#focused; character development

[emystic-old]

Mika's tunic is one that his mother, Marja, made for him. She made all of his clothing or took clothes from larger scaled dolls in human settlements and typically kept it hidden under a tree in the forest they both used to reside in before the incident.

Mika is actually very fussy about clothing and doesn't like bathes either. Sometimes when he was still with his mother, she would have to use food, toys, or promises of playing for him to actually stay clean.

When he was with his mother, his hair was notably more true to his actual texture being very soft, fluffy, and thick akin to an actual fox kit. Now without her his hair looks very shaggy and unkempt, without her to cut it as well it grew way past what's expected as well and is nearly the same length as himself (his hair grows incredibly fast).

[dreamerdrop]

Julian does kind of strike me as someone who just sort of. Endures suffering and then pushes it way, way down and pretends it doesn’t hurt.

Bad things happen and he just sits quietly and then pushes it down and pretends he’s okay so he can get on with whatever he needs to get on with.

Doesn’t know how to process trauma or misery inside himself, but he can help other people with theirs, so he just. Keeps going. Keeps working. Keeps trying.

It makes sense, I mean, the pivotal traumatic incident in his life was one he has never been allowed to even allude to out of fear. His parents don’t seem very emotionally available for him either, so he’s definitely never talked out those issues with them. So he’s probably just grown up pushing any off feelings back down and focusing on something else.

And even when his big ol secret is finally out, he still doesn’t really talk about it or acknlowedge it unless someone basically drags him kicking and screaming into having to focus on it. He never really talks about or addresses like. Anything.

Like his attempts at curing the blight and how fucked up he was over that. Or the time he thought he could save the Jem’Hadar from their ketracel white addiction. (And boy howdy does that episode take on new layers of pain when you think about him being so sympathetic to entities that were genetically engineered to suffer and his own backstory.) Surviving a psychic attack that basically involved his own subconscious mind trying to talk him into embracing death. A month in a prison camp where he probably definitely thought he was going to just die there, and then realizing no one knew he was gone, and his friends are not anywhere near disturbed enough by any of what just happened.

(To be clear, I think it’s fine that they didn’t realise it was a changeling. I think the reaction they have when they find out retroactively, however, is like. Guys. A minute ago you thought Julian Bashir, your close friend of several years, beloved station doctor, had betrayed the federation and had to be killed. Guys. Forget Julian for a second. How was this not traumatic for the rest of you?)

Then there’s all of that Sloan fuckery which is basically just three episodes of one man trying to gaslight Julian into a dissociative break for reasons.

And he just. Bounces back. Next episode, time to move on, insists he’s totally fine. Except he’s not. He gets gradually more and more tired and miserable and closed off but he just. Never fucking talks about it to anyone. Never deals with how messed up he’s slowly becoming. Never recovers. Never heals. Never gets closure for any of it.

He has so many wonderful moments where he comforts someone else when they break, when they’re scared, when they let all the bad stuff finally make them collapse.

But Julian just never really collapses like that, and it’s like he actively ensures he will never have the chance to collapse because he doesn't want to (and probably doesn’t know how to) deal with any of his issues.

Can you imagine what it would look like when he finally breaks.

[theweeklydiscourse]

God forbid you ever criticize the lack of consequences Bakugou experiences in MHA, or suddenly you’ll find dozens of Bakugou stans pouring into your mentions to make a speech about how cruel you are for forcing him to eat cement. They’ll act as though “consequences” inherently involves throwing him into the dungeon or putting him in detention for 100 years and then moan about how him facing consequences would only perpetuate a cycle of abuse/discrimination.

Listen, it’s not really that much of a consequence if the “consequence” in question isn’t directly connected to his current or past bad behaviour. “Oh but his scars!” “When he died that one time!” “His guilt for getting kidnapped” None of those are related to his bullying, and in my opinion, that makes them insufficient as consequences in an arc about changing for the better.

The consequences I would actually like to see could be as simple as: Izuku feels sad/mad because of what he went through, or certain characters reflect on how Bakugou’s past impacts their perception of him. More introspection on the victim’s end is needed, Bakugou doesn’t necessarily need to be pilloried for the arc to be satisfying.

[fragglesystem]

people gotta stop talking about how it’s actually totally okay and fine if amy isn’t in this movie because she wouldn’t have anything to add/because it’s about shadow anyway/whatever.

does this scene mean nothing to you

[haunted-xander]

I think one of the (several) reason for why Shadowbringers is so good is because the narrative is more about the individual characters than it is the Greater Conflict.

