#do you understand what mary sue means?

[peapodsinspace]

[Image ID: a comment that reads: “it’s crazy how a post will be like “listen u need to get over yourself” and then someone replies like “absolutely! (addition that makes it obvious that they are the exact target demographic of the post and need to get over themself)”” /End ID.]

The stigma of self-inserts is so harmful to the creative process. Relax. Admit it. Everything you make is derivative of yourself, always, no exceptions. You can turn the mirror into tinier and tinier shards or you can make it as big as you want to reflect as much as you want. At the end of the day it's always going to show you inside of it. Pretending otherwise is stupid.

[daisybell-on-a-carousel]

i'm guessing if the "mistake of the universe" theme was there in the idea phase where dick was in the trio, it could've been some meta on how he was supposed to die in infinite crisis but didn't. everyone knows how didio kind of kept his grudge burning over that. need to dig for sources or learn more though, hearing the thing about why jason was included was indeed some "big and wild if true" moment but also made sense with how many don't seem to like using him. even devin grayson, scapegoated by her haters so, admitted she wouldn't have enjoyed writing nightwing if they kept her on to write the originally planned jaywing direction.

What does every dc writer have against my boy I truly do not understand

[blueteller]

Do you know how smart Cale actually is? Like- what extent his intelligence can reach?

That's an interesting question! Let's take a look.

From what I know of IQ scores, anything above 120 puts you in top 10% of the population. So I easily see Kim Rok Soo!Cale belonging in that category; of >120 IQ. However, IQ had always felt a little vague to me. It's nice to have a number to put on a scale and all, but what does it actually mean in reality? Let's try this from a different angle.

Gardner's Multiple Intelligences model of divides talent into eight categories, plus one additional one:

Visual-spatial

Linguistic-verbal

Logical-mathematical

Body-kinesthetic

Musical

Interpersonal

Intrapersonal

Naturalistic

Existential

Why not try to measure him up against each one, as no person is actually intelligent in every way and not even a fictional character can excel in all of them (unless they're a Mary Sue or something lol).

Visual and spatial judgment stands for easy reading, writing, puzzles solving, recognizing patterns and analyzing charts well. I think Cale is definitely a pro in this category; he does loves reading and he's fantastic at analyzing data.

Linguistic-verbal is for remember written and spoken information, debates, giving persuasive speeches, ability to explain things and skilled at verbal humor. And while I constantly make fun of Cale for not being able to explain himself, he IS good at using the "glib tongue" and being persuasive, so I think he is very skilled in this category as well.

Logical-mathematical means having excellent problem-solving skills, the ability to come up with abstract ideas and conduct scientific experiments, as well as computing complex issues. Cale is an incredible strategist able to change his plans in an instant, so he is definitely a genius in this field.

Bodily-Kinesthetic Intelligence is a fun one, because I think it's the hardest one to judge, considering that he literally changed bodies. It of course stands for sports, dancing, craftmanship, physical coordination, and remembering better by practice rather than learning theory. Cale... does not like that. However, it doesn't mean he's BAD at it. If he was a genius in this field, however, I believe he would like it a bit more. Thus – I suspect he was average. In the past he was forced to exercise for the sake of survival, but once he was given the option of taking it easy, he quit instantly. He is capable, but does not have any particular predisposition for it.

Musical Intelligence drives me nuts, because we literally do not know, and I dearly wish I did. There was not a single mention of it in the whole series. As much as I want to believe in a cool headcanon of KRS being an unrealized musical genius... I think he was probably average or below average in this.

Interpersonal Intelligence stands for communication, conflict-solving, perception and the ability to forge connections with others. And while you might have some doubts about Cale, I say he IS a total pro in this. Those are all leadership skills, and Cale is one HELL of a great leader.

However...

Intrapersonal Intelligence is where Cale is severely lacking. It could be partially due to trauma, but I think at least some of it comes through his natural personality. It stands for introspection, self-reflection, the ability to understand one's motivation and general self-awareness; and that is Cale's biggest weakness, one that might actually cost him his slacker life dream in the end, due to all the misunderstandings he causes.

The last two, Naturalistic and Existential Intelligence types, are also not really Cale's forte. The first is for things like botany, biology, and zoology, paired with enjoyment of camping and hiking – none of which Cale actually does for pleasure, only because he has to. And yeah, farming is in that category too, but it's not like Cale is actually a real farmer just yet. And the second is for stuff like philosophy, considering how current actions influence future outcomes, the ability to see situations from an outside perspective and reflections into the meaning of life and death – and Cale is REALLY not interested in this type of self reflection.

Which leaves Cale with 4 types of intelligence he excels at, 2 which he is REALLY BAD at, 1 where he's below average and 1 he's probably average, with 1 left completely unknown.

Does this make Cale a genius? Pretty much, yes. Does it also make him stupid in very specific ways? VERY MUCH, YES.

[abbysimsfun]

Sims In Bloom: Generation 2 Pt. 159 (To Catch a Time Thief)

Days after the hearing, Felix came home annoyed. Passing Emit and Angela in the dining room, he found Lilith repairing the kitchen sink. "Lex Mattingly came into the office today."

"Who?"

"He runs the firm; everyone's boss. He came out to the Britechester office, and he'd heard about the custody case. Said 'You know I don't mind when my attorneys work pro bono, but they need to win one hundred per cent of their pro bono cases.' As if I don't feel bad enough."

"You did nothing wrong, Felix," she assured him. "You're going to figure out how to get a new hearing sooner than a year, but it's only been a few days, and now you've got a few days off. Do you want to help me with the sink? I swear the Watcher keeps breaking everything around the house just to get our skill up."

They were interrupted then by Emit, who'd come to the kitchen for a snack. Angela followed close behind him. "It's good to be handy if the device malfunctions while we're travelling. What do you say we eat and then get going?"

"What happens if it glitches when were in a time with no computers?" wondered Felix, as Lilith pulled a bowl of fruit salad from the fridge.

"Power down to save battery life and wait for someone to come find you."

"How do they find us if we power down?"

"You just have to hope they're headed to the same place you are."

Despite the danger, Felix and Lilith had committed to this mission, and arranged their schedules so they could afford to be out of reach for days, if necessary. They ate and changed into suits Emit had retrieved for them from the future - official time-travelling apparel that could withstand the effects of moving through dimensions, with reflective lights to deflect fellow space-riders.

Angela wished Emit good luck and offered him a romantic kiss. "For the road," she said.

"See you soon, Angie."

Lilith shared a quick look with her mother, Mary Sue, who waited anxiously for her daughter to activate the time travelling device.

"It'll be alright, Mom. We're going to be fine. Ash's invention is going to work."

Mary Sue smiled softly. "I hope you're right."

They linked arms behind their backs, with Emit's wristboard and Felix and Lilith's device calculating their departures. Angela and Mary Sue watched in awe as a few beeps and clicks filled the room, followed by a long whirr, like a gathering windstorm. But the air was still.

"Bring back a souvenir!" Angela said with a laugh.

"We can't do that," Emit reminded her. "It might change-"

He couldn't finish before a flash filled the room. Angela and Mary Sue blinked at the blinding white light, but when the room cleared, the time-travelling trio was gone.

"They really did it!"

Mary Sue sat down to read more about time travel, in hopes understanding it better might ease her worried mind.

"Just because they jumped doesn't mean they landed in the right place," Angela reminded her cautiously. "We won't know if they're safe until they get back."

Felix and Lilith couldn't explain what it felt like to travel through time. After the flash of light, in a blink they'd arrived at their destination. Oasis Springs - January 13, 2020. They looked down at their hands and feet - all parts of them were accounted for. Casino lights obscured the night sky and they looked around.

"There!" Emit shouted. "The time thief! She's running into the Fortuna Casino."

The thief looked back quickly before racing inside. Emit, Angela, and Felix gave chase, but the quick-footed thief blended into the garish interior.

They raced up stairs, past waitresses in showgirl-esque attire, searching wildly for the thief in black and white stripes. They spotted her racing up a grand staircase and the thief met their gaze, but then in another flash of light, she was gone.

"Where did she go?" cried Lilith.

"I don't know," said Emit. "I have to wait for her to drop something in time to get a signal."

"So what are we supposed to do here?"

"Well, we can't change anything, so don't talk to anyone you don't have to, don't tell anyone your real name, and don't do anything to get yourself noticed. We're here weeks before the start of the global pandemic that hit Simlandia this year, so we should be fine, health-wise."

They headed back downstairs, spotting a blonde waitress who looked somehow so familiar. Felix did the math in his head. "I think that's Nancy Landgraab," he said, leaning in close to Lilith to ensure she wouldn't overhear them.

"Ash's grandmother was a casino waitress in the desert? When?"

Emit looked around. "We jumped back in time forty years, so that's probably the answer to that question."

"It'd be nice if you could use that against the old witch somehow," Lilith mused, but Felix didn't have time to consider it before Emit's wristboard beeped again.

"The time thief's a real klepto. They've already dropped something else. July 14, 1920, outside the Laurel Library in Britechester."

"So we're jumping again?" Lilith's eyes lit up.

"Is it safe to jump there? It's only five years after my death - what if we run into someone who knew me?"

"Just remember, focus on the mission and try not to talk to anyone."

Felix' trepidation couldn't prevent them from jumping again - they'd already jumped back forty years, and they hadn't yet completed the mission.

The trio left the busy casino so no one would see them disappear, and in another flash of light they moved through space and time again. But when Felix and Lilith landed outside the Laurel Library in broad daylight, Emit wasn't with them.

"What happened?" cried Lilith. "Where did he go? Did we jump to the wrong time?"

They looked around the quiet university grounds, still somewhat deserted in the early morning light. Britechester hadn't changed much in a century and a half, but the few milling about the red-brick library let them know they'd made it to the 1920s.

