dutch introduces you to another, kinder member of the camp—Mary-Beth. With a warm smile, she takes it upon herself to show you around. As she guides you through the camp, she explains the delicate intricacies and rich history the Van der Linde gang has accumulated over time. Her warmth is disarming, and though you find her friendliness endearing, your guard remains firmly in place.

As the day gives way to night, the camp grows lively. The smell of roasting meat fills the air, and the sound of laughter and clinking bottles echoes around the fire. Everyone seems to be enjoying the night, drinks in hand and plates full. You sit beside Dutch, notebook in hand, writing down the events of the day—your observations, the faces you’ve encountered, and your thoughts on the gang’s dynamics.

Dutch glances over your shoulder, a grin tugging at his lips. “Writing a novel already?” he teases.

You smirk but keep writing. “Just taking notes, is all.”

With a chuckle, Dutch pats your shoulder. “Well, don’t let me interrupt your musings. I’m gonna get myself another drink.” He stands, leaving his spot beside you empty for just a moment.

Before you can settle back into your thoughts, Arthur takes Dutch’s place without so much as a word. You immediately tense, looking up from your journal in annoyance.

“I didn’t invite you to sit,” you snap.

Arthur leans back, crossing his arms, clearly unbothered by your protest. “I’m just doin’ my due diligence,” he says with a casual shrug. “Lead enforcer and all that. Gotta make sure you ain’t some rat lookin’ to get us all killed.”

You narrow your eyes at him, anger bubbling up. “A rat? You don’t know a thing about me.”

“I know enough,” Arthur retorts, his gaze hard. “You waltz in here, Dutch vouches for ya, but me? I don’t trust anyone that quick. Seen too many faces come and go. Some good, some… not so much.”

You bite your tongue, forcing yourself to stay calm. “I don’t have anything to prove to you, Arthur.”

His stare lingers on you, unflinching. “Maybe not. But until I see otherwise, I’ll keep an eye on you.”

The tension between you is palpable, and despite the fire’s warmth, you feel a chill settle in your bones. This is why you hated dealing with people. No matter what you did, someone was always suspicious, always trying to dig into things that weren’t their business. You snap your journal shut, your patience worn thin.

“I’m done here,” you mutter, standing abruptly. “I didn’t come here for this.”

You walk away from the campfire, the weight of Arthur’s gaze following you as you disappear into the shadows. As you distance yourself from the group, you hear a voice call out.

“Arthur, you really can be an asshole sometimes, you know that?”

It’s Hosea, who had been watching the exchange from a distance. His tone is firm, but there’s an edge of disappointment in it. Arthur grumbles in response, shifting uncomfortably.

“Just doin’ my job, Hosea,” Arthur mutters defensively, but there’s a flicker of something else in his eyes—regret, maybe.

Hosea shakes his head. “Yeah, well, you could stand to be a little more welcoming.”

As Hosea walks away, Arthur notices something on the ground beside him—your journal. You must have left it behind in your rush to escape the conversation. He picks it up, flipping it over in his hands, his expression softening for a brief moment. He exhales a long breath while he debates with himself, glancing in the direction you disappeared, wondering if he should bring it to you.

Storming away from the campfire, you mutter under your breath. "Should've known better than to get mixed up in this." The tension Arthur brought upon you still burns in your chest. Now, away from the glimmer of the camp you question why you even agreed to Dutch's offer.

Quickly the weight of reality sets in. The promise of money looms heavy, more than you've ever made in one place. Enough to change your life, if things go smoothly. And then there's the camp —more than just a place to lay your head. It has food, shelter, warmth, and plenty of drink, luxuries you haven’t had in a long while. The thought alone makes your stomach growl, reminding you of the times you’ve gone hungry for days on end. A little discomfort with people like Arthur might just be the price you have to pay to survive this.

With a resigned sigh, you make your way toward your tent, situated near the lake, away from the central campfire. The sounds of laughter and idle chatter slowly fade, replaced by the gentle lapping of the water and the rustling of the trees in the night breeze. The solitude brings you a moment of peace.

Inside the privacy of your tent, you begin to undress. Shedding your coat, shirt, and pants, you remain in your undergarments, your body finally relaxing after a long day. You sit down on the edge of your bedroll, running a hand through your hair, letting yourself unwind. The faint sounds of the camp are distant now, just a quiet hum in the background. For the first time all day, you feel like you can breathe.

You sink deeper into the quiet, trying to escape the frustration that still simmers after your run-in with Arthur. His suspicion and brash attitude had only amplified the uncertainty you already felt about your place here. But in this moment, alone in the privacy of your tent, you allow yourself a rare moment of vulnerability.

The day’s exhaustion has left your body aching, and as you lie back on the bedroll in nothing but your undergarments, your mind drifts, seeking comfort in the solitude. The warmth of the lamp glows around you, its light illuminating the canvas tent, casting your shadow against the fabric walls.

