#has a less important role and interacts with other characters

[starswallowingsea]

Sorry this is the most annoying type of niki fan ever. I saw this post 5 days ago and I'm still mad about it

[fumifooms]

I don’t like minimizing the importance and gravity of Laios and Toshiro’s fight into just being a childish squabble, even if to a degree it is framed that way, because to both of them it has a lot of personal significance and emotional weight and runs very deep to their characters… The fight isn’t nothing it’s a LOT, they made up but it’s not something easy to express and to get over for either of them which makes it all the more meaningful! I’m on both sides but there very much are sides, there’s no "they’re both having a ball, Toshiro and Laios hand in hand yay" side to the fight, that comes after

The fight with Toshiro WAS very scary to Laios, almost existentially so, but it’s moreso the "I thought I’d made a friend!!" bit and my god. My god actually

Like it’s not "just" about oh his friend liking him less than he thought, THAT IS SO MUCH. It’s a bond he thought he had being a lie it’s all the time and moments spent together either being a lie from his perspective or marred now looking back. It’s not only being upset at Toshiro for lying but upset at himself that he’s so easy to fool, it’s being upset that there’s something so wrong with you that you can’t even tell if your "close buddy" even actually likes you or not, it’s like. Holding my head. He can’t trust his own vision of events that happened do you see. There’s always this film of distrust that it could be a lie that should be there when he interacts with people there’s always this sense of cloak and dagger to expect backstabs out of nowhere because you CAN’T see it coming you CAN’T you CAN’T there’s something about you which makes it impossible so you CAN’T-

He’s so scared of not being able to read people. He knows it’s a weak spot he has, he’s always known. All of these bits are centered around social expectations and betrayals, the assumption that he doesn’t belong either in society or with other humans.

And Laios’ level of awareness is actually sort of complex to analyze, but it’s there, there’s how out of him and Falin he was the one sensitive to the ~aura of hatred~ he felt from the townspeople, there’s of course his nightmares whispering to him about the mocking looks, and how yeah actually he realizes that his gold stripper coworker was taking advantage of him. There’s of course the Winged Lion speech about his trauma and how he fundamentally mistrusts/dislikes humans to some deep seated degree, this distrust that he still keeps under control always. There’s how pre-canon he often wanted to suggest eating monsters but never worked up the courage to bring it up with the others. There’s how he gets across as stoic when he isn’t being enthusiastic…… We don’t know how aware and wary he is exactly in the moment but we do know he has some anxiety around social stuff, and looking back he does notice and aughh augh, the sense you have to hide yourself to not get hurt and be on your guard and shit and.

When you don’t know what to look out for and when to look out for it, the general ‘common sense’ of not always trusting people or noticing when someone’s messing with you becomes hypervigilance in social settings

"Man they really know what you hate huh". Being socially unaware literally plagues him, he knows, he knows it so well.

It’s so quick that it’s almost hard to digest how literal and blatant Laios summoning his monster to crush all the people who’ve hurt him is. His literal go-to coping mechanism for comfort in his literal monster-induced emotionally intense nightmares, saving him by taking away the upsetting element (the humans)

"Monsters are his coping fantasy, where they can whisk him away from humanity, all the hurt it’s caused him and its arbitrary rules" with the subtlety of a brick. Monsters are his comfort safe zone "because they kill humans" yes but no it’s because he pits them as the guardians against humans who to him are in the role of the agressors. To him they represent freedom from the shackles of what it means to be part of humanity, a fundamentally social species

[toothlespoggers]