Lilith's mouth hung open in awe, as several students looked at them strangely in their brightly-coloured travel suits. One woman with short blonde hair and a burgundy hat approached the library doors, looking casually in their direction. Felix gasped, at the same moment the blonde did a double take.

"Felix, what is it?"

"Felix Psyded, Esquire?" The blonde woman's voice rang like an alarm in his head. "If I'm not staring at your ghost, you best have a fine explanation for this!" ->

<- Previous Chapter | Gen 2 Start | Gen 2.1 Summary

Gen 1 Start | Gen 1 Summary

WCIF Poses & Casino Lot: Trio poses by Atashi77 aka the 'time-travelling pose'; young Nancy is posed with @tenyrasims Serving With a Smile posepack (which I've used before and still love!), and the casino is a fantastic lot by Katy555 on the Sims 4 Gallery, Fortunas Casino Royale. Really bright and elaborate inside and outside. Reminds me a little more of Monaco than Vegas, tbh!

To confirm any questions, yes that is young Nancy, because I downloaded Teen Nancy Landgraab by simsquared7 for this scene (and maybe more 👀)

[pruneunfair]

Rating female leads in manhwa.

Navier

6/10, I absolutely hate her writting and has devolved into a mary sue who only reacts to everything around her while her mass of supporters never shut up about great she is. Her synopsis claiming her as someone who loves all her subjects gets contradicted when its shown she doesnt really care about the slaves.

BUT in season 1 she wasn't bad, I liked her resolve and it was when she actually cared for her people, I feel like if we got to see a clear backstory beyond "she wasn't allowed outside when she studied to be empress" I would understand her total apathy more.

Ariande

7/10, I adore villains, especially villainous protagonists and at first I liked the idea she wouldn't be any better than her family but still had a soft spot for Arabella, she loses a few points because it turns out she's excused for killing people before in the name of "love" and is viewed as someone who can do no wrong.

Adelaide

10/10, she's like Navier but better, she has more noticeable flaws and while she is a kick ass warrior during the tower arcs she still is human and can't always take it alone without consequences, she acknowledges Diane's struggles and makes an effort not to be her enemy and is proof that you dont need to make FL overpowered gods to be strong women. A beautifully made FL in a underrated story

Robellia

1/10, She doesn't divorce her husband despite the title literally being "I will divorce my tyrant husband." But that's more of a problem in most other manhwa. She's too much of a perfect epic goddess for me and most of all she does the whole "buying all the slaves but giving them a home." to make her look even better, what is with manhwa and inserting slavery for no other reason other than to make the FL look better?

Arianna

0/10, there is nothing good about her. Other than being a mary sue and a personality that only revolves around the latest sexy man, she legit forces another guy to join her haram by threatening diplomatic war on his kingdom and bodyshames her fiance but all of a sudden wants him more than ever when he loses weight, it took a random chick being inserted with a 🍇ist persona to make her look "better."

Yerenica

6/10, in any other story, this girl would've been despised by the fandom for being a homewreaker/pick me. She gives me so much second hand embarrassment but she's not terrible, I actually really like her design too. Not a fan of the kidnapper-hostage relationship she and the ML have though.

Pereshati

10/10, the best one here. She feels so much more human than the others on this list, she's got flaws, a relationship with the ML Therdeo that has both realistic progression, blunders, but overall healthy love, she also has relationships outside of her husband which I really love, I actually get scared for her when shes in danger instead of the usual "oh great, heres the typical kidnapping trope", a great motherly FL

Hestia

5/10 I will be easy on her since I just started reading my derelict favorite but I've only heard bad things about it through spoilers so I don't have much hope, also girl, please acknowledge that just because your favorite character did it for love doesn't mean he's absolved for murdering 2 people, thank you

Edith

9/10, my 3rd favorite on this list. You do not know how happy I was when instead of immediately viewing Rhyse as a rival to defeat, she was actually nice to her and the chapters of them were so sweet, she even acknowledges that it isn't anyone's fault for acting out but the author who is pulling the strings.

Layla

8/10, I feel so bad for this poor girl. For some reason I noticed on reddit and tiktok that she's getting hate for not standing up to herself or just not being the usual "girlboss" protagonist, did it not occur that she cant do much to a duke!? Layla deserves so much better and she needs to be far away from Matthias, I don't care if it's "dark romance" he is torturing her for his own pleasure.

[childrenofcain-if]

Yeah, as accomplished and impressive as the mc is, the mc is far from a Mary Sue/Gary Stu. Literally, the scene with V where they try to cook? I cringed when I heard their plans for it (but trying new things is crucial to being good at them). Not to mention other scenes just showing the unbalanced lifestyle (I found Elias asking if the mc had their credit cards to be particularly hilarious) and things they lack. It's not like the mc reaches and touches an extracurricular, and whoops, Bam, Magnus Carlson!

They've also suffered not insignificantly (I can't possibly imagine losing a parent at that young of an age, let alone one you're close to.) And that nosebleed thing must've been a hell of a scare. Also - your reflection looking like that (as in non human or supernatural) would be terrifying. My life isn't notably bad, certainly not all sunshine and rainbows, but if I was offered to become mc and go through all that they will or even all that they have?

Yeah, I think I'll pass. I also think some of it might be people thinking the mc is completely effortless - which I have no idea where they got that - but it's evident while they aren't average in intelligence, they busted their ass off even if they try to play it laidback style. They got the best tutors in the world from a very young age - but that also meant they were using those resources constantly and studying. Not to mention, I think somewhere it's mentioned how mc's time was basically entirely split between studying, extracurriculars, and volunteering.

They're not a god. Just a mortal who had very fortunate resources who worked very, very hard with those resources. Hell, take a normal person with mid resources and have them use that schedule of studying, extracurriculars, and volunteering, and I'd bet they would turn out pretty damn accomplished/impressive too, even if they're not as good as the mc. It's what Richard Feymann said - you can get a normal person to understand quantum physics. They just have to study it well, hard, and for a while.

Yeah, the mc is rich and have quite the privilege, but that doesn't mean they didn't work hard for it and also lost some things in the trade off (mc might know how to cook if they weren't studying "all" the time and took the time to learn, for example)

Mc kind of reminds me of what's referred to as a glass cannon - exceptionally good at one or a few things, but at the severe (and probably unworthy) detriment of being very bad at others. Does mc even know what FAFSA is?

Also, the literal fatal flaw? An actual list? And mc can be as stupid (wisdom stat, not intelligence) and just party all the time.

If anons were going to pick on a character for being "too perfect" then M almost makes more sense. 10 languages, God knows how many instruments, in a good position in HoS, is probably crushing all of their classes, and is majoring in philosophy which can get wildly difficult now and again before toning back down (Nietzche, Kant, and Hegel, probably). Oh, they're also an RA. They to me seem more insane than mc does, even a mc who is designed to be crazy like vocal lessons, two sports, robotics, and debate club, with no burnout. And yet, they are perfectly flawed.

The mc just worked exceptionally hard, is clever, and had literally the best possible resources to get the most bang for their (or rather, Elias's) buck. I think about anyone would - at least - do very well in academia and extracirriculars if they had the best tutors in the world training them in those respective areas from a very young age.

this.

[assassin-artist]

I like your Viltrumite OC and her dynamic with Conquest. They remind me of that meme where a cute girl ordered a beer and a tough guy ordered a sweet drink but the waiter gets their drinks mixed up so they have to switch them back.

I'm pretty sure you mean Yuki, right? Cuz the only time I've drawn Mercy (my only Viltrumite OC) with Conquest was when they were beating the shit outta each other, lol. I wondered why you assumed Yuki was Viltrumite, until I looked back at that drawing of her with Conquest and realized the overlay I put on top of it made her outfit very grey-and-white. Oops! A little bit of Yuki rambling below the cut if you're interested (:

She's not a Viltrumite! She's human, born and raised on Earth. Yuki is one of those OCs where I put her into every AU and every fandom I can feasibly stick her into, lol, so if you look at my Yuki tag then you'll see a loooot of different variations of her. She's usually a good person in every world bc "sunshine and optimism" is like the core of her character in every fandom, but in Invincible I decided I wanted her to be more neutral/self serving instead (: I've got Mercy to be the good OC who wants to protect people, now Yuki gets to be mischievous and work with the bad guys because they're fun company

She's my OC where I just decided that I can do whatever tf I want, so she's an OP mary sue that wins every fight and everyone fears/respects her and all that. Probably the main reason I don't post about her a lot, I know stuff like that isn't always that well received on tumblr. But I don't care that much, it's my art blog and I get to post my super self indulgent OC doodles if I want to..

Her basic lore in the Invincible-verse is that she's immortal and has been around for a few centuries (I haven't decided exactly how long, just at least 300 years or so). She can't come back from the dead like The Immortal can, she just has a healing factor so strong that it's incredibly difficult to do enough damage to actually kill her before she's already healed from it. She can teleport, and mainly uses her dual swords to fight with. I justify her being OP as hell with the fact that she basically doesn't interact with the main plotline, like, at all. She interacts with the characters, but she doesn't really get herself involved with what's going on in the world. She's just goofin off in the background

She basically just pops up out of nowhere, messes around with people, says some cryptic shit that nobody understands at the time but will look back on later and go "ohhh", and then disappears again. Silly jester of a woman that doesn't want to work for any organization because she has no respect for the law or governments, so she's willing to break the rules to do what she wants to do. Sometimes she works with criminals, sometimes she allies with the GDA, but most of the time she's considered an eccentric but unknowable entity.