Meanwhile, outside Arthur approaches the tent with your journal firmly in his grasp. His steps are quiet, almost hesitant has he nears. From the outside, the soft light from your oil lamp betrays the outline of your figure through the thin material of the tent. He pauses, eyes narrowing as he makes out your shape, it stops him in his tracks.

"What in the hell is she up to?"

As the glow from the lantern outlines your curves, you move with an intensity that betrays the calm facade you usually project. Your guard is down, and in this moment of vulnerability, your form is unmistakable. Your hands roam freely over your body, pressing, squeezing, tugging at the fabric of your undergarments. Even in solitude, you tease yourself, building anticipation for the release that awaits.

Your fingers reach up to hold your breasts, pinching the hardened buds as a loud moan escapes your lips and echoes through the tent. Arthur watches silently from outside, his breath catching as he realizes what's happening. His initial intention of returning the journal completely fades away as he becomes transfixed by the intimacy of the scene unfolding before him. He feels like an intruder but can't bring himself to look away.

Lost in pleasure, you lie back and let your hand trail down to your center, seeking refuge in the coarse hair. Gripping tightly, you insert a single digit into your core and feel a rush of wetness surround it as you sink deeper and deeper. Your breathing quickens and unbeknownst to you, the quiet rhythm of your movements is not confined to the tent. You whimper for more, "ple-please, give it to me. i want more," caving release from the stress that has consumed you since arriving here.

Watching from afar, Arthur feels his primal instincts kick in but fights them off with all his might. His sense of honor wavers as he struggles against his own desires. The tightness of his jeans and gun belt only add to his physical discomfort as he closes his eyes tightly, trying to resist temptation.

Meanwhile, inside the tent, you continue to lose yourself in ecstasy, completely oblivious to anything else in the world. Your moans grow louder and more desperate as your fingers quicken their pace inside of you. The sounds of squelching flesh mixed with your cries fill the night air as you beg for more.

Arthur finally gives in to his conscience and with one last look at the tent, he pulls away and retreats into the darkness. "The hell you doing, you pervert?" he curses himself as he walks away, leaving you to your privacy and pleasure. The intense moment has passed, but the memory lingers in Arthur's mind, igniting a curiosity about what else lies behind that sharp tongue of yours.

A man still had his urges.

Your journal finds its temporary home in Arthur's pocket. The heat of the moment lingers in his chest, an ache he can’t quite shake. His body tenses, and the desire to escape the situation grows stronger with every step. He moves quickly through the camp, intent on retreating to his own quarters and pushing away the thoughts still buzzing in his mind.

But just as he rounds a corner, he spots Dutch leaning against a post, nursing a drink and chatting with one of the gang members. Dutch’s keen eyes lock onto Arthur almost immediately, and before Arthur can disappear, Dutch calls out.

“Arthur!” Dutch’s voice cuts through the campfire chatter. “Where’d our new friend wander off to?”

Arthur stiffens, his eyes darting briefly before he forces himself to face Dutch. “She, uh… she’s at her tent,” Arthur mutters, his tone gruff as he shifts his weight awkwardly. Hands firmly grasp his gun belt and a satchel that once sat on the side of his hip is awkwardly placed at the center of his core, disguising what throbbed underneath.

Dutch raises an eyebrow, clearly sensing something off. “You sure about that? You look like you’ve seen a ghost. Or… something else.” There’s a smirk tugging at the corner of Dutch’s mouth, amused by Arthur’s discomfort.

Arthur avoids eye contact, the urge he’s trying to suppress making it difficult to keep his composure. “Ain’t nothin’. Just tired, Dutch. Been a long day.”

Dutch takes a swig of his drink, watching Arthur closely, clearly enjoying the rare sight of Arthur flustered. “Right, right. Well, if you see her, let her know she’s always welcome to sit by the fire.”

Arthur grunts, eager to end the conversation. “Yeah, I’ll do that.”

Dutch takes another sip and, with a knowing chuckle, waves him off. “Get some rest, Arthur. You look like you need it.”

Without another word, Arthur quickly shoos Dutch away with a curt nod and makes a beeline for his tent. The moment Dutch turns his attention back to the campfire, Arthur lets out a breath he didn’t realize he was holding, his footsteps quickening.

Finally reaching the safety of his own tent, a shaky hand, Arthur pushes through the canvas flap. He collapse onto his cot with heavy breaths. Images rush through his mind like a raging river - your body outlined in flickering light, the softness of your movements, and the burning desire that he can't seem to shake.

He lies on his back, staring up at the ceiling with shallow breaths as he replays the memory over and over again. His fists clench at his sides, frustration and longing coursing through him. It's been too long since anything has affected him this deeply.

As someone no stranger to temptation, Arthur knows the pull of the flesh all too well. But this moment with you felt different - more intimate, more real. The vulnerability he saw in you makes it impossible for him to simply brush off the encounter.

Running a hand through his hair in frustration, he tries to push the thoughts away, but they cling to him like thorns. The tension in his body only grows, refusing to let go even in the quiet of the night.

