#even if they have flaws or bad character traits

[zahri-melitor]

Hi! I’m a steph fan and your steph post really is good. IDK what post/person you’re talking about (I assume it’s going around, because I’m seeing the tumblr posts about it) but I love steph, and I think her sense of retributive justice and almost like instinctual violence towards men makes complete sense with her character. Even if I don’t think every writer was doing it intentionally (BQM certainly wasn’t thinking about Steph’s history with men when he had Steph get startled and punch Tim accidentally or whatever), these traits I think speak to feelings a lot of abused and wronged teenage girls have. I think it’s genuinely bizarre to want to remove these traits that IMO make Steph interesting in order to make her more palatable.

While I can actually understand people wanting her to grapple with restorative vs. retributive justice (again, i think this is a really common thing for young abused people to question and struggle with so seeing it on-page could be interesting), I think there’s more and more this sense of because Dixon wrote her this way, you should throw it all out which is so catastrophically boring to me. As much as Dixon is a conservative, and wrote Steph as a bit of a mouthpiece (and leaning on stereotypes about young girls in her characterization), plenty of it i think makes complete sense and genuinely works for her character.

Which, again isn’t to say I think every single aspect should be immutable forever (I think that would also be boring, especially for Steph who very rarely has gotten to be seriously introspective or have a fully realized arc in which her beliefs change past like 2000), but plenty of them straight up work for her teenage years in particular. Like of course the girl with no friends we meet on-page and no real support system when shes introduced is going to be possessive and desperate and catty! She started coming on to Tim after he REMEMBERED HER VIGILANTE NAME. That’s what it takes for teenage steph to like a boy, which I think speaks a ton for her dynamics with her male peers in her life. Like the minute you think even a second about what Steph’s life was probably like pre-Spoiler, I think most of her character flaws as a teenager (even those born of a conservative era or sexist writing) make complete sense.

I understand people not liking Steph (although I think she gets a lot less leeway than her male counterparts), but I think buffing out her canonical traits and flaws so she’s just like this freakish exaggerated version of herself (a perky, hyper-feminine stereotypical blonde thats super chaotic and doesnt think and does everything unintentionally) that only exists as a character foil to Tim or Cass or as a like cookie cutter snarky young female sidekick is way worse.

The thing about Steph in particular compared to a lot of other characters is that she has two very distinct, separate versions of her story that exist in an overlapping form (rather than before and after a Crisis like a lot of other characters who have a similar discontinuity in their characterisation).

The main character Steph you get reading Batgirl 2009 and Batgirls 2022 is a quite different personality to supporting character Steph that forms her appearances from 1992-2004, Batman RIP, Tynion's 'Tec, and Mariko Tamaki's 'Tec and One Bad Day.

Now personally, what I enjoy in a character is complexity and personality traits that are simultaneously assets and flaws (This is part of the reason I adore Barbara Gordon: she's a stubborn, grudge-holding hypocrite, and it gives her character so much depth). Another thing that you particularly see with female characters is they often develop a lot of complexity via stories that don't quite line up but when analysed turn into patterns of behaviour that various writers didn't even realise they were contributing to.

Supporting character Steph tends to be allowed to be messy (to help move stories along!) and that's where a lot of her most interesting personality traits pop up. As you say, there's a lot of solid background to why she hates to see criminals 'get away with it' based in her background and childhood and storylines. There's reasons for why she seems such a loner who has trouble forming friendships and who clings to the people who do put up with her for validation, and is so territorial over her relationships with Tim and Cass. She's desperate for approval and will cling to any shred of it she gets. And that desperation and determination is where her stubborn commitment to get back up again and ignore everyone trying to convince her to stop comes from, and how she keeps fighting, to prove her naysayers wrong.

While I tend to feel the Batgirl 2009 and Batgirls 2022 version of Steph is really flattened out into Generic Perky Blonde Optimist, because she's not allowed to face consequences of her actions or be at fault for anything in those titles.

It also obviously makes discussions difficult, with the overlapping contradictory characterisation versions, because if you're talking to someone who's only read a small chunk of her canon, you have to work out which bits they know, and with the added problem that what looks like obvious entry points (her solo or Batgirls) tend towards more uncharacteristic and flattened personality versions of her. Someone who's only read, say, Batgirls, has a very different view of who Steph is than someone who's only read Steph's Robin appearances, and if they try to discuss it without realising the significant differences in characterisation they're going to end up talking at crosspurposes.