I just really like the idea of her scaring the shit out of people by popping up behind them at random. The Guardians tell her to get out of their base in Utah but she's like "wait I want one of those donuts" and they just can't catch her. They stopped trying to kick her out years ago. She's kicking her legs up on Cecil's office desk and he just sucks it up bc he wants her help on a mission or something. Silly things like that (:

I like the idea of her hanging out with Conquest, because they're both very lonely people. Yuki, like Immortal, decided a long time ago to not get too close to other people because they both know they're going to outlive them all. So she has a very friendly and approachable personality, sure, but she keeps an emotional distance from everyone. Kinda pissing people off by always cracking jokes and never being able to have a serious conversation about anything. I think her and Conquest would have met before he came to Earth, idk how, I have yet to decide on that other than the fact that Yuki proooobably has gone to other planets before (somehow). I just want him to show up on Earth in season 3 to do his job and he sees her again and goes "what the hell. how are you here" and shes like "huh? this is my planet? what are you doing here?" spider-man pointing meme style

she's really just a daydream-only OC in her Invincible AU because I don't have any intentions of making set lore for her, I just do whatever is fun in the moment. and right now what's most fun is her pestering Conquest but he thinks it's funny and they both get some companionship for a little while

[she-who-fights-and-writes]

Ideas for subverting popular character tropes? I've started a story and am having difficulty making my cast of characters unique. I'd love it if you had any fresh takes on tropes like the mentor, the sidekick, etc...

POPULAR CHARACTER TROPES AND PROMPTS TO SUBVERT THEM

A character trope, sometimes called a character archetype, is a “recognizable element within a story or plot that defines or conveys information about a character. Character tropes can either define a character's entire role in a plot or the character's personality or motivations.” (source: arcstudiopro).

Many people bash “tropes,” but what you have to remember is that there is no such thing as a unique idea; everything has been done before, and the reason why tropes are so popular is because (a lot of time) they work!

It is totally possible to have a "normal" trope in your story without making it a cliché. However, if you’re looking to subvert these expectations, here’s a list of ideas I’ve come up with!

(This is me brainstorming on the fly to help get your gears turning, so I apologize if these aren’t fully fleshed out or if they’ve already been done before!)

1. THE CHOSEN ONE

The “Chosen One” is a trope where “one character is framed as the inevitable hero or antihero of the story, as a result of destiny, unique gifts, and/or special lineage” (source: Wikipedia). The Chosen One is often depicted as naive or unwilling at the beginning, and has a progression of growth through the narrative when they “accept their destiny.”

Examples:

Luke Skywalker (Star Wars)

Harry Potter (Harry Potter)

Frodo (The Lord of the Rings)

Neo (The Matrix)

Subversions:

1. The protagonist who was believed to be the chosen one from the very beginning discovers that it was actually someone else the whole time and must come to terms with the realization that they no longer have this title that they’ve based their entire life (and perhaps personality) around. (Bonus points if the new Chosen One is someone they’re close to).

2. Every solstice, the “Holy Order” sends a Chosen One to defeat the monster that has been ravaging their town. None ever return. The protagonist is selected as the next Chosen One, only to find that being Chosen does not mean “Chosen to defeat the monster” but rather “Chosen as the sacrifice to appease the monster.” (Bonus points if the reason the Chosen Ones always die is because the “Holy Order” misguides them (gives them broken weapons/drugged food/faulty armor/directs them into traps/etc.)).

3. Having the Chosen Power comes with a price. After someone is Chosen, it is a death sentence. The protagonist must find a way to defeat the villain AND purge themself of the Chosen Power before it’s too late (Bonus points if the villain helps them purge the Chosen Power).

2. THE SIDEKICK

The sidekick is a friend and helper of the main protagonist. They are often depicted as a loyal comic relief character made to emphasize the hero’s greatness, and may be killed off to advance the hero’s journey.

Examples:

Robin (Batman)

Samwise Gamgee (The Lord of the Rings)

Chewbacca (Star Wars)

Pan (His Dark Materials)

Subversions:

1. The “sidekick” is actually the hero of the story; the narrator just has an inflated ego and believes themself to be the hero. Meanwhile, their “sidekick” is the one saving the world.

2. Sidekicks are often depicted as younger than the hero. Perhaps an older sidekick might do good to spice things up (Bonus points if it’s without turning them into the mentor trope).

3. The sidekick is a former hero who had to watch their own sidekick sacrifice themself, and was convinced to leave hiding by the current hero. (Bonus points if the sidekick dies in a poetic way that is a narrative foil to the way his own sidekick died, perhaps in a “I didn’t understand why they would sacrifice themself for me but now I get it”).

4. A ridiculously strong/powerful Mary Sue type character is the sidekick to a Normal Guy™ (Bonus points if they are incredibly content in this position).

5. The sidekick is not a willing sidekick; they were kidnapped by the hero because they have an object/bloodline/power/etc. that is essential to defeating the villain.

3. THE MENTOR

The Mentor is the protagonist’s teacher, who helps them transition from a “normal” person into a hero. The Mentor is often depicted as wise and virtuous, teaching the protagonist not only the ways of fighting or magic, but also the ways of good and evil. The mentor is often killed off to advance the hero’s character arc, due to the fact that they are sometimes seen as a parental figure.

Examples:

Dumbledore (Harry Potter)

Yoda (Star Wars)

Uncle Iroh (Avatar the Last Airbender)

Mr. Miyagi (Karate Kid)

Subversions:

1. The mentor is the narrator. After spending so much time training the Chosen One and raising them like their own child, they must hear news that they have been killed by the villain. While still grieving (or perhaps fueled by revenge), the mentor must venture out and defeat the villain themself.

2. Have the mentor be a woman! You would be shocked at how overwhelmingly male-dominated the “mentor” archetype is!

3. The mentor turns on the protagonist that they trained…not because the mentor has turned evil, but because the mentor believes that the protagonist has become a monster (à la Kung Fu Panda). (Bonus points if the mentor is actually right and the protagonist really has become a monster).

4. The bright-eyed Chosen One thinks the world of their mentor, only to realize through experiences with others that the mentor trained them horribly, and that the mentor only used their training to boost their renown—without expecting them to survive their fight with the villain. (Bonus points if the protagonist is an unreliable narrator, and we as the readers feel just as betrayed by the mentor because we, too, thought they were a great person).

5. The mentor is the former Chosen One, desperate for the current Chosen One to not make the same mistakes. The current Chosen One resents the mentor for pushing them so hard and treating them so cruelly, but in reality the mentor is just overprotective (Bonus points if it’s not revealed that they were the legendary “Defeated Chosen One” until later).

4. THE DAMSEL IN DISTRESS

Although a Damsel in Distress is often associated with female characters, any character is capable of falling into this archetype; mostly known for being a passive figure who exists mostly as an object for the hero to save.

This is one of the few character tropes that is difficult to break the negative stigma, due to its root in misogyny and the disadvantages that come along with having a character without personal goals or motivations. In my opinion, if you have a character that follows this archetype to the T, perhaps you should consider some revising.

Examples:

Lois Lane (Superman)

Princess Buttercup (The Princess Bride)

Mary Jane Watson (Spiderman)

Ann Darrow (King Kong)

Subversions:

1. The passive, meek damsel in distress whom the hero has been working relentlessly to save actually turns out to be a villain! Their supposed rescue efforts were used as a distraction while the evil plot unfolds, and ends with a fight to the death!

2. The damsel in distress gets in a huge fight with the protagonist when they come to the rescue; they were undercover the entire time, and the protagonist has ruined their plans!

5. THE FEMME FATALE

The femme fatale is usually characterized as a mysterious woman who seduces and entraps men with her body. This doesn’t necessarily have to be a gendered archetype, but often errs into sexualization and misogyny (especially in works written by men).

Examples:

Jane Smith (Mr. & Mrs. Smith)

Nikita (La Femme Nikita)

Catwoman (Batman)

Catherine Tramell (Basic Instinct)

Subversions:

1. The Femme Fatale doesn’t know they’re a femme fatale. They are a master of seduction and gaining valuable information through licentious wiles, but it’s all an accident; they just-so-happen to sleep with rivals and they just-so-happen to say important information. The femme fatale casually brings this information up in conversation, rendering the team awed by their “impressive skill set.”

2. The Femme Fatale is male or nonbinary (Bonus points if they will seduce any gender).

3. There is a Femme Fatale team; an icy power couple dedicated to killing through threesomes.

6. THE GEEK (OR MAD SCIENTIST OR NERD OR KNOW-IT-ALL ETC.)

The Geek, or the Mad Scientist, is the character known for knowing everything. They often have a lack of social skills, and their vast knowledge of random things helps the characters when they’ve been backed into a corner…though they sometimes tend to be a quick fix for writers who’ve written their characters into a corner and need an easy solution.

Examples:

Sheldon (The Big Bang Theory)

Spencer Reid (Criminal Minds)

Spock (Star Trek)

L (Death Note)

Subversions:

1. The Geek has leadership skills and ability to inspire others. Awkward is not the complete opposite of charismatic; just because someone may have trouble talking to people doesn’t mean they can’t foster intense loyalty from their comrades. (Think along the lines of L from Death Note. Bonus if they’re the leader of their organization, and their subordinates would face God and walk backwards into Hell for them).

2. Combine the Geek with another archetype, perhaps an antithesis archetype like the Dumb Jock. For example, a Geek that enjoys the outdoors and extreme sports like rock climbing (but rather than to get buff, they just want to look at the fantastic granite deposits on the side of the mountain they’re climbing). Or perhaps a Geek Femme Fatale, whose “special interest” is the psychology of seduction.

3. The Geek hates what they do. The “passion” that Geeks usually have for machines/non-humans/their chosen expertise is forced upon them because they’re super smart. In reality, they’d wanted to take it easy going to business school but nooooo the world was at stake so they had to become an expert in the intergalactic space-time continuum.