"Damn it," he mutters under his breath, rolling onto his side in an attempt to distract himself. But it's no use - your silhouette, bathed in lamplight, is burned into his mind.

Sitting up abruptly, Arthur grips the ends of his cot tightly as he stares at the ground beneath him. He lets out a frustrated sigh and runs a hand over his face, trying to rub away the persistent thoughts. But they only intensify in the darkness of his tent, driving him to take action.

Without hesitation, he untucks his flannel and removes his gunbelt before freeing himself from his trousers. His arousal is already evident as his length throbs against his palm. Unlike you, who sought relaxation in these moments alone, Arthur seeks indulgence.

Spitting into his palm for lubrication, he grips his cock tightly and sinks his weight onto the cot, groaning at the sensation. His ankles are freed from his trousers as he spreads his legs wider, giving himself more room to move. With each stroke of his hand, he can feel the tension slowly dissipating, replaced by a raw need for pleasure.

His hand moves with urgency and desperation, his thumb frequently visits the tip of his cock gathering the liquid before slipping it down his length. The sounds of your pleasure entertain his memory, your gentle pleas for pleasure make him whimper, "take it, woman. t-take it all." He feels like a fool but he can't suppress the praises he's eager to provide, "like a g-good girl."

His moans were deep and gravelly, resonating with the same desperate desire that you had been yearning for. As he released his essence into his palm, the sticky substance leaked between his fingers. He caught his breath with his eyes tightly shut, murmuring a curse under his breath, "damn woman." Somehow, this was all your fault.

Arthur reached for a handkerchief to clean himself off, wiping away the evidence of his passion. He adjusted himself before settling onto his cot with a sense of contentment, ready to spend the evening in peaceful slumber. The quiet rustle of the sheets echoed through the room as he settled in, still feeling the lingering effects of your intense encounter.

NEXT CHAPTER.

[writingwithfolklore]

Subplots are your side character arcs

              Subplots are incredibly important in longer works as they assist in pacing out the main plot, develop your characters, and give you opportunities to explore parts of your world you might not get to in the main plot.

              So where do subplots come from? Often, they are the character arcs of your side characters (or connected to them). Today we're mostly focusing on side characters that are allies or close with the MC. Let’s talk about it.

1. Developing your side character

There’s as many ways to create characters as there are characters themselves, but for the purposes of this post, I’ll take you through my favourite way to do it.

              You’re going to need: A goal, an objective, a disrupting characteristic, and a formative event.

Objective: The actionable (your character can work at it) objective they want. It is likely the same as your main character’s if they are allies, such as Sam also taking the ring to Mordor with Frodo, or Flynn also working towards taking Rapunzel to the lights.

The difference is in their…

Goal: To what end are they working towards this thing?

Flynn’s goal changes throughout Tangled, but his goal in the beginning is to get back his crown because he wants to “be something” more than he is (rich). Rapunzel wants her life to begin so she works towards seeing the lights, he wants the crown so he works towards getting her to the lights. Same objective, different goals.

Disrupting characteristic: What internal reason do they not already have what they want? While characters tend to face external antagonists that keep them from their goal, it’s their internal conflict that is the thing they work through to provide change by the end of the story.

Let’s go back to Flynn—his disrupting characteristic is that he believes he has to be rich to “be someone”, so he’s turned to a life of crime.

A disrupting characteristic can be either a personality trait (selfish, self-destructive, naïve, relentlessly optimistic) or a belief about the world (I need to be rich to be worthy, I need career success to make my parents proud) etc.

Lastly, the formative event: An event in your character’s past (usually childhood but depends on how old they are) that has inspired why they are they way they are. The beginnings of backstory.

2. Building an arc

From this character development, we can figure out what the arc is. Take your character’s disrupting characteristic—what do they need to internalize or figure out in order to get past it?

              If your disrupting characteristic is, like Flynn’s, that he believes to be rich to be worthy, his arc is going to be discovering self worth separate from monetary gain—which we see throughout the story as he falls for Rapunzel, and caring for her becomes his new purpose.

              Your character’s selfishness keeps them from forming the close connections they crave with others—so they need to be thrown into a situation in which caring for another person over themselves forces them to be unselfish.

              That gives us an A to B.

3. Add conflict

To get from A to B, characters go through a whole lot of conflict. The conflict your side character will go through relates directly to their goal and objective—so the subplot is intertwined closely with the main plot while still exploring this side character’s internal change and journey. The conflicts they face on their own will likely be internal—typically side characters don’t have separate external antagonists from their main characters, but that’s not a hard and fast rule.

              Speaking of, check out my posts on antagonists and conflicts here, here, and here.

The last thing I'll say is that subplots that don't necessarily revolve around the MC but are kind of their own journey until they come crashing together with each other (such as the two POV characters that only meet halfway through the book) should be created as their own MC--so essentially two plots.

Questions?