U don’t understand. He’s a Nindroid. He has a soul. He has ice powers. He’s TRAUMATISED. He does not value his own life. He is borderline suicidal. He is SOFT. And he loves people too much. But OUgh he’s actually a little fucked up even tho he’s calm and calculated Caus he toucheda forbidden stick and it made voices in his head and then he was like a genocidal murderer for like 60 years and he had no memory of anything and then he was dragged out of that situation and nobody even asked if he was ok and he never questioned that because he’s lived his whole life with the expectation that he’s fine and he’s got everything under control and he doesn’t even know what mental health awareness is because no one ever talked to him about it because no one ever asked if he was okay, not physically but mentally. Because even if people cared no one ever thought he was not okay, and so Zane never thought he was not okay so he’s lived his life for probably a hundred years or so by now, always moving forward and never addressing his problems or traumas or demons, which is DESTROYING HIM, from the inside out. He has absolutely NO SELF WORTH. His entire existence is based around his role as a ninja, he has been trained from when he was a “teenager” that his worth is based around his ability to preform, that the most important thing is to save lives and the world and stuff. Which it is but like he’s never been allowed to do anything else and on the rare occasions he and his friends relax they immediately get scolded and told to keep fighting. He’s never had a sick day. He literally sacrificed himself to save the world. He rebuilt himself, and immediately the next opportunity he gets, he sacrifices himself again, and he tries to do that over and over and over again because that’s his job he states that he is expendable! He says that multiple times. He always volunteers to take the hits because his view on his humanity his person hood is so WARPED, that he believes he has less value than a human. That he is a TOOL. To be used by those around him because people sure, they’ve treated him with kindness on many levels but it’s kind of shallow when they never care enough to prevent him from getting hurt, they use him, he almost dies, they fix him and then put him back into the line of fire. His entire worldview is based on fighting.

The only person. Who has ever asked if he is okay and treated him like a human being. Is a STUPID GOSH I LOVE HIM BUT JES SO DUMB. FROG MAN and Zane is SO NOT USED TO IT that he has to repeatedly inform. This man. That he is in fact. A robot. Because he expects that to change the way people interact with him. He’s a machine, he doesn’t need a break, he’s built to serve a purpose. But frog man, does not listen.

Frog man is kind, frog man is good.

FROHICKY TRIES TO PLEASE ZANE SO MUCH THAT HE GIVES ZANE A FROHICKY PLUSHIE. SO THAT ZANE CAN VENT HIS FRUSTRATIONS AT THE PLUSHIE. SO THAT HE WILL FEEL BETTER. AND ZANE SAYS “I do not experience heightened emotions.” see see this this proves one of my points urghhhguugh FROFFS BARKS GROWLS HE DOES. WE ALL KNOW HE DOES, ANY NINJAGO FAN WITH EYES CAN SEE THAT ZANE EXPERIENCES HEIGHTENED EMOTIONS. HE JUST KEEPS FUCKING LYING TO HIMSELF AND OTHERS BECAUSE HES GOT THIS ROBOT MINDSET EVER SINCE SEASON 3 HES JUST BEEN ENTIRELY CONSUMED BY THE IDEA THAT HE ISNT HUMAN AND SO HE HAS TO BE DEFINED BY THAT IDEA. He has so many inconsistencies all relating to this weird brain he has this weird weird robot brain it’s SO INTERESTING. I WILL BE GATHERING INFORMATION AND I WILL BE MAKING A FULLY RESEARCHED FULLY COHERENT RANT ABOUT ZANE IN THE FUTURE. BUT RIGHT NOW I HAVE OTHER STUFF TODO BUT URGHH THIS CHARACTER MY BRAIN IS TINGLING SO MUCH URGHH

[twilightkitkat]

Thinking about the role of the "love interest" in superhero media and how poolverine subverts this.

The "love interest" in most movies is just a placeholder. Boring. Tame, Predictable.

This is especially true in action media, wherein romance takes a backseat and is often seen as an add-on rather than a main plot point. Romance is either a source of conflict or motivation that serves to drive a character arc forward, but no more or less.

Take, for example, Vanessa. I love her character. Her personality and character are fascinating. However, especially in Deadpool 2 and 3, she serves more as a device to move the plot forward rather than a genuine character. The first movie established her character and importance, so it's understandable why Wade chose to hide his identity and how he slowly came to terms with his new identity. She helped move his character arc of self-acceptance forward, yes, but she also existed as her own entity.