[purplepotatobread]

Me when people hate on cool female characters for no reason

[alicentflorent]

I didn’t sit here for years tryna stay calm and silent while listening to your bad takes on gale (who grew up oppressed, in poverty and then witnessed his entire district getting wiped out then rightly went to fight in the rebellion because it was his inlg chance of tearing down the system the wanted him and his family dead) being a “terrorist war criminal who is single handedly responsible for killing innocent people including prim and who is the REAL villain of the hunger games” just for y’all to turn and start stanning and defending actual facist dictator and child trafficker Coriolanus Snow because you saw a young hot version of him.

[sukibenders]

It's really tiring to see, when people are having discussions about Nettles and how integral her plot is, about how wrong with would be to give Rhaena that plot while ignoring/diminishing the one she originally had, about so many of the black characters are done dirty and disrespected in comparison to their treatment in the book (though they were white in the original text) to have all these necessary conversations, only to be met with responses "Oh, It's not bad/serious, you're just complaining/making things up" or about how grateful we should be to just have these characters, as we if don't have the right to critique how they are portrayed. Like, at this point, if you don't have anything of value to add to the conversation, then just stay out of it.

[dykedvonte]

I find the line "I have to believe our worst moments don't make us monsters." Fascinating because it comes from Anya, and I feel she really proves it the best.

For obvious reasons most people are in the "Anya did nothing wrong" camp and for good reason but there is a single action that I don't think she did well and it was her suicide. Specifically her method.

Realizing that Anya took Curly's painkillers was horrifying to me. As a Nurse I have no doubt that she'd know how terrible dying from overdose is. She had access to a gun which is well known for having a far more instant and far less painful death. And despite everything falling apart around her, knowing how bad Jimmy was, she still left Curly alive.

I don't think I thought about it much like that at first but the longer this game has sat with me the more horrified I am by the action. Curly is man who has been horribly disabled and is completely unable to help himself and he is very much a human being who does not deserve to be anywhere close to that amount of pain. Those painkillers were one that the few things that could give him any amount of relief and Anya took them.

She could have shot herself and left the painkillers for whoever was left to help Curly. She could've shot Curly and then taken the painkillers. She could've shot them both and quickly put an end to their misery, yet she didn't. Anya had a great amount of her agency stripped away from her, to the point that she didn't deem life to be worth it anymore and ended it, right next to a man who couldn't make that choice for himself even if he wanted to.

It is easily her most horrific choice and yet, she's still an angel.

(Please don't take this as Anya slander, I genuinely love her so much. I just find this to be an incredibly interesting thing)

I do subscribe to the idea that Anya realized that Jimmy was hitting Curly when giving him his medicine but didn’t intervene. I also don’t think her taking the pills from Curly as monstrous mainly because (while she knew he suffered worse with out them) she likely also knew they were basically bandaids on a bullet wound.

I have this sort of belief that that statement can only really apply to Jimmy in the inverse. Like some statements in the games aren’t meant to apply to all characters and not in every context of every action they do. It’s the idea that no one should be responsible for Jimmy’s actions but himself but they are forced to by him or the environment. Everyone is experiencing their worst moments but no one is a monster outside of Jimmy due to his inability to take responsibility and how he escalates the severity of the situation through his bad choices. Even then it’s not one moment that makes Jimmy a monster it’s the culmination of every moment that prove his inability to be anything but in this scenario.

With Anya you must remember she did have the code to the gun. Yeah, she could’ve broken it open but who’s to say how easy or how long it would’ve taken. Not to mention, there’s this misconception that she wanted the gun to kill Jimmy which isn’t true. She wanted the gun to defend herself in the case he got aggressive which is an important note of Anya being the only proactive person on the ship vs reactive. Locking the door, knowing there was no way in was likely a duel mercy for them both. A person in his state would die relatively soon without constant care and she has ample time to pass. It’s a hard decision to make for herself and someone else but it was the easiest even if it caused more damage than it was ever meant to cause.

It’s a sort of parallel to how Curly made choices he thought would help Anya and everyone but ultimately doomed them all further. Jimmy got what he wanted in both scenarios of crashing the ship and wanting Anya gone. What happened on the Tulpar will go down as a tragedy if they are ever found, a mystery if not but certainly not in a way that Jimmy wanted. Anya and the pregnancy are effectively gone but he’s still facing the repercussions for it.

There’s this idea that it’s controversial to say that Anya was anything but perfect and while I don’t think she did anything wrong, she certainly didn’t make the best choice in telling Jimmy but that again was because of the situation and environment she was in. We don’t know why she didn’t wait on Curly after their conversation in the cockpit, we know that was the plan and we know Jimmy finding out through her alone was the catalyst to the crash within like the next hour, yet you can’t really blame her. We don’t know why Jimmy came to medical nor what anyone else was doing. It can be considered her one mistake but then again we can’t blame a reasonable action on someone’s unreasonable response.