4. The Geek is useless. Their musings are more mania than genius, their explanations and ideas incomprehensible to a normal human being, and the group only keeps them around with the hopes that one day they’ll come up with an idea that actually makes sense. (Bonus if that idea comes at the climax of the story).

8. THE DUMB JOCK (OR HIMBO)

The dumb jock, also known as “the brawn,” is an archetype that is often categorized by being all buff and no brains. They often are, or at least begin as, the antagonist of the story, and if they aren’t, they’re considered the “Himbo” character (with character traits being buff, dumb, and respectful to women), who are often reduced merely to their attractiveness and stupidity, without much depth.

Examples:

Jason Carver (Stranger Things)

Mitch Downe (ParaNorman)

Kronk (The Emperor’s New Groove)

Bolin (The Legend of Korra)

Subversions:

1. The himbo and/or jock is frustrated with the way that their comrades always reduce them to the brawn. They feel left out and isolated because they can’t understand the lofty conversations of their peers, and know that they, in a way, look down on them for not being as smart (Bonus if this becomes a major plot point in the character’s arc, causing a huge blowout fight that fissures the group because of it).

2. The himbo/jock’s stupidity does not reduce them to comic relief. The himbo/jock is well-respected and has incredible emotional intelligence and charisma/street smarts, but merely lacks in textbook intelligence.

3. The himbo/jock is a woman! Break through the stereotype of dumb strong people being men and put some herbos in your story (Bonus if you don’t sexualize her and just let her be herself).

4. An idea from the jock/himbo becomes an integral part of the plan to save the world!

9. THE ANTIHERO

The antihero archetype is categorized by their lack of conventional heroic attributes, their execution of their goals through morally gray means, and their frequent reluctance to be the one saving the world. Their motivations may be vengeance, hatred, or any other less-than heroic inspiration besides “the greater good.” In fact, the antihero is sometimes the antagonist of the story, but due to the fact that the audience is seeing things from their perspective, they often tend to root for them.

The antihero used to be its own subversion of the “Chosen One” archetype, but became so widespread that it itself became its own archetype. That’s why antiheroes are so varied, to the point where you may not even need a subversion due to how many possible ideas there are to choose from. (This was the hardest list to make!)

Examples:

Barry Berkman (Barry)

Harley Quinn (DC)

Cassie Thomas (Promising Young Woman)

Deadpool (Deadpool)

Subversions:

1. The antihero feels guilt. Oftentimes, an antihero is depicted as stone-cold and dead-set on their actions (and sometimes they’re right! If someone killed my family, I wouldn’t care about “being the bigger person”). However, an interesting subversion may be guilt or self-awareness surrounding their actions playing a large role in the execution of their goals.

2. The antihero is not a lone wolf, and develops meaningful and positive relationships with others rather than having it be 90% snarky banter. Sometimes, antiheroes suffer from a lack of three-dimensionality due to most of their dialogue being cheeky one-liners. Anchor them solidly into the story by building a web of relationships to support them! (They don’t have to all be lovey-dovey, either! Even enemy relationships can be more than snark).

3. An honor code. Giving an antihero with an interesting honor code regarding killing, stealing, or any of their other morally gray deeds could be an excellent subversion! Having characters who are stone-cold killers but draw the line (perhaps in an odd way, such as refusing to steal cars or kill pets), somewhere can be a great way to develop their personality and show the readers their motivations.

Hope these all helped, and happy writing!

[applepie2523]

" HOTD's Issues Writing Women Part 2: The Whitewashing of Rhaenyra

**This is part 2 of my analysis on the issues with the writing of the two main female characters. If you haven’t already please read my part 1 post where I analyze Alicent’s character assassination which you can find on my profile.** I think many fans on the Blacks and Greens and in between regarding HOTD have been concerned and disappointed with the way the two main female characters: Rhaenyra Targaryen and Alicent Hightower have been written in HOTD seasons 1-2. This is very understandable. Female characters in general in HOTD and I think a lot of Hollywood films nowadays are not being written as well as they used to be and could be. Go on Youtube or Google and you'll find many film reviews/tv show reviews that critique the Mary Sue and Girlbossification or just poorly written in general female characters that are taking up a chunk of characters in Hollywood. Rhaenyra and Alicent to me were such great characters in F&B. They were two different kinds of medieval women in a fantasy setting. One, the medieval queen who gains power/influence through her relationship with men and advocating for her son. Two, the medieval queen who sought power in her name and defied some norms that make her compelling but also immoral in their eyes. They are two deeply flawed and complex characters fighting on opposite sides of a dynastic civil war.

This post is here to address the main issues of whitewashing when it comes to writing Rhaenyra Targaryen.

***Some disclaimers: This is no issue with the actor themself. Emma D'Arcy while I may disagree with their opinions from time to time, they are a wonderful actor who is doing the best they can with the scripts they're given, so this is by no means a critique of them. I am going off of the show canon although the book will be mentioned.**

**So firstly... What is whitewashing?**

The modern definition of white washing is to cast in a show/movie or rewrite a character of a minority and make them white. For example, if someone decides to do a movie about Rosa Parks and they cast Emma Stone. However, white washing has another definition. It means to essentially remove or hide negative unpleasant facts or traits of a person or thing. I think Rhaenyra Targaryen suffers from this problem as many of her written negative traits or deeds so far are either not shown, projected onto another character close to her (Daemon Targaryen mostly), or severely downplayed. This results in a character that is almost too virtuous and bland for the setting she is in and a far cry from who she should be. A character whom doesn't seem to fit in the ruthless at times immoral world of Westeros. A character whom is almost a close to a Mary Sue. As I am very much on the belief that flaws versus virtues are what make a character compelling and human.

**I will say not every change made to Rhaenyra story arc and personality are necessarily all bad. Some are good ideas just poorly executed (ex - exploring more of Rhaenyra's hinted bisexuality, as there are hints in F&B that her close relationship with Laena may or may not have been more than platonic) and others are just good changes in general.**

*1. Victims vs. Villains - Biases in Writing Female Characters*

In the words of the iconic Grey's Anatomy actress Ellen Pompeo, “Women are one of two roles. You’re either the victim or the villain. But the victims are only victims because they don’t have what it takes to be the villain.” I think she states the major issue with writing female characters nowadays that HOTD has an issue with. Women must either be victims or villains. The character assassination of Alicent and white washing of Rhaenyra to me stems from this: Alicent is the villain in Rhaenyra's story to Rhaenyra's victimhood.

*2. Rhaenyra's Negative Traits: Arrogance, Hot Temper, Frivolity, and Bad Decisions to Peace-Loving and Plainness*

Rhaenyra had many great qualities in the book but it is only when coupled with major character flaws are we truly compelled. She was a loving mother, passionate, intelligent to a degree, etc. However, she was also very ambitious and power-hungry, arrogant at times, quick to anger, slow to forgive, and frivolous at times. **As a writer myself, I firmly believe that characters are truly humanized and compelling when they have major character flaws coupled with their virtues. Flaws they either have to overcome or use to their advantage. Flaws that make them who they are. Flaws create layers of complexity in a character. Or Flaws that help foster the characters downfall.**

I'm not saying the Rhaenyra in the show isn't flawed. She is! For example, I think what's great is that a flaw they gave Rhaenyra is something show Viserys also had: the ability to ignore or downplay potential conflicts or hard truths versus facing them head on. Viserys refused to see the potential conflicts in naming Rhaenyra heir or pretending her elder three children are trueborn. Rhaenyra in the show refused to listen to Jace whose concerns regarding his parentage as her successor and the dragonseeds were ignored or dismissed. The issue is thought, Rhaenyra is not given the flaws that she most certainly had, **flaws that helped lead to her downfall**. She's not flawed the way she's supposed to be.

Similar to many other Targaryens including her half-brother Aegon II, Rhaenyra was quick to anger and slow to forgive. We have some brief moments where we see Rhaenyra's temper and quick witt, but we don't see the major moments where her major character flaws are shown. Alicent provokes Rhaenyra for example in season 1, having her take Joffrey to her moments after he is born. We never see Rhaenyra provoke Alicent back. Any times where we should have seen Rhaenyra's sharp temper at the slightest of remarks are not shown.

Rhaenyra's actions herself were also very whitewashed with how they were portrayed. We either see their negative consequences downplayed, not shown, or the actions were projected onto another male character. In the books due to how similar Laenor and Rhaenyra were in looks (I mean they were both white) there was still a tad more ambiguity as to whether or not Jace, Luke, and Joffrey were bastards. Race changing the Velaryons made it even more obvious her elder three boys were bastards. I took issue with the writing of Rhaenyra's dialogue and that of the characters around her, not truly showcasing why having bastards, especially as a woman, is a truly egregious thing. The potential chaos Rhaenyra could cause was completely downplayed.

A few actions for example that were incredibly violent and evil were butchered. First example being the murder of Vaemond Velaryon. I was disappointed with this scene. Firstly, we only see Vaemond protest Luke inheriting Driftmark which sets it up as more so an ambitious second son seeking power versus a man who doesn't want his house to be run by someone not of his blood. We don't see other Velaryons protesting with him. After Vaemond made his little speech, Rhaenyra orders him dead and Daemon kills him on **her orders**. She then viciously has his corpse fed to her dragon Syrax. I think this scene was crucial as it foreshadows the danger Rhaenyra would be in the future to House Velaryon and sow more seeds of discontent that are crucial to the house's eventual turn to the Green side. Not only is Vaemond killed more viciously, Viserys orders the tongue removal of even more Velaryons who sided with Vaemond with Rhaenyra's consent! Instead, the show projects this entirely onto Daemon. Daemon goes Rogue (see what I did there) and kills Vaemond on his own accord. Rhaenyra stands there shocked and doesn't even order the body fed to her dragon. Rhaenyra is absolved from all blame to Vaemond's unjust execution without trial.