In the movies after this, she isn't treated with the same care. She's used as a central motivation in Deadpool 2, a force that drives Wade to save Russel and confront Cable when his character motivations aren't easily tied to morals. However, that's it. She isn't fighting alongside him or given the same treatment as the other important "family" characters. In Deadpool 3, she's treated with even less care, only having short scenes at the beginning and end of the movie to give Wade a representation of "home."

This isn't to say Vanessa isn't an important character and shouldn't be treated as such. However, the purpose of having a "love interest" in an action movie's plot isn't just to have someone to love. It's almost always to have someone who can be kidnapped or killed to spring the main character into action. It's someone who fades to the sidelines so the main character can show off while showcasing their relationship success.

Consider this: in all of the Marvel comic universes, Deadpool and Wolverine have had many different partners. Different names, different faces. It's common for the "love interest" of a superhero to be seen as an accessory that changes shape depending on the comic artist or franchise. After all, they don't need a cohesive identity to serve their purpose as a "general, digestible reason for the main character to act."

Everyone understands how love can cause people to do crazy things. There is no further elaboration needed, even for morally grey or black characters. It's an easy way to make an understandable motive for the audience. Suspension of disbelief.

And yet, the superheroes remain the same. They get to keep their identity throughout different media. It's always Wolverine and Deadpool. Logan and Wade. Even if they have slightly different plotlines, their core characteristics and intrinsic identity are constant.

Logan could have Jean Gray. Or Mariko. Or Silver Fox. He can have anyone play the role of "love interest," a role that can be shapen by a ball of clay and changed entirely to fit the narrative.

But his "rival" and "best friend" in the multiverse will always be Deadpool. They're notorious for being referenced in each other's media. For fighting. For working together. They are A Set.

This is why I'm so much more drawn to Poolverine than other ships. Wade has different love interests depending on the media type. So does Logan. I can't tie in knowledge from different interpretations into the romance because the love interests are fluid. But with each other, they interact in almost every universe. Have a consistent bond. A "standard." They're soulmates, in a way, forever destined to meet and be important to each other.

This is setting aside how female love interests are treated in male-oriented media in general. They're normally seen as someone to be protected, to stay at home, and welcome back the hero when they return. Some are allowed to be strong, to have abilities, but rarely ever do they stand on equal footing with the male main character. Not where it matters.

This is exhibited in both Wolverine and Deadpool's movies. Vanessa is introduced as a "badass," someone who's part of the underworld and knows how to fight, yet she's often placed in the damsel in distress position. She could match Wade before his mutation, maybe, but after he dons the mask and becomes Deadpool, his work is over her pay grade. The same happens with Mariko in the Wolverine movie: she's initially introduced as someone who can fight, but Logan ends up protecting her almost entirely and is responsible for rescuing her from her kidnapping at the end.

It creates an emotional rift between the side of the "hero" and the side of the "love interest," because it feels like they aren't fighting together for the same cause. It feels like the love interest is treated more as a "reward" for the hero to come back to after saving the world rather than a person.

When the entire movie follows the perspective of the main character as they fight, and action scenes are primarily used to invoke emotion, it feels lackluster to have the love interest stay at home. The most intense moments of emotional connection are typically portrayed between the hero and someone else who understands their suffering who they're trying to reach, such as a villain or rival or friend.

Love interests are never on the same "playing field" as the main character and thus can't relate to their struggle. The director tells the audience that they should be happy or sad when a love interest is on screen, but they don't show the same level of emotional depth when the main point of an action movie is action. The entire premise of the main character is action, and yet the love interest is absent from it. Or a victim rather than a player.

This is why Poolverine subverts this trope. You have two people, each with their own franchise and life. Each with their own skills. Each with similarly powerful abilities.

They are equals and are treated as such by the narrative. They take each other seriously and have an emotional connection because they understand each other's suffering. They both are out on the battlefield, fighting the same war and overcoming their differences. They both are allowed to have "cool" scenes and "sad" scenes and "funny" scenes. They both are given the spotlight to experience character growth and have their own unique internal conflict because they both are strong characters who are narratively important.