I think that’s a big aspect a lot of people look over in the characters actions. Most of them are normal, reasonable, human. But the systematic responses to them and Jimmy’s are unreasonably harsh and punishing.

This has gone off in a tangent from what you originally posed but I genuinely think of what might do happened if that confrontation happened with Curly there and away from the cock pit. I assume it’d happen in medical or even utility, hell, an area away from anything sensitive but what if? If the ability to do something awful wasn’t at Jimmy’s finger tips, if there was more than one voice in Curly’s head during that moment, what would’ve changed?

When I look at Anya I see her as having the best responses to anything happening during the events of the game but the environment, systems against her and even the other crew mates to an extent made it so it would inevitably backfire on them and mostly her hard.

[the-lark-ascending69]

Lumity is very cute but it seems like the kind of ship that would have a fandom so toxic it'd make you dislike the ship in time and I think that's sad.

[professor-doc-emeritus]

I do not understand this bizzare narrative around himym thats formed in the decade since it ended claiming that ted mosby is a Nice Guy™. The trademark characteristic of the Nice Guy™ is that he never actually gets laid because he puts forth zero effort and feels entitled to sex just for Being Nice™. This could not be more antithetical to ted mosby's character. Aside from the fact that the man has a new woman on his arm every fucking week, the entire gag of ted is that he tries way too hard with every woman he meets and ends up getting in his own way. He has never once in his entire life rested on his romantic laurels. Plus, he has an iota of self awareness, and is occasionally capable of acknowledging when he has been/is being an asshole, something that is impossible for the prototypical Nice Guy™

Ted's actual toxic trait is that he created an imaginary perfect woman in his mind, and then projected the image of that perfect woman onto every single person he dated, and then resented them for all the ways they don't measure up to his fantasies. Then, instead of actually addressing the problems he has with his partner head on with them, or learning to compromise, or god forbid just quitting while he's ahead, he just ignores these irreconcilable differences, hoping they'll just one day magically go away, until inevitably everything boils over and he goes through a nasty breakup. EVERY serious girlfriend ted has on the show has a massive, obvious incompatibility with him, usually one that was abundantly clear from the millisecond he meet them, but he without fail ignores it, does everything he can to woo a girl he shouldn't be with, and then when everything goes up in flames he just chocks it up to "she wasn't the one!" and hard banks on this imaginary friend he's come up with for himself materializing into his life out of thin air. He'll work hard to get the girl, but he won't do anything substantial to actually keep her. He's so caught up in this fantasy of a perfect partner that he wastes the prime years of his life chasing after women that he pretty much knew from the jump would never want to be with him long term, in the hopes that they would change to fit his fantasies and everything would just magically work out because "destiny." But that doesn't fit into a 2-word soundbite so you don't really see much discussion of it online

[afterthefeast]

also i think yeah generally rook is way too nice and i deeply mourn the lack of bitchy or downright evil options but tbh it's absolutely perfect for mercy, the most guileless, gullible, awkward and over-eager necromancer ever to spend their entire life in a crypt. playing as her is definitely my favourite part of veilguard so far because it really lets me lean into the impression that she is totally freaked out and should not be in charge of anything but is overall clever enough that she can retain the impression that she should be. unintentionally, the fact that the worried options for rook sound stressed on paper but are delivered as grimly concerned perfectly represents mercy's flat affect and inability to adequately convey her deeply-felt emotions.

[luna-azzurra]

Good Traits Gone Bad

Empathy turning into manipulation

Imagine a character who is deeply empathetic, someone who genuinely feels and understands the emotions of others. At first, this makes them incredibly compassionate and kind, always there to lend an ear or offer comfort. But over time, this empathy begins to shift. Instead of just understanding how others feel, they start to use that understanding to manipulate those around them. They know exactly what to say to get people to do what they want, twisting their caring nature into a tool for control. What once was a beautiful gift becomes a weapon, used to bend others to their will without them even realizing it.

Confidence becoming arrogance

Think of someone who exudes confidence—someone who knows their worth and isn’t afraid to go after what they want. This kind of self-assuredness is magnetic and inspiring, drawing people in. But sometimes, this confidence can grow into something darker. The character starts to believe they’re always right, that their way is the best and only way. They dismiss others’ ideas and opinions, thinking they know better than everyone else. What was once a healthy self-esteem turns into arrogance, pushing people away as they start to feel belittled and unappreciated.