The thing about B&C is Rhaenyra was paralyzed with grief for her son, Luke. The moment her child died was the moment where her descent into madness and powerful wrath began to truly manifest and she would stop at nothing. I was very disappointed in the fact that she has one episode of grieving and then continues to be so level-headed. I couldn't feel her grief, rage, and resentment towards the Greens for her son's death that makes the war even worse. Daemon tells Rhaenyra that he would avenge her son. I loved the acting of Matt and Emma during their argument about the aftermath. However, I felt like Rhaenyra wasn't acting on character with the book. I don't think book Rhaenyra was 100% okay with a child dying as her vengeance, but I do feel with how angered and filled with grief and hatred Rhaenyra should be, Rhaenyra should be a bit more hardened. She should have not been so sorry about the child's death.

I also think that one of Rhaenyra's most controversial and evil decisions in the future are going to either not be included, blamed on someone else, or downplayed. It's very clear at the end of season 2 episode 8 that my favorite dragonseed Nettles is being cut and given to Rhaena who had her own plot and dragon hatchling. After Ulf the White and Hugh Hammer betray her, Rhaenyra's paranoia goes overload and declares that all the dragonseeds are traitors. Corlys advocates for Addam Velaryon and Nettles and Rhaenyra responds by having him arrested. He warns Addam, and is then bound, beaten, and thrown into the black cells. One of her most powerful allies is now thrown in the black cells. This causes the fleet of House Velaryon to turn against her. Later, she attempts to violate guest right, which is sacred in Westeros (which is why the Red Wedding was so horrific to Westeros even more so), by plotting to have Nettles murdered. As Nettles is being cut, I doubt they'd show this truly negative action as Rhaena can't have Nettles's complete plot. Rhaenyra's unjust arrest of Corlys and House Velaryon turning from her from what they're doing so far might just be blamed on someone else, have a different excuse that is not the one that the book gave, or not shown whatsoever.

I also think they might just be setting her up to be innocent of the torture of Tyland Lannister. After the Greens flee with most of the treasury leaving Rhaenyra in Kingslanding pretty broke, he refused to tell her where the gold was sent. Under Rhaenyra's orders he was tortured and castrated and blinded and disfigured to point of being disgusting. They might just have him be tortured by Mysaria or Daemon on their own accord without Rhaenyra's orders, leaving her innocent, or they will have him tortured by the Triarchy or something. Maybe after Mysaria and/or Daemon torture him, they'll frame it as vengeance for Jace and then Rhaenyra might let him go to appear merciful to an audience. As they cut Maelor whose murder was the breaking point that caused Helaena's suicide, we might not see how another child under the war was murdered by her faction. I worry that they won't show how how her cruelties that she did on her own accord caused her to be hated just as much if not more than her half brothers Aegon II and Aemond. They might not truly set the tone and show actions that lead to her being "Rhaenyra the Cruel" and "Maegor with Teats" they might not show the actions, or blame them on someone else or something else. They might not have her tax into oblivion the smallfolk or send her knight inquisitors to execute dozens upon dozens of supposed or proven Green traitors. I was also confused by the characterization of the smallfolk as these naive little lambs who will follow whatever. There is no famine or riot against the Greens at the point the show showed it. I was pleased with the fact that we saw the book-accurate support the smallfolk gave to Helaena after her son was murdered and how angered they were at Rhaenyra and the Blacks. However, days later they are singing her praises. It makes no sense to me that they would forget something so easily. Of course, I argue in another post on my profile why the riot and famine made no sense. So they might continue to get rid of her all of her negative actions.

**These evil actions make her even more compelling and even more realistic in a violent medieval world. It shows how both sides commit great evils as both Rhaenyra and Aegon II were not remembered fondly by their own descendants, smallfolk, and nobles alike.**

I also hate how they hardly showed just how feminine almost girly Rhaenyra was. Rhaenyra notably loved fashion and wearing beautiful intricate gowns that always showed off her beauty and figure. She dressed very richly as befitting her station, wearing gowns of purple with maroon velvet and Myrish lace. Her bodices often had pearls and diamonds. She always wore rings on her finger that she'd play with and turn when anxious. I honestly found these traits very endearing and relatable as someone who is a girly girl. Finally, a "strong female character" who is a leader who is also very feminine and girly. She doesn't need to be a tomboy and wield a sword to be a badass. But no... we don't see that. Yes the costumes Emma D'Arcy wore were nice I guess on the show but they didn't feel like something book Rhaenyra would wear. I get they had budgets but still... you couldn't have made something else? Like where is the purple and maroon? She's mostly wearing just red and black. No rings. No nothing!

*3. Unequal Screen Time and Too "Modernized": Rhaenyra is the Main Modern Girl*

I feel like HOTD has a problem with perspective. GOT had it perfectly done! The original ASOIAF were written from the perspective of multiple characters so we got a perfect ensemble cast with writing that highlighted the stories and perspectives of many different characters. Jon Snow's narrative didn't overtake Daenerys's screen time and vice versa which is just how it should be. However, I feel HOTD makes a mistake especially in season 1 with framing. Rhaenyra as the main with secondary-main perspectives of Alicent and Daemon. We get most of season 1 from Rhaenyra's perspective and to a lesser extent Daemon and Alicent when the show should have been formatted like GOT as multiple perspectives were given in F&B. We should have gotten an ensemble cast with equal development and perspective from multiple characters, especially an equal development of both Aegon II and Rhaenyra. We get both of Rhaenyra's weddings, two births, her raising her children, many scenes with her dragon, her perspective, and her interactions. Our first intro to her sets her up in a more heroic light as she's a beautiful princess riding her dragon. We don't get Aegon II's wedding or Alicent's. No birth scenes for Alicent or Helaena. We hardly get their perspectives compared to Rhaenyra. We should have seen more of Aegon II's childhood and perspective versus just him being a bully and later a rapist. While they improved perspective a bit more in season 2, it's not enough to take away from what was done in season 1. Rhaenyra is the protagonist and **THE main character versus A main character.**

What I think they should have done is showcase the real dynamic of Alicent and Rhaenyra more. They can start off with their friendship but then transition it to the dynamic that both women had at court: competition. Both women wanted to be First Lady of the Realm and first priority to King Viserys. The Queen vs the Princess and named heir.

Rhaenyra does at times come off as more modern than she should be. I think her and even her aunt Rhaenys. For example, in the book Rhaenyra is at times very homophobic by our standards to Laenor. When she discovers she's to marry Laenor Velaryon in the show, we see her initially not too excited about it, but not fully antagonistic. She in fact has a very decent and friendship like conversation where she uses the metaphor of preferring roast duck to insinuate she understands and accepts Laenor for being gay, deciding to do their duty and support one another, while pursuing their own pleasure with each other's consent with whomever that may be. They appear to be very supportive of one another times, at least on Rhaenyra's end. She compliments him deeply when he says he wishes he were different.

While I'm sure on some level Rhaenyra wishes Laenor was bisexual at the very least so they can have more than a friendship and have trueborn kids together, Rhaenyra is almost too accepting for her medieval context. In the medieval world, same sex relationships were a HUGE no-no. In fact being gay was considered a mental illness and sickness up until the 20th century! Rhaenyra appears too accepting of Laenor, appearing too modern in just how accepting she is. In reality, while I'm sure Book Rhaenyra cared for Laenor on some level and had some kind of respect for him and affection, it wasn't this deep and this accepting. Laenor did mean something to her on some level, after all he is still the man she married, and very important to her storyline---however Rhaenyra in the book as a much more medieval reaction and medieval view on his sexuality. She was notably very unhappy about her betrothal to him. It took serious threats from King Viserys to remove her from the line of succession in order to get her on board and she did so reluctantly. She notably even said that "My half brothers would be more to his taste." This is a very cutting and almost homophobic statement. I mean her half-brothers were still toddlers. However, we never get any true antagonism, frustration, or even subtle or outward homophobia on Rhaenyra's end. While this statement is mean and homophobic, that is a more medieval response. It's sad, but it's true. Rhaenyra is a medieval woman in a medieval setting. She is a product of what her society raised her to be, which is being gay isn't something one should accept.

The same issue occurs with Rhaenys having an almost too modern point of view or opinion that doesn't fit with her medieval setting. When she discovers her husband Corlys Velaryon has bastard children, Addam and Alyn of Hull, she is neither furious nor disappointed or horrified. In fact, Rhaenys advocates that they deserve to be "raised up and honored not hidden in the tides." This is an incredibly unrealistic and unfitting reaction on Rhaenys's end. In our modern day society, even, if a woman finds out her husband cheated on her and sired kids off his side chick, she'd be furious. Of course, I think a moral modern woman wouldn't take her anger out on the children, but still. Rhaenys's reaction is almost too modern and too gracious. Characters are products of their circumstances. Despite Westeros being a fantasy world, we feel how medieval the characters are through their beliefs and behaviors. Catelyn Stark or Cersei Lannister's reactions to their husband's bastards is far more realistic---specifically how Catelyn and Cersei hated what their husbands had done and felt it was an affront to them personally. Corlys in the books was terrified of Rhaenys finding out as it would dishonor him, her, and their dead children together which is why he tried to pass them off as Laenor's no matter how ridiculous is sounded. Rhaenys should have been more realistically horrified at Corlys and angry. She shouldn't be advocating for them to be anywhere near her house or imply they should have been raised amongst their own trueborn children.