Like, the Greater Conflict is definitely there, obviously, it's what keeps the story going, but the focus is always on the people, much more so than the other expacs. HW and STB also have some level of character focus ofc, but it's very selective and even then the focus is based on them in the specific context of the current conflict.

But in SHB, the story bends around the characters' narratives, rather than the other way around. The story forms to put them in situations that challenges their flaws and limitations, by forcing them to confront it and actually deal with it. Even just at the very beginning, you see the twins being dealt a terrible hand that very neatly clashes against their faults.

Alisaie is confronted with a situation that she can and could never do anything about. She has no means to help the patients (at the time at least). The only way for her to help them is by eradicating the source of the affliction itself: the Light. But the Light isn't just some Big Bad she can kill and be done with. Even when all the lightwardens are down the Light is still there, it's just more manageable. Alisaie learns to not only see the bigger picture, but to care for it for her own reasons. For all that she has participated in Big Operations, it has always been because that's what others were doing, what others cared for to be done. She feels for the people of Doma and Ala Mhigo, but she didn't set out to liberate their homelands because she has any personal investment in it. But other people do, and she cares about what other people- be they strangers or friends- care about.

Caring about other peoples feelings and opinions isn't a flaw by itself of course, but doing things without any sense of personal purpose, is. This is what SHB helps her fix and confront, because it is personal now, she does it because she cares.

Alphinaud is forced into a situation where diplomacy and negotiations does and would never work. He can't talk himself into Eulemore, and he sure as hell can't convince Vauthry or the free citizens to let go of their life of ignorant luxury. The problem here also isn't as straightforward as a corrupt ruler, because even after Vauthry is revealed for the bastard he is, it takes considerable effort and convincing to get them to get off their asses and get to work. It's one thing to change the minds of people who wanted the same outcome just in a different way (like Ishgard- they rejected unity with the dragons, but they still wanted an end to the war), but it's another thing entirely to convince people that another way of life is even worth it.

And this is what SHB teaches Alphinaud, that words and deeds can achieve much, but that there is much more to diplomacy than appealing to their wants and/or sensibilities to convince them of an alternative outcome. His development may not be as immediately noticable as some of the others (largely bc he had a lot of it already from HW), but it is still very much there.

Urianger's development had already been build up and sort-of started already, but we don't really get to see it until it near explodes in his face after we kill Vauthry. Even after he swore off secrecy, he's forced to confront his morals when the Exarch bids his assistance. Urianger has always been looking at the greater picture, to the point he'd almost lose himself in it if it wasn't for the overwhelming guilt he feels. He works with the Exarch, because he knows he's the only one capable of it, and he hates the very fact that he is. When the climax of the plan is about to be executed, he is pained to the point that even he can't mask it anymore. He has betrayed their trust once more and once more it will result in the death of a friend.

But it doesn't, and that's what's needed for him to confront himself. As terrible and unexpected as the circumstances around it was, it did show him that there are other ways. There is no one way to solve a problem, the first choice doesn't need to be the only one. And he would find those other ones of he had just talked to the others.

The pay-off doesn't quite come until EW, where we see him actively make the choice to go against his first instinct of acquiesing to the Loporrits' plans, and instead chooses to consult us, but that scene wouldn't have made sense or even happened had it not been for his development in SHB.

Now, Y'shtola is a bit of an odd one because while she does get her due focus, she doesn't quite get the same amount of development as the others. Rather, it shows how she thrives when not held back by others interests and (often somewhat needless) bounderies. Her intelligence and charisma have the chance to shine, her independence and confidence now rewarded rather than punished. In ARR, she is constantly annoyed by the Maelstroms way of dealing with things, and how no one bothers to actually listen to her. Her advice and reprimands are almost entirely ignored until the problem blows up in their faces and they have no choice but to concede that she was right.

Being independent and confident aren't flaws by themselves, but her sometimes aggressive approaches to telling others off does her few favors. In SHB, she has the Night's Blessed who actually heed her word and respect her, they listen to her and actually take what she says- be it advise or reprimand- to heart.

She does also, however, have to deal with Thancred who, much like the Maelstrom, ignores her reprimands and doesn't listen to her. The difference here is that her bluntness actually serves a purpose. In ARR, her bluntness lacks tact and meaning, simply a result of frustration. The Maelstrom won't listen to someone who doesn't come up with fleshed-out arguments and solutions, but Y'shtola doesn't bother giving them any until she knows they'll listen. But with Thancred, she does give him the solution. It's just that the solution is him. His words, to be precise, and his acceptance. And he needs to be reminded of that, and she does. It doesn't automatically solve anything, but that's simply how it is with complicated situations like that.