Ambition turning into obsession

Picture a character who is ambitious and driven, always striving for the next big achievement. Their dedication is admirable, pushing them to work hard and aim high. But ambition can have a dark side, too. Slowly, their drive becomes an obsession. They start to focus solely on their goals, willing to sacrifice anything or anyone who stands in their way. Friends, family, and even their own health fall by the wayside as they chase success at any cost. What was once an admirable quality turns destructive, consuming them completely.

Loyalty becoming blind devotion

Loyalty is such a beautiful trait. A loyal character is dependable, someone who stands by the people they care about no matter what. But loyalty can also become dangerous if it goes too far. This character might start to overlook red flags or harmful behaviors, sticking by someone or something even when it’s clearly detrimental. They become so blindly devoted that they lose sight of their own well-being and moral compass. What starts as a positive trait turns into a kind of self-destructive stubbornness, harming them more than helping.

Courage turning into recklessness

Imagine someone who’s incredibly brave, always ready to face challenges head-on and stand up for what they believe in. At first, this courage is inspiring, giving them the strength to overcome obstacles and help others. But sometimes, courage can cross a line. It turns into recklessness, making them take unnecessary risks without considering the consequences. They start to believe they’re invincible, putting themselves and others in danger because they’re too focused on proving their bravery. What was once a powerful strength becomes a dangerous flaw.

Determination becoming stubbornness

There’s something admirable about a character who never gives up, no matter how tough things get. Their determination helps them push through difficulties and keep going when others might quit. But when that determination turns into stubbornness, it’s a different story. They refuse to change their minds, even when all the signs point to a different path. They ignore advice, dismiss alternative viewpoints, and stick to their course out of sheer willpower, even when it’s clearly not working. Their once-praiseworthy persistence becomes a source of frustration for those around them.

Optimism becoming naivety

Someone who always looks on the bright side, no matter what. Their optimism is contagious, lifting the spirits of those around them and helping them see the silver lining in every situation. But if they aren’t careful, this optimism can morph into naivety. They might start ignoring real dangers or fail to recognize when they’re being taken advantage of. Their rosy outlook makes them blind to harsh realities, and they become easily deceived or led astray, all because they’re so focused on seeing the good in everything and everyone.

Protectiveness turning into possessiveness

A character who is naturally protective of their loved ones, always looking out for them and ensuring they’re safe and happy. This protectiveness is heartwarming and makes those around them feel cherished. But when protectiveness goes too far, it can become possessiveness. The character starts to feel like they own the people they care about, becoming overly controlling and jealous. They start dictating others' actions, justifying it as care, but it’s really about their need to keep everything under their control. What started as a caring instinct turns into something suffocating and unhealthy.

Altruism becoming self-neglect

Think about a character who is incredibly selfless, always putting others' needs before their own. They’re the kind of person who would give you the shirt off their back, always ready to help, always there for everyone. But this selflessness can go too far. It turns into self-neglect, where they completely disregard their own needs and well-being. They keep giving and giving until they have nothing left, leading to burnout and exhaustion. Their altruism, while beautiful, ends up harming them because they don’t know how to set boundaries or take care of themselves.

Honesty becoming brutal bluntness

There’s a lot to be said for a character who is straightforward and honest, someone who tells it like it is and doesn’t sugarcoat the truth. People appreciate their transparency and trustworthiness. But when honesty turns into brutal bluntness, it’s no longer a positive trait. This character starts to disregard others' feelings, using their honesty as an excuse to be harsh and tactless. Their words cut deep, hurting those around them, all in the name of being truthful. What was once refreshing candor becomes a source of pain, as they lose sight of the importance of kindness in communication.

[bixels]

Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.

Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).

Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.

Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.

Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).

AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.

But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s

At the time of writing this, it's 4:46AM.

[dreamingofthewild]

Edit: I have edited this because I think my first reblog was misconstrued.

This post was in response to a post that said Gale didn't have any hubris and only wanted to take the crown in act 3 as an alternative to dying. I am adding this because context is important. I wanted to respond to that and this post with my own analysis. This is not a Gale wasn't groomed and hurt Mystra post.

Tl;Dr. his so-called 'hubris' is not typical hubris. His ambitious nature is his way to cope with feelings of powerlessness and vulnerability. The crown is a desperate attempt to take control of the over his life because he feels powerless. His 'pride' masks his underlying securities, and his personality is a direct result of being groomed and being a prodigy. He is curious and ambitious. He wants to be the best at what he does, and that was used against him.

In Act 3, Gale’s motivations for taking the crown are more complex than his survival alone. It represents a way to take control of his destiny and to retaliate against the divine manipulations he has suffered. This mirrors other characters’ arcs, like Astarion’s, where the pursuit of power is tied to a need for control and safety.