I think this does two things: 1) Makes it though Rhaenys is fully on Rhaenyra's side when raising her bastard children of Harwin as if they are her trueborn grandsons and 2) Modernizes her too much. That is a main issue. The show attempts to modernize her and make her appeal to a more modern audience. However, there is a way to do that without modernizing her so much that she doesn't seem to fit with her medieval context.

was very disappointed when I heard that the directors told Olivia Cooke to portray Alicent as "woman for Trump" and Rhaenyra is this "punk-rock Hillary Clinton." Modern day politics and movements and ideologies have little to no place in the way Westeros should be written as its a **realistic medieval setting with realistic medieval characters in a fantasy world**. Rhaenyra is too modern in her interactions and beliefs that she doesn't seem to fit well in Westeros. Rhaenyra as well is also presented as this more feminist character.

*4. Two Things Can Be True At Once: Women Can Be Victims of Sexism AND Still Do Terrible Things, Be Self-Serving, and Wield Significant Amounts of Power*

**What I ultimately believe that Condal and the HOTD production seem to get wrong is that in a medieval setting like Westeros, women are ALWAYS overlooked and dismissed and cannot take so much significant power. I feel like they believe that women can't do terrible things in the patriarchal system of Westeros while being victims of sexism.**

Women in the real middle ages and Westeros in Martin's story are not feminists by our definition. At times we see women take advantage of and gain power from the sexist patriarchal society they live in. We see it with Cersei Lannister, Margaery Tyrell, Daenerys Targareyen, Catelyn Stark, Olenna Tyrell, Ellaria Sand, Lysa Arryn, Melisandre, Arya Stark, Sansa Stark, every woman in the original GOT series were victims of sexism and an oppressive patriarchal system of Westeros just like real women of the Middle Ages AND YET they still were able to wield some power and do terrible or morally gray things. We can view them as victims of a horrible system but still see how they take advantage of it, gain power and agency as they have no choice to use the system versus fight it, do horrible things, but still view them as victims.

Rhaenyra is one example! I will say that this is partly more so the interpretation of the modern casual audience versus a writing issue, but it is still a writing issue that there are people who believe her to be a feminist. She's not! Of course just because she isn't one doesn't mean you can't root for her, but don't root for her if you think she's a feminist. We might never see the moments where Rhaenyra herself is denying women rights of inheritance from Lady Stokeworth to Lady Rosby. We should have been emphasized that Rhaenyra is not the closest thing to a modern day feminist. She is not advocating for women's rights or to make the world better for women, but to be an exception to the rule. Like most medieval woman in power, she takes advantage of the patriarchal system and gets power from it. Laena Velaryon is older than Laenor. She takes advantage of patriachal rulings to install her (bastard) "son of Laenor" as future Lord of Driftmark versus advocating that the eldest child, Baela Targaryen, daughter of Laena Velaryon, the elder sibling, to inherit Driftmark.

Victims can be villainous too! Soft power. Rarely in the Medieval world do we see women wield a hard power in their own name. Of course we have outliers, but in the end most medieval women wielded a soft power---gaining influence and power through manipulating their relationships with men (their husbands, fathers, brothers, sons, etc.). Did real Medieval women know they were oppressed? Perhaps they did, and perhaps they accepted it. Did real Medieval women make efforts to change it? I wouldn't say so. Many women upheld the status quo of men being dominant.

For example, in keeping with British history that Martin is so inspired by, going off of blood-ties alone, Lady Margaret Beaufort had a stronger claim to the English throne via her Lancastrian blood than her own son Henry VII, and yet she advocated for her son not herself to be the next ruler of England. Queen Elizabeth Woodville had three daughters (Elizabeth, Cecily, and Mary) before she had her son Edward V. Like any medieval woman with three daughters alone there was growing pressure to secure her husband's line and her own position by producing a male heir. She never tried to name any of her elder daughters over her son once she had him nor did she ever try to advocate to her husband King Edward IV that he didn't need a male heir, he had his eldest daughter Elizabeth of York.

Rhaenyra Targaryen as well is presented almost like she's pursuing power to make Westeros better and that she has more altruistic and kind intentions behind her actions. I mean this weird "Aegon Prophecy" contributes to it. I think we should have seen a more realistic medieval and Westerosi character by having Rhaenyra, just like Alicent or Aegon II, pursue power because she can! Pursue power and queenship for the sake of having it and because she believes herself entitled to it versus these more "virtuous reasons." I mean in the book she never considered accepting the peace terms despite how generous they were because she refused to renounce her claim and back down! She wanted power because felt entitled to it and because every character in Westeros wants power to some degree. Ambition is a theme and characteristic that unites every character in Martin's world.

**My Takeaway? The Writers are Biased and Fail to Understand the Medieval Context of Westeros and Martin's Female Characters. Don't implement modern politics and biases into a medieval show**

I love that Martin tries to write his women the way he writes his men. He has explicitly stated that he writes his women the way he writes his men. He states that women are people too. They can be driven by the same things men are in Westeros and/or the real world: love, anger, hatred, a desire for power, vengeance, grief, guilt, bringing glory to their name and themselves, a desire to protect their family, etc.

Most of all: **Westeros is a realistic medieval world with realistic medieval characters in an unrealistic fantasy setting.** So you have to look at it from primarily a medieval lens in order to fully understand it and its character. While its okay to analyze using some modern concepts and lenses (ex - analyze how Daemon is a pedophile) you have to couple it with a lot of grace and understanding of their medieval context and morals that impacts the way the characters behave as we are products of our own historical context (ex - remembering that pedophilia and child grooming isn't much of a concept in the medieval world. The moment a girl has her first period, they are a consenting woman in his context).

So I find it disingenuous to write off all of Rhaenyra Targaryen's negative traits as just nothing but maester propaganda and due to sexism. I disliked how they downplayed her ambition, arrogance, rage, and cruelties to make her appear more modern and peaceful and the most virtuous character on the show. Yes, perhaps sexism could have had some tie into how Rhaenyra was viewed in Westeros. However, historians in the real world can't just dismiss reports about what a medieval woman was like simply because of the sexist world they were living in. By that standard, perhaps a woman like Queen Anne of Brittany wasn't all that bad or Margaret of Anjou. By that standard anything that was negative about the personalities of any medieval woman in power is all just rubbish and not true.

I felt we should have seen more of the kind of women that Martin writes. The kind of women that fit with his medieval-fantasy narrative that showcases how pursuing power at all costs leads to nothing but ruin. We should have seen layered women. We should have seen a more book-accurate Rhaenyra. We shouldn't have to settle for a lackluster story where Rhaenyra is nowhere close to her book counterpart.

**And most of all, the HOTD team shouldn't subtly or outwardly bash the original source material as nothing but sexist propaganda to excuse the lackluster writing of the female characters being nothing like their book counterparts or subtly or outwardly write off critics and fans like myself as toxic for pointing it out.**

**If you like this analysis, read on my profile my part 1 when I delve into the issues with HOTD’s Alicent.** "

[imbecominggayer]

Signs You Have Written An Actual Mary Sue

*Insert SIREN NOISE As Writer Has Just Said "Mary Sue"* whoop

For the sake of clarity, I'm going to be using the term "Mary Sue" as a catchall term for characters that lack important flaws. I understand that the term is often disproportionally used against female characters but I want to use a recognizeable term for this issue.

Also, this advice is for "serious works of fiction". If this story isn't intended to be critically viewed by anyone else and is just meant for fun, write Mary Sue.

Okay? Ok!

What Is A Mary Sue?

A "Mary Sue" is a character who is defined by their inhumaness as they lack flaws and consequences. And that is the key term that defines the Mary Sue: "consequences".

The Mary Sue has the impressive ability to bend reality to serve it's own needs. Like a parasite!

But let's get to some specific signs

A: They Lack Substantial Flaws

"Substantial", in the world of writing, means "of plot significance"

Mary Sue often has flaws but they are either:

Fake Flaws that are never shown to the audience such as a character who is a horrible cook who never cooks

Cute Flaws that never impede on a character's likeability and success. Their anger issues never lead to bad impulsive decisions. Their naivety never loses it's "charm"

Substantial flaws are flaws that actively hurt a character's chances at getting their goal while simultaneously ruining the character's life.

Compelling Characters are tempted by vices, have their morals tested, fail spectacularly, and make bad decisions.

Mary Sues are enlightened characters whose bad decisions tend to be portrayed as a natural intuition. A character who never fails meaningfully.

p.s: flaws should be dark reflections of their good qualities. determined=stubborn. idealism=savior complex

B: They Lack Agency

Mary Sue, despite their wealth of charm and attractiveness, never makes active decisions.

They never make active decisions because Mary Sue is a character who is so perfect they have no desire, goal, or lack of something. Afterall, if someone has the ability to get anything they want, why would they want?

Mary Sue never has to change anything about themself to get a goal because they neither have imperfections or goals.

Instead, the plot comes racing at them as conspiracies, mysterious love interests, and practically God herself, desperately try to involve this mediocre individual in the drama for some reason!

As I have mentioned in my: Writing Advice: Give Your Characters Agency, characters need to have agency in order to have a compelling character and plot since narratives are based on the question "what is this character willing to do to get their goal"!

Mary Sue don't need to ponder this question since they don't have a goal. They either passively hope to survive while not doing anything active in order to try and survive or they just kinda walk around.

C: They Bend The Rules Of Reality

But not in a cool way. Like more of a bully kinda way.

I'll give you some quick examples of what types of "bending reality" exist since it kind of depends on the plot!

a: "Character A is not conventionally attractive, doesn't practice self-care, insults other, has a HUGE superiority complex, and is obnoxious. Yet for some reason, several characters crush on them when there’s no redeeming qualities."

b: "Character B fails to do something but it's okay because that failure allowed them to succeed and they actually end up winning overall"

For A: Basically, Mary Sue changes the character settings of other characters and often forces them outside of their typical behavior while not simultaneously providing a reasonable explanation for hy this happens.