Speaking of Thancred, his narrative is probably the most important of all for SHB. He's always been shown as a capable, but ultimately self-destructive man who genuinely does not know how to deal with himself in a healthy manner. Theoretically speaking he knows, he recognizes that he is self-destructive, but he still has no idea how to actually fix it. It's been shown as early as ARR when it results in him getting possessed, but it's not really made a point of until it almost ruins his relationship with Ryne. Up until now he could just ignore his problems, but with Ryne he can't because now The Problem(s) aren't just his anymore. Anything that would hurt him now would also hurt her, meaning that if he wants to continue doing the one thing he actually cares about (protecting his loved ones) then he needs to get his shit together.

But Thancred doesn't know how to. And for all that his friends try and try to help him, he doesn't know how to. He's paralyzed. Thancred is so deep into his self-destructive habits that it takes the threat of both his and the person(s) he loves the most in the worlds deaths to get him into action. He doesn't know if it's Minfilia or Ryne who will return, and I'm not sure he expected to survive Ran'jit. He only has this chance, and if he wants to die without (as many) regrets he has to do something now.

And he does. He does and what it is he does is tell Ryne that whatever happens, it has to be her own choice. That he will accept any outcome, that he will still care about her no matter what, that as long as she lives or dies as she wants to, that he still loves her. He still loves her. And it works, because that's what he's needed to do all this time, to be able to just tell her that she matters. That he cares.

He tells her to live her own life, and he learns to live his own too.

[twelvemonkeyswere]

ofmd season 1: "hurt people hurt people" mostly from the perspective of Stede, who copes with his trauma through avoidance, hurting himself by hurting those around him

ofmd season 2: "hurt people hurt people" mostly from the perspective of Ed, who copes with his trauma through violence, hurting himself by hurting those around him

both seasons have subplots about healing and growth, about finding love, about what to do with those parts of yourself that are drowning you, and what NOT to do with them, and those storylines and themes help support the main ones, seen through the eyes of our protagonists.

in particular, the parallel deaths in the last episodes of each season (Badminton dying in front of Stede, Izzy dying in front of Ed) have distinct thematic beats as well, in different moments of the main characters' storylines, but are still connected in a similar way: both Badminton and Izzy represent the external voices and pressures that have etched themselves in Ed and Stede and have forced them to hide their true selves in order to survive. in Stede's case, the pressure and bullying was always kind of detached, an overwhelming indifference and casual hatred, while for Ed, the pressure and bullying was always up close and personal, given to him by the very people who claimed to appreciate him. that's why Badminton is a villain we don't care much about, and Izzy is a character that was much more fleshed out by the end, because sometimes the call comes from inside the house, and I thought it was nice the team tried to incorporate some of those nuances into the storyline to help develop the main themes.

[ube-bluebay]

i have a problem

really long rambling in tags

[skydaemon]

btw if you even care the ACTUAL bad ending of wwdits is if nadja remains aimless and unfulfilled, wandering from project to project without intention or internality

[screwpinecaprice]

Would connverse kid(s) be given any sword training or self-defense (despite era-3 being more peaceful)?

Sorry in advance, I could not English right now. Hope I'm understandable at least. 😅

With my connverse kids, Ebony would be very interested in Gem stuff and going around different places and planets. Apart from hostile environments, there are still rouge and corrupted gems out there though. Best to know combat.

Rohini really likes swordfighting, but she mainly have used it to compete athletically. Sometimes it's useful when she tags along Ebony.

/Sakura/* saw her older siblings their swords, and she just thinks fencing is fancy. 🤷‍♀️ Whether she'll get over it or not, I don't know yet. Haha

/Zachary/* would not be interested with swordfighting at all.

*Sorry, STILL don't know what to officially name the twins. 😅

Also, can I use Steven's healing ability as an excuse for him and Connie still looking younger than their age and hide my inability to depict age? 🥺

[wolke17]

kinda sad that we don’t know more about sukuna’s tattoos, I feel like initially, they were supposed to be more than just aesthetics. like why does he have additional markings on his forehead and nose when he isn’t fully incarnated for example?