Returning the crown is a humble act for Gale. It signifies his realization that he does not need godly power to prove his worth or control his destiny. This act is about reclaiming his humanity and accepting that he is enough as he is. Gale’s pride and ambition are deeply intertwined with his insecurities and need for validation, shaped by Mystra and his environment. By the end, Gale's journey is about rejecting the manipulative influences of Mystra and the gods, recognizing his intrinsic value, and finding a new path not dictated by his need for external approval.

Gale was recognized as a prodigy from a young age, with significant figures like Elminster influencing his early life and training at Blackstaff. Gale might have faced immense pressure and high expectations to excel and prove his talent, resulting in him doing things like stealing the Blackstaff to prove it. This pressure could have fostered an environment where only exceptional achievements were valued, pushing him toward overconfidence. Heightened when Mystra selected him as her chosen in his youth.

Gale’s ambition to become Mystra’s equal and access forbidden knowledge was driven by his curiosity and a desire to prove himself. His hubris here is not about raw power but about seeking validation and a sense of worthiness. His ambition was encouraged by her but she kept him dependent on her validation by letting him fall in love with her and isolating him from his peers.

Gale was doing exactly what Mystra asked of him when he went searching for the lost part of the weave, because it is the job of the chosen to search for and destroy all that could disrupt the weave. He only wanted to serve her better, and prove that he was ready to become a God along side her.

Gale's hubris was in thinking that he was truly special to Mystra and could ever be her equal. In failing to listen to others when they told him that it wasn't a good idea, and possibly in impatience. He thought he could be equal to a god, but it is not his fault because Mystra and his peers conditioned him to think that. So, of course, he thinks that he overstepped her boundaries when wanting more and is the villain in this story. He is only a human and there is nothing wrong with wanting to be equal to the one you love, and wanting to be the best at what you do.

Gale is not a power-hungry man with a god complex. He wants more because he never feels satisfied or worthy. The orb fed off his desire for more, which is rooted in his insecurities and need for guidance and support—things Mystra didn’t provide.

Gale's pride and ambition are not just traits of his character but are also deeply intertwined with his need for validation, control (of his own life, which he never had), and influence, shaped by his relationship with Mystra and his own inner insecurities.

Mystra prays on ambitious wizards, and encourages them to push the boundaries of magic and serve her.

His story is a complex one with a lot of naunce that requires people to read between the lines. I honestly think that it is also poor writing because Gale, Astarion, and Wyll were supposed to have darker back stories in EA. So I think some of it is left over from that, but they also didn't want to villinise Mystra too much, so they didn't delve into his abuse like they did the others. And then Gale never became a God when the game was first released, before the Epilogue. Also, they removed some of Gale's dialogues from the game. So what we get is a bit confusing and requires looking into Mystra's lore, which most people are not going to do.

I don't think it's mischaracterisation to say Gale's too ambitious for his own good. He straight up admits he wanted to cross Mystra's boundaries for more power, because he was standing on the edge of it and could see what he could be capable of. I think it does him a disservice to say he is only acting for the greater good when he admits he's 'the villain of the tale' - it's tongue in cheek and he's not a villain he's just made mistakes, but he's also not entirely selfless. Regarding the crown, the choice between giving it back to Mystra or keeping it for himself is huge.

[meduseld]

You know, one of the things I really liked about Thomas Cardinal Lawrence from Conclave is that he is that extremely rare character type in which his hypocrisy is actually a positive trait instead of a negative one.

Like throughout the whole movie he decries his flaws and the reasons why he shouldn't get the job, while propping up friends and candidates with the same vibes as him. Benitez even points it out, Lawrence has his vote because he doesn't want it, and wins for similar reasons. Lawrence gives a speech about having an imperfect Pope, one with doubts, thinking of Bellini of course and completely missing how it all applies to him. He's amazed that it was taken as a campaign speech, since he will vote for an imperfect candidate but thinks that as HE is imperfect he should not be a candidate, but why wouldn't he be to others?

He even cops to, as Bellini accused, having thought of a papal name. The script even says:

He takes the Pope's "you're a manager" comment to heart as a bad thing, but is it? The farm does need a manager, in fact the Holy Father IS an Administrator. The fact that it is a Church doesn't really change that. And like Lawrence *is* a good admin/manager, he steers the Conclave, he is a solid candidate, he gets people, he keeps his morals...

It's just. Normally hypocrite characters are that way because they are blind, willfully or not, to their flaws. Lawrence is the rare one that is a hypocrite because he is *all too aware* of his own flaws, even if he can see how they might be an asset in others, because of or despite.