For B: The plot caters exactly to their needs. Like even mistakes play out as victories because the plot develops in the direction making them being right in the end. Mary Sue doesn't get pushed by the plot here. They are the plot

[greypentachoron]

Replaying ac3 as an adult gave me a new appreciation towards Connor. The game is still not my favourite because it feels like a cross between an US history class and historical mary sue fanfiction, but Connor as a character is an extremely tragic story.

When I was a teen, I only saw his character as boring, eager, kind of childlike in his point of view, badly acted, and Boy Was I Wrong.

First of all, I'd like to comment on an interesting layer I haven't noticed as a teen: He is getting used to an entire new language. We bilinguals know the struggle. We got so much to say, deep and intricate thoughts, but not enough grasp on our second language to bring them to life. He starts with very simple lines in English and clearly his language evolves during the game. He still struggles from time to time, but that's normal and our mistake is to judge him as a native English speaker. He's not boring or a bad voice actor, the voice actor captured perfectly how we talk at first, how we learn, and Connor has to do it all and learn so fast. His entire tribe's fate is on his shoulders. Dude has to mingle with foreigners and not stand out, look like them, act like them, talk like them. He has to put on a major act to keep everyone, even himself safe.

Then there's his motives. He wants to be safe, for his people to be safe, and clearly HE is the only one who can do it. Sure, others could help, but everyone has things to worry about, and the spirits told him it's HIS fate and no one else's. He wants to leave and explore like many curious people do, but now it's an obligation. He wanted to see the world and he saw the horrors.

He is not naive, although his words are quite simple at the begining. Why can't all people be free? Why only the colonies vs the empire, why not the natives and slaves too? Why do we have to fight for YOUR freedom while ours is still pending, maybe in the future? There's so much land, why can't you use it without poaching, burning, destroying, robbing?

The man has a POINT. These people don't understand they're complaining about being explored WHILE EXPLORING OTHERS. Yeah, sure, you're not as bad, but that's not a compliment!

Connor also has his entire life turned upside down. Sure he comes back to his home after it all finishes, but then what? He saw The Horrors out there. He went out searching for meaning just to be told "Your meaning is to send a message. You're a glorified letter for someone more important than you". He knows he only bought his people time, in the future they will still be explored, thrown around by the descendants of the people he fought side by side with. He learns this from the 'spirit' talking to him (and that's the Isu, I have a whole rant about them using his tribe acting like wise spirits and all. They are all nasty)

Dude comes back home having seen the corruption and suffering, knowing what he did will be undone soon, not even his allies listened to him, everyone calls him innocent for wanting the bare fucking minimum in decency... And now he's changed, you know? What hope does a person who is seen as a hero but knows he didn't change fate has to hold onto? How many years of training and interacting with colonists has he gone through? He's not home in the city, but probably not home back with his people either. How much blood in his hands, how much horrid knowledge?

His story is tragic and I'm so very sad about this fictional broken man and all the real people he represents.

[physalian]

The Dos and Don’ts of Giving and Receiving Constructive Criticism

Some of these should be painfully obvious and yet. They come from experience.

Receiving feedback:

Do

Understand that a criticism of a character’s thoughts, actions, morality, and choices are likely not a criticism of you as an author, unless the character is an author insert

Understand that they are being paid to critique how successfully you told an entertaining story, not pander to your trauma dumping

Understand that critiquing a book’s success as an entertaining story means that how much you yourself connect with or love a character or scene or plotline is irrelevant if it doesn’t make a compelling narrative

You might have written your book for yourself. Your editor is a different person with their own human biases and perspectives. If you just want to pay someone to stoke your ego, make that 100% clear up front.

Stand up for yourself and clarify where necessary if some details were overlooked or if explaining outside the narrative can better contextualize anything confusing or lacking detail.

Stand up for yourself in what feedback you are expecting, and what degree of criticism you’re willing to endure. An editor can let more or less of their own views show depending on what you ask for.

Stand up for yourself if your editor delivers inadequate or useless feedback. You’re paying them for a job, and you deserve to have it done properly.

Try to separate dislike of a book from dislike of yourself. It’s not easy, but the goal is to fix your book that you’ve already spent a lot of time writing, and they’re only trying to help.

Remember that your author insert is subjected to the same level of criticism as any other character, and that you asked for this.

Keep an open mind and be prepared for feedback that you don’t like, because you can’t please everyone. Your editor should be able to tell you whether or not a scene or character, or plotline works separate from their own personal tastes.

Don’t

Argue with your editor over their religiosity or lack thereof and insist that adhering to genre expectations means they “worship the god of [genre]”. (really, argue with your editor over anything like this, e.g. their own sexuality, religiosity, gender, socioeconomic status).

Argue with your editor while still expecting more work from them as if your aggression will in any way positively impact their perception of your book.

Insult your editor’s intelligence for not understanding your jargon and attempts to sound smarter than you are.

Get mad when your editor sees right through your BS and calls it like they see it, specifically your self-insert Mary Sue protagonist.

Insist that the solution to better understanding your book is for that editor to do extensive homework on your niche topic. If it’s a niche book for niche audiences, hire an editor who’s already knowledgeable about that niche topic.

Equate a bad review and opinion of the book with unprofessionalism. These can overlap, but they are not interchangeable.

Forget that your book is probably meant for leisure and entertainment, and your audience is under no obligation to read “until it gets good,” when they can go do literally anything else. Your first job is to entertain, if you write fiction.

Giving Feedback:

Do

Pay attention to your client’s wants and needs and expectations. If they’re more sensitive to bad feedback, do your best and stay as objective as possible. You can’t please everyone, either.

Helpful feedback includes an explanation of why an element needs work and how it can be improved. Saying “I hate this” with nothing else helps no one and just makes the author feel bad with no direction of how to make it better.

Communicate beforehand how much of your own personality your author wants from you. Do they like personal opinions and your personal reactions to the text, or do they want it as impersonal as possible and solely focused on the structure of the narrative? This might avoid a mess.

Remember to leave notes of where things worked well to balance the criticism. Even a simple “this is good” highlighting a line or a paragraph or two helps keep authors motivated to keep writing. I firmly believe that no book is completely unsalvageable.

Make it painfully clear with no room for debate that criticism of a character is not criticism of the author, unless it's an author insert, in which case the author absolutely asked for it.

Make it clear that you are just one person and these are all suggestions, not laws.

Don’t

Let your own personal opinions cloud your judgment of whether or not someone with different tastes could enjoy the book.

Unless given permission, get too personal with the narrative and reach beyond what’s written on the page.

Do more than what you’re paid for. You’re an editor, not a therapist for the writer’s trauma dumping.

Forget to wrap up all your thoughts in a condensed format that the author can reference, as opposed to endlessly scrolling through the manuscript trying to summarize your points for you.

Walk away with absolutely nothing positive to say about the manuscript. Even if it’s awful on every front, the writer still tried and that deserves merit.

This is from my personal experience beta and sensitivity reading, and dealing with other beta and sensitivity readers. We are all human and these jobs are not one-size-fits-all and there aren’t really hardline rules as every author, editor, and manuscript is different with different needs.

Just some things to keep in mind.

But also, for the authors who do write self-insert Mary Sues: You are in for a very rude awakening if you expect anyone other than yourself to adore your book with zero criticism. If you really just want someone to proofread and look for typos, tell them.

[iamnmbr3]

Cursed Child rant? as a treat? 👉👈

Oh god. Where to even start. Listen, I know some people enjoy CC and I say more power to you. I'm not here to be the fun police and say what people can and can't like or write fic about or derive meaning from or whatever. But for me, personally, Cursed Child is an absolute mess of the worst kind that irritates me on a profound level.

First off, it's completely inconsistent with the canon characterizations and established rules of world building (and JKR didn't even do that much world building so there wasn't that much to keep track of and yet, they couldn't even bother to do that). I mean, Cedric, who tried to give the Triwizard Cup to Harry doesn't win and that somehow causes him to become a Death Eater??? Huh? It's not just ooc. It's bad storytelling. I mean, even if he was a hugely sore loser why would losing a tournament cause him to join an extremist blood purist paramilitary group? That has nothing to do with him losing. It's stupid and childish and nonsensical and SO bad.

And really? That's the best you can come up with? If the point of that whole thing was the tired trope of 'time travel goes wrong and makes things worse' they could've just had the gang expose Crouch earlier but instead of Voldemort not returning he just ends up returning but not using Harry's blood which allows him to do his original plan of growing his power in secret. And idk. Maybe then he takes over and he kills Harry and Harry doesn't come back. I didn't even put any effort into that. It's a bit dumb and inelegant but it gets the job done without wild character assassination and a lack of logic so profound it would insult the reasoning abilities of a fungus.

But ok, let's judge it as its own vaguely Harry Potter inspired thing rather than as an actual sequel to the canon series. You know what the result is? IT'S STILL BAD. It's just. SO BAD. I don't understand how it's a real thing.

It's like a parody of a bad play. It can't possibly be real. Harry suddenly has a phobia of pigeons? Why??? It's so...stupid. And I'm supposed to take that seriously? What? And the dialogue. The dialogue. "Bad" doesn't even cover it. The fact that "Wow. Squeak. My geekness is a-quivering" is a real actual line in the actual play causes me physical pain. WHO WRITES THAT?! AND THEN LEAVES IT IN THE FINAL DRAFT?!?!?

And Delphi. WHAT EVEN?! She's literally like a parody of a bad fanfic Mary Sue. Down to the blue streak in her hair. But we're supposed to take her seriously? As a villain? Tf? She's like a bad Ebony Dark'ness Dementia Raven Way knockoff. The whole play is like an unfunny parody of bad writing. But it's not supposed to be. It actually pretends to be a genuine drama. Which is so much worse. I truly think My Immortal is better. And way funnier.