They both have chemistry. Which is nearly impossible to attain when the love interest isn't even in the lab.

[atticmichaelangelo]

Nana Komatsu, the fear of loneliness, and the perfect tragedy of her story

Within the Nana fandom, it is a widely acknowledged fact that Nana Komatsu ( who I will be calling Hachi for convenience) is written and portrayed as a clingy and needy character. Naturally, the effect that such a personality has on the viewers varies, with some enjoying and even empathising with Hachi, while others feel less inclined to such character archetypes, or even real life people, for a plethora of different reasons.

However, I believe that while this aspect of her personality is often highlighted, it plays a much deeper narrative role than it is given credit for. What may initially have seemed like a benign and overused personality trait �� Hachi’s need for connection — actually plays a much larger role in shaping the course of her life, and understanding her relationship with loneliness and attachment allows for a greater understanding of her decisions within the anime and manga ( understanding not justification)

To do this we must examine how Ai Yazawa chooses to present Hachi to us, the viewers, in the first few episodes / chapters, and why. Hachi from the get go is depicted to be boy crazy - a girl with her head in the clouds. Someone who is quick to endear herself to others, and even quicker to idolise them - she is a character that wholeheartedly indulges in and thrives off love and attention, even if it is at the expense of her own wishes and dignity (will elaborate). We follow Hachi through her intense attachments - from her art teacher, to the pizza delivery boy, to the guy in the shop, to Asano. Out of all these attachments, we think we can see a recurring theme - they are all of romantic nature, and showcase Hachis constant search and desire to be loved. And yet there is a character whose interactions with Hachi are even more telling of Hachi’s priorities, and which I think is often undermined in the fandom due to the focus of Hachi's romantic pursuits, yet crucial to the foreshadowing and understanding of Hachi’s character and story.

Junko. We see a bond established between them right at the beginning of the anime/manga, while we're still getting to know Hachi, which serves as a key foundation for her characterisation. Hachi follows Junko to art school simply because Junko went. We observe as Hachi interacts with Junko, seeking advice,comfort and security from her, while also allowing herself to be condescended and even embarrassed by Junko. An example of this is when Junko tells Shoji and kyosuke as soon as Hachi meets them that she is loud and has a long history with men. While these traits aren't inherently negative, in the context of the society and time the manga is set in, they were not viewed as favourable traits for women. Hachi's initial protests at having these aspects of her life exposed are telling. Junko can tend at times at the start of the story to be very brisk and sometimes even outright insensitive to Hachi. Yet, when Junko decides to go to Tokyo, Hachi tearfully begs her to stay, even diminishing Kyosuke's importance to his face in an effort to keep Junko close. Realising it would be unfair to hold Junko back from her dreams, Hachi impulsively decides to apply to schools in Tokyo as well. She had no money, no set career aspirations, and no solid plans, yet was adamant to join her friend.

And this brings us to the key aspect of Hachi’s character that Ai Yazawa informed us of from very early on: she will uproot her whole life in order to not be alone. And this trait is depicted throughout all her relationships, platonic and romantic. Hachi may be boy obsessed, but to diminish her later actions to just that is a disservice to Ai Yazawa’s writing skills, as in these pivotal few scenes, Hachi’s past and future link and meld together immaculately - Hachi’s decision to stay with Takumi was foreshadowed and hinted at phenomenally from the very start of the story through Hachi’s past, and how it shaped her interactions with other characters. Her actions were rooted more in a desperate need for companionship and fear for loneliness than, as some people believe, a habit of putting her romantic relationships on a pedestal - and Ai Yazawa has reminded us of this throughout the story.

Hachi grew up in a loud and rather indifferent household where she grew up ( as a middle child) thinking that her absence would just mean less noise in the household, a thought probably encouraged by her parents' passive and impartial approach to parenting and her growing up, giving her an excess of freedom instead of the attention Hachi desired growing up. Given such an environment, she developed an anxious attachment