[thewriteadviceforwriters]

Crafting Compelling Morally Gray Characters: A Guide for Fiction Writers

In literature, there is often a clear distinction between good and evil. Heroes are portrayed as virtuous and villains as wicked. However, in recent years, there has been a rise in the popularity of morally gray characters - those who do not fit neatly into the categories of good or evil. These characters are complex, flawed, and often make decisions that challenge the reader's moral compass. In this guide, I'll help you explore the art of crafting compelling morally gray characters and how to make them stand out in your fiction writing.

What Are Morally Gray Characters?

Morally gray characters, also known as morally ambiguous characters, are those who do not conform to traditional notions of good or evil. They may have both positive and negative traits, and their actions may be motivated by a mix of good and bad intentions. These characters often blur the lines between right and wrong, making them more relatable and intriguing to readers.

Examples of Morally Gray Characters

Some well-known examples of morally gray characters include:

Severus Snape from the Harry Potter series: Initially portrayed as a villain, Snape's true motivations and actions are revealed to be more complex and morally ambiguous.

Jaime Lannister from A Song of Ice and Fire series: Known for his arrogance and incestuous relationship with his sister, Jaime's character evolves throughout the series, showcasing his internal struggle between his duty and his personal desires.

Walter White from Breaking Bad: A high school chemistry teacher turned methamphetamine producer, Walter's character is constantly torn between his desire for power and his moral compass.

Why Are Morally Gray Characters Compelling?

Morally gray characters are compelling because they challenge the reader's perceptions of right and wrong. They are not easily categorized as heroes or villains, making them more relatable and human. These characters also add depth and complexity to a story, making it more interesting and thought-provoking.

The Power of Relatability

One of the main reasons morally gray characters are so compelling is because they are relatable. They are not perfect, and they make mistakes, just like real people. This makes them more human and allows readers to connect with them on a deeper level. When readers can see themselves in a character, it creates a stronger emotional connection to the story.

The Element of Surprise

Morally gray characters also add an element of surprise to a story. Their actions and decisions may not always align with what the reader expects, keeping them on the edge of their seat. This unpredictability makes the story more engaging and can lead to unexpected plot twists.

The Exploration of Morality

Morally gray characters also allow for a deeper exploration of morality in a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality. This can lead to thought-provoking discussions and a deeper understanding of complex moral issues.

How to Craft Morally Gray Characters

Crafting morally gray characters requires a delicate balance of positive and negative traits, as well as a deep understanding of their motivations and internal struggles. Here are some tips for creating compelling morally gray characters in your writing.

Give Them a Strong Motivation

Every character, regardless of their moral alignment, should have a strong motivation for their actions. For morally gray characters, this motivation should be complex and not easily defined as purely good or evil. It could be a desire for power, revenge, or even a sense of duty. This motivation will drive their decisions and actions throughout the story.

Show Their Flaws and Vulnerabilities

Morally gray characters are not perfect, and they should not be portrayed as such. They should have flaws and vulnerabilities that make them more relatable and human. These flaws could be physical, emotional, or moral, and they should play a role in the character's development and decisions.

Create Internal Conflict

One of the defining characteristics of morally gray characters is their internal conflict. They are torn between their good and bad tendencies, and this struggle should be evident in their thoughts and actions. This internal conflict adds depth to the character and makes them more relatable to readers.

Avoid Stereotypes

When crafting morally gray characters, it's important to avoid falling into stereotypes. These characters should not be one-dimensional or defined solely by their moral ambiguity. They should have unique personalities, backgrounds, and motivations that make them stand out as individuals.

Show Their Growth and Development

As with any well-written character, morally gray characters should experience growth and development throughout the story. They should learn from their mistakes and make decisions that challenge their moral compass. This growth and development will make them more dynamic and interesting to readers.

How to Make Morally Gray Characters Stand Out

With the rise in popularity of morally gray characters, it's important to make yours stand out in a sea of similar characters. Here are some tips for making your morally gray characters unique and memorable.

Give Them a Distinctive Voice

A character's voice is an essential part of their identity. It should be unique and reflective of their personality and motivations. For morally gray characters, their voice should reflect their internal conflict and the complexity of their moral alignment.

Create a Strong Backstory

A character's backstory can provide valuable insight into their motivations and actions. For morally gray characters, a strong backstory can help explain their moral ambiguity and add depth to their character. It can also create empathy and understanding for their decisions.

Use Foils to Highlight Their Morality

Foils are characters who contrast with the main character, highlighting their strengths and weaknesses. For morally gray characters, foils can be used to showcase their moral ambiguity and challenge their beliefs. This can add depth to the character and create interesting dynamics between them and other characters.