No effort at all went into the story construction. Characters act incredibly childishly and unrealistically and simplistically. The story doesn't feel like it was written by adults. There's no feeling or depth or emotion. It's all plot contrivances and nauseatingly simplistic writing. It isn't a story. It's just some stuff that happens. Because the writers were just like 'eh it's Harry Potter it'll sell.' And that's not art. That's just churned out content. And it bothers me on such a profound level that they did it and got away with it.

I would be embarrassed to write that for myself, let alone to turn that in as a professional writer. It's so inconsistent with the original story that I legitimately think the 2 guys who wrote it didn't even read the books. They just glanced at the wiki and decided they were good to go. Despite being PAID to do this. How sloppy is that? Not to mention Harry Potter meant so much to so many people who were ecstatic to get more content yet the two clowns who wrote this just skimmed the wiki and then vomited out some of the worst lines ever penned in history and called it a day.

[real-total-drama-takes]

The female characters aren’t ‘more boring than the male characters’, the people in the fandom just overanalyze and appreciate them over any female characters. Noah isn’t that interesting. Alejandro is maybe that interesting. Cody is not. Ezekiel is not. Justin is not. This is not character hate. You’ve just worked so hard to understand them- almost exclusively male characters- and payed them so much attention that you think they’re some amazingly complex characters. You could easily do this with other characters- female characters-, but the fact is that people do NOT. They rarely ever do. Not to mention to degradation of female characters to “Mary sues” and “manipulative”- acting as if they have NOTHIN significant to them-, and showing obvious biases between flaws and scandals. I’ll use Alejandro as an example. He is not a good person. He does go through struggles, but he is a bad person, misogynistic, and a villain in the show. Does this mean you can’t like him or appreciate him? Of course not. But look at how other female characters who are less awful than he is but get worse treatment. Of course there’s obvious problems with the way female characters are mistreated in the show itself, but the fandom only emphasizes this.

For a more specific example, I’m going to use Chase and Millie. Both of them have done immoral, endangering things- Chase cutting Emma’s breaks and Millie pushing Damien down the 4 point slide. Millie is more often attacked for this than Chase is, although what Chase did was objectively worse. Chase cut the breaks on his girlfriend’s car AS A PRANK and made her crash. Millie sent Damien through a ‘death trap’ in order to win a challenge for her team. What both of them did was bad, obviously, and I think you can still like them and forgive one of them for what they did. That being Millie. Millie shows genuine remorse over her actions, and Damien accepts her apology as she promises to do better. Chase does not apologize, admit, or even THINK that he was wrong. Guess which one of these characters is commonly loved and which one is overly hated. Obviously, Millie being plus sized and a woc (Black, I believe) contributes some to this, but this is an obvious pattern you can see through every generation.

But yeah. The fandom itself has treated female characters worse than the show has in some ways.

-🐍 should probably not use my anon thing but I needed to say this!! It’s been in my head for a while

[halogenwarrior]

At this point, I feel it's silly to hate any fictional character and I just can't bring myself to - at worst, I might think a character is neutral and uninspiring. Yes, if a character does morally horrible heinous actions, then a good writer will make you feel the weight of it and be revolted, and some characters are best appreciated by recognizing those actions and not turning them into your woobie doll... but that disgust for their actions means they are doing their job and are well-written, and in addition I can feel that simultaneously with interest, even fascination in the character's psychology and story. Just boiling down a character to "lol they suck (and I'm not going to bother investigating why they do the sucky things from the point of view of the character's mind or from the point of view of themes of the story)" can be just as harmful to understanding the story as babying them so much that you downplay the horror and cruelty of their actions.

And then there are the badly written characters, but while you get frustrated with them I would rather take the frustration out on the story and author, while the character themselves I can often appreciate for their wasted potential. An author's pet/"Mary Sue" type character, can still be appreciated sometimes as a well-rounded character with interesting flaws, just that the narrative doesn't use those flaws to challenge them enough, and a character who is less sympathetic than intended can be appreciated either in the same way (they make an unintentionally great deeply flawed character, even an unintentionally great villain) or for how interesting and meaningful their story could be if they really were what the narrative portrayed them as, and you can use your imagination or fan fiction for both!

At worst, I'm just not interested in a character, I think they are written too simplistically for there to be anything there or they are badly written and I don't see any interesting potential beneath that. In which case, that's not the same as hating the character, I just move on and don't think about that guy. Sometimes even then I will see a post online from an appreciator of that character I could care less about and gain a greater appreciation myself as a result. In general, I feel people in fiction/fandom communities could be so much happier if instead of hating individual characters, they hated writing choices and saw characters as tools that can only be good or neutral.

[yuurivoice]

I totally agree on the boo not needing to be the center of the universe. I mean even listener ASMR as a whole kind of comes from the whole fly on the wall concept that then diverts into a fourth wall break! I think it's actually really interesting how lots of people love this kind of stuff (me included) but typical video game or movie fourth wall breaks make them uneasy (Also me...) Maybe it's the thrill, or maybe it's just the difference on how the piece of media portrays the atmosphere!

one thing I would like your opinion on tho, is what you think of like?? mary sue type beat characters?? That's definitely not the right term, and in no way am I implying that's what boo is I just don't know what term would be better to use to explain the type of character im trying to explain lmao 😞 I feel like when every bad thing that happens is centered around the listener, it makes for a boring narrative, but I also think that when nothing at all bad happens to them ever, it kind of turns the character invincible, and like less human? if that makes sense at all 😭🙏 Not so much as major traumatic life events, but like.. listener fumbling and missing an opportunity, or just minor inconveniences that kind of reminds you that oh right they exist. like anyone can trip on a root and eat dirt, and it's equally hilarious! I think that's probably a very delicate balance, and I think you stay on that tightrope pretty well! I was just wondering

Have an amazing day!!

I think there are levels to this answer so I'll work through some layers.

From a creator's POV, a sad (or happy) truth is that your average listener is looking for and expecting a very simple, accessible, straightforward experience. I think this can often lead to unambitious writing, hitting all the high spots and delivering a basic package to the listener. I was certainly guilty of this in many cases, and since becoming more experienced and less strained by my ADHD, I've been able to take more chances and time. But a lot of folks might not have the desire to!

Next layer is, writing for a listener character is hard. Writing it BADLY is hard. Writing it well is a challenge. I'm not even talking about making them a character or having them be interesting, I'm talking about the mechanics of telling a story with an entire character who doesn't speak, but DOES speak. You have to master context clues, master your understanding of the audience (ie can they read my context clues?), and challenge yourself to get creative with how you deliver information. It's really tough!

A hindrance for me was that so much of what I do hinged on a romantic scenario or outcome. I was stuck in the "well how does this end up getting horny" of it all. Which has made me a career, so I'm not complaining, but also I recognize how one note it can make a character like Rook for example. Boo has the advantage of being the bridge between two characters, their influence is a big deal, their choices have significant impact. Rook is solely dealing with Auron, which makes for great smut, a bit of drama, and romance as we have dug more into Auron's character...but Rook hasn't DONE a ton OR had much happen to them. We're getting there, and thankfully there's a core audience that has bought all the way in purely on the basis of the romance hitting right. But we're getting to the fun stuff and soon my philosophy change will also reflect on Rook.

Casper was the first listener that really had a dose of "I need you to do/be something for the plot" and it has worked out really well. It was my first case of knowing they had stuff going on that wasn't readily known or made clear but needed to be hinted at. They had a job, a reason for it, a reason for not being obvious about it, and it impacted the world around them. That was good practice.

As for just stuff happening more, I can't speak for everyone but I can absolutely admit that I put a hard cap on the amount of shit going on in my audios for a long time because editing and sound designing all that mess is so much time and effort. For me, as I struggled to focus and get work done for so long, I couldn't just...add a little shenanigan or two, because it seemed like soooooo much work. It would put me off of doing it all. And then it becomes a cost analysis. Do I potentially waste days of procrastination and misery on 30 seconds of a thing in an audio that no one would miss if it wasn't there? Do I do it when there's a deadline looming as well? When I haven't got an upload for Monday?

...you see how easy the choice to ditch it becomes. I reckon there's probably a lot of that going on as well. Plus! I always want it to sound good, and I didn't trust myself to make shit sound good anyway. I would have felt in many cases I actively made the content worse.

Ultimately, I think people just want a pretty voice to talk at them. But there's vast potential for storytelling and adventure AND pretty voices talking to you! 😂

There is a strong crop of creators who are doing good work and honing their craft. It took me 8 years to get here. I finally hit a level where I feel I'm doing the kind of work that I can truly sit back and say I'm proud of it, that I'm not critical of or have any excuses for. It's challenging, and tricky, and time consuming. Not to mention I wouldn't even be here without tons of help.

I think that ultimately writers have to consider not what makes a listener cool or active or unique, but what makes them impactful and helps you tell the story you want to tell. And sometimes that means listener just needs to be talked pretty to and imagine they're being whisked away on a pirate ship, or snuck away at a ball, or in the middle of a meet cute at a bookstore. Less can absolutely be more. But when you do want more, you have to figure out what listener wants. Why do they want it? How do we convey that to the listener in ways that aren't always just being spoken to and told how to feel?

The rest will follow.

A fun example I've got right now is what I'm up to with Faust's Evalas Origin and the listener there. I actually got to apply a little more of my "oh I guess I CAN put in the effort to show this" philosophy by realizing i could add an entire sequence that was purely a listener interaction without the main character so we wouldn't have a "oh you're telling me what happened" moment and instead the listener gets to experience it from their POV before paths converge.

That's the one benefit of entries that won't require as much art, I can lean more into the audio doing the storytelling instead of the visuals.

Okay. Wow. Big yap. There ya go. 😂