[prideprejudce]

the more i think about Oppenheimer the more disappointed i get because at its core it’s such an interesting story to tell. like the whole manhattan project catapulted the entire world into a new atomic era that we could never go back from whether we were ready for it or not. and the fallout from the project not only changed and devastated the lives of hundreds of thousands of people (including of course the victims in hiroshima and nagasaki + the people living in new mexico where they tested the bomb) and the continued generational trauma of the bombs. also just the general mass panic and fear that the Cold War instilled into every citizen in the states who were literally waiting to one day be just annihilated by a nuclear attack. the whole creation of the atomic bomb had so much impact on the world. so doing a deep character study of both oppenheimer and his colleagues on the moral ambiguity of their work in the project and the outcome of it is such a great movie concept. but the film didn’t feel like that at all. instead Nolan gave us the watered down story that he’s best at and spent almost three hours forcing us to watch whether oppenheimer had to lose his disneyland government fast-pass due to his communist ties or not (spoiler: he does) and how strauss doesn’t like him because he got his feewlings hurt once. all the other scientists and physicists were given one or two minutes of screen time and were really just names to a face. the actual bombs creation was given a sidelong glance and trivial explanation at best. and of course to tie it all off the main female side characters were either naked/having sex for 80% of their screen time or was given the character depth of a piece of tissue paper

[emystic-old]

Mika has features that are linked to the idea of him being a changeling (which he originally was based on being, before I established a bigger family system).

He is meant to look purposely uncanny to humans as he looks like a failed attempt of a fox and a child mixed together as if the glamour meant to disguise him failed. In my drawings of him, his eyes are incredibly round and bright (which is adorable, but he has some big ol eyes for a normal child) and though he doesn't smile wide his teeth are very sharp with claws hands, and feet.

He is incredibly small for his age as he is only a foot tall, for comparison an average newborn is around 1 and a half. Yet he claims to be 3 years old, making him a toddler. It would be believable for someone to believe he is a newborn just to hear him talk short, but clearly coherent sentences and get shocked.

Even for a 3-year-old, the boy seems to be kind of advanced for someone his age. A common way to know you have a fairy child and not a normal one is for them to display behavior way too advanced such small baby or child such as playing an instrument or dancing in secrecy (though Mika openly does things such as foraging berries for himself, dancing, and actually being able to sing with skill). The only difference is his mentality and emotional maturity are still similar to a 3-year-old, he only shows having talents and skills that are advanced

[utilitycaster]

I am very excited for Unend and I have absolutely no insight into what it will entail but I do want to offer a gentle warning regarding what I'd like to call, for the CR audience anyway, the Campaign 1 to Campaign 2 problem.

I found in the early-ish days of Campaign 2 there was an immense focus from some parts of the fandom on what previously seen characters were doing, rather than the current cast of characters, and at times a bitterness that we weren't just showing the same characters 25 years down the line. Which was silly, because we got a great story with new great characters and saw the world grow before our eyes, and there were even some small nods without them overshadowing something new and exciting.

I feel this way about Unend: again, I know nothing, but I don't think it will be heavily focused on characters introduced in Midst or Moonward at all. I think it's an opportunity for a new cast of characters to explore new things in the same world. While I suspect the islet of Midst may show up simply because it's a strategic location for an exploration vessel to stop given how the cosmos work, the story is explicitly going to be taking place as far away from Midst as possible, since they're trying to find the extremes of the cosmos, not the middle. I don't think we're checking in extensively with past characters, and I think that's great! Get excited for new ones!

[lord-squiggletits]

I think the reason that MTMTE remains the most defining, influential, and loved series in the IDW1 run is fundamentally because, despite its many flaws, MTMTE has the power to make you think and wonder about the world beyond what's shown on the page. The character relationships are so strongly developed that it's easy to care about the characters and easy to imagine further adventures they could go on. While the myriad dropped plotlines, underwritten/underutilized characters, and worldbuilding with weird implications are all fucking maddening at times... even if it makes you mad, MTMTE makes you mad because you care and it makes you want to immerse yourself into a world that feels like it's real beyond what's explicitly shown to you on the page. It's a sandbox of a story where there's so much fertile ground for pretty much anyone with any preferred character archetype, storyline, etc to dig in.

It's just... immersive. That's the best way I can put it. It feels like it could be real and it makes you want to spend more time in it than the constraints JRO had. It makes you want to know more about it and come up with theories on how/why things function or happen the way they do. That's why it's loved and that's why it's the best series in IDW1.

[ezralva]

It's been a while since I read a jjk article that actually makes me happy

And for the description of Choso which is so very right

Choso is such a deep, multi-layered character that sometimes it's very sad I rarely find any fanworks that feature and dig him thoroughly and do him justice with his phenomenal characterization and narrative.

[sophsicle]

hey soph,

so I’ve seen a lot of people on TikTok say that liking Regulus, Barty, Jegulus or Snape is the same as supporting N*zis and f*scists, can i ask for your opinion on this?

"that's wack" - my opinion