Morally gray characters add depth, complexity, and relatability to a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality.

[fighting-these-demons]

Your tags are fantastic OP and I'd like to have them on the post proper:

grabs hiei and shows him off, clearly trying not to cry

he just wanted to find his sister! he gave up his strength, he underwent a painful surgery because he wanted to find the place he came from. He was supposed to kill everyone and he killed nobody -kui begs him to kill her and he doesn't. Sure, sometimes he acts like he is unfeeling but he still pities the ice village because they're too ''cold feeling''. Isn't that what the bandits he grew up with thought about him?

he. wanted. to. find. his. sister. even after promising he would not tell her anything, he still looked for her. he didn't want to talk to her, didn't expect nothing from Yukina. Just wanted to find her.

do you get it? If Hiei cared a little less, he would not be in the human world. Hiei fights with team Urameshi because it's his parole because he is a little evil demon???!!!!

NO!!!! Hiei wouldn't even there if he hadn't cared about his sister first

they don't make them like this anymore

[gaytommykinard]

since the show is coming back tomorrow (!!!) and people seem to be a little bit confused about Tommy Kinard's canon character traits, as extrapolated from the source material, let's review, shall we?

Tommy put everything on the line, risked his job, not to mention entire life, by agreeing to fly Hen and Chimney and two more guys he's never even met before through a hurricane to maybe find (the wreckage of) a cruise ship that his old captain was on. He did it because Chimney called him and asked for a favour (also seen in 2x14, Broken) and because he trusts Hen's instincts (evidenced in 2x09, Hen Begins)

Tommy lied through his teeth to his co-worker when he stepped in to save Hen's unsuccessful bullshitting and made fake mouth static at the fire chief pretending the connection is bad before disconnecting the call. If there was nothing wrong with the cruise ship, he would have been fired, or at the very least suspended.

okay, what do we know so far? Tommy is loyal to his friends even if they haven't talked in years, he is dependable and will come through in a crisis.

we also know Tommy is a very skilled and competent pilot (given he's able to operate both the plane in 2x14 and helicopter in 7x03) and he flew said helicopter through a hurricane, landed it on the belly of a capsized ship, rescued the survivors, and flew everyone back to safety. and given the extremely dangerous conditions of the rogue rescue mission, I'd say he's also brave and/or a little bit reckless; when the situation calls for it, at least.

he's also super cool, an opinion shared by multiple characters (Buck, Christopher, and Chimney).

that being said, let's move on to 7x04

Tommy agreed to give Buck a tour of Harbor station, meaning he had to go to work on his day off, and then offered him flying lessons. So he's either super nice or he's interested in the cute guy (i think it's a little bit of both)

Tommy invited Eddie, a guy he barely knows, to a sold out big reunification bout, with ringside tickets that he got from the organiser, who he's apparently friends with, and flew them in a chopper! He's just a super nice dude.

Tommy offered to drive Eddie to the hospital, and talked about The Incident with him, because when he gets to Buck's loft, he says "he [Eddie] feels bad, in fact we both do" and honestly, he had no obligation to do any of that. He could have let Buck drive Eddie since he offered and wiped his hands clean of that mess. But he's a caring and considerate person, further evidenced by the fact that...

Tommy went to Buck's loft before he had to go to work, to talk to him in person and clear the air, saying he didn't want to do it on the phone or in a text. Tommy starts by apologising and stating very clearly that he never meant to come between Buck and Eddie and that neither of them meant to exclude Buck. He also easily reciprocated Buck's vulnerability. I think the loft scene alone does a great job at showing us that Tommy doesn't shy away from confrontation or a difficult conversation, is emotionally mature, values open and honest conversation, and owns up to his flaws and insecurities. (Yeah, I'm trying to be concise. There's meta upon meta about the goddamn loft scene)

He's also a little bit insane because why does hearing that the cute guy maimed his best friend make you want to kiss him. Tommy Kinard will see a red flag and pretend to be colourblind. (-> for tumblr purposes this is a joke)

anyway, moving on, Saturday rolls around...

Tommy noticed that Buck was a little tense, reassured him that no one's looking at them, and sympathised with him. He doesn't judge Buck, like, at all. I don't need to list all the ways Buck made an absolute fool of himself on their very first date. He also paid for the dinner.

Tommy cut the date short (abruptly, because this is a drama show) but before he left, he told Buck he's adorable, but not ready - and this is right after Buck forcefully shoved him back in the closet in front of their mutual friend, and especially after Tommy told him about his own difficult journey coming out of the closet.

Tommy showed up at the café, told Buck he has nothing to apologise for, and explained that he cut the date short because didn't want to pressure Buck.

Tommy asks Buck if he's absolutely sure, about Tommy being his date at his sister's wedding. Then says okay.

more character traits for Tommy Kinard: generous, non-judgmental, sympathetic, patient, and once again, a little bit insane.

night of Chimney's bachelor party/day of Maddie and Chimney's wedding:

Tommy shows up to the bachelor party even though he's on call for work, you know, as a firefighter pilot, and he could have spent this time sleeping or resting in case he gets called... and he does, to a wildfire! Before he goes he promises Buck that he'll try his damndest to make it to the wedding.

Tommy shows up as promised, after spending at least half a day fighting a wildfire? In his turnouts, covered in soot, but he shows up as promised.

I think this shows he is selfless first and foremost because he made time to show up to the (failed) bachelor party and he is honest and keeps his promises. Even if that means bringing a biohazard (himself) to a place full of vulnerable sick people (the hospital). Because, as previously established, he's a little bit insane.

these are the core Tommy episodes of season 7.

as for 7x09 and 7x10:

Tommy tenses up when confronted with his old captain Gerrard - who then subtly throws a slur at his face

Tommy is quick with the sass and will not indulge in his nosey friends' inquisitive questions

Tommy notices Buck's mood and checks in with him - he's caring and attentive

Tommy once again does not hesitate to admit to feeling jealous

Tommy doesn't really talk to his dad

Tommy likens his dad to captain Gerrard

Tommy admits that having Gerrard as his captain did not make him a better person (and okay, sidenote to talk about something that annoys me about this, because Tommy had different captains, including Bobby, while at the 118, and I think s7 canon seriously overestimated how long he worked under Gerrard, but let's say Gerrard was his first captain as a probie and influenced him to a certain extent)

some odd tidbits ~

Tommy has a sarcastic, deadpan sense of humour

Tommy is a goddamn flirt and unbelievably smooth

Tommy came out after he transferred from the 118 to the 217/Harbor Station

Tommy used to be a pilot in the army

Tommy flies for fun on his days off

Tommy plays basketball every other Thursday with Eddie and other first responders

Tommy knows muay thai

Tommy has a car lift and knows his way around an engine

Tommy likes watching half-naked pummel each other

Tommy likes karaoke trivia

Tommy likes craft beer, monster trucks, and the movie 'Love, Actually' (provided canon doesn't forget about this and/or retcons it for some reason)

[starglossie]

Mel is the textbook example of how black female characters are treated in fandom. This is not to say that there are not people who love her or appreciate her character in all of its facets.

I'm just scratching my head at some of the takes on her character that feels, to me, like a gross misrepresentation of who she is and how she is presented in the show.

It is true that she is a politician. It is true that she knows how to navigate social situations. She was raised by Ambessa! She knows the tricks of the game better than anyone! But then I see people calling her manipulative? And then feel vindicated by Jayce screaming at her (unnecessarily so, btw bc that scene was SO crazy) that she was manipulative (when by the way, we all agree Jayce was not in his right state of mind at the time and then apologized afterwards because he realized he crashed out on her for no reason). When she... never has been manipulative?

So if someone sees your potential, and wants to see it flourish, is that manipulative?

Jayce LITERALLY wanted her to take a chance on his and viktor's project. It was MUTUALL BENEFICIAL for Mel to help Jayce posit himself in a position of power that would get him better access to the resources he needed to get where he wanted to go.

That's not manipulation. That's investment.

Mel is a complex, black female character. It is not to say she is perfect. She's not. She has her flaws but one of those flaws is NOT manipulation and I cast a side eye at people who think Ambessa is a great, well-written character and then think Mel is not. I have to. Because Ambessa is written to be aggressive, and cold, and strong, and tough--even her design emulates this rough edge. And I HAVE to think, why do I see people write essays on how bad Mel is but not Ambessa? Is it because Ambessa carries character traits that are more palatable to a non-black audience?? Character traits that more align with people's subconscious associations with blackness?

ANYWAYS.... I'M YAPPING. I could go on about how Mel is soft, and kind, and strong, and her character arc is about finding out who she is not as a child of Ambessa or an exiled daughter, but who is MEL MEDARDA, and what do you do with this newfound discovery. What do you do in the wake of grieving your mother who died by your hand?

I could go on. But I am so tired of seeing posts dogging Mel and taking scenes out of context and if Mel was a MAN.... I don't think she'd get half this flack. And if Mel was a WHITE MAN......... LMAOOOOO.

Anyways I love Mel she's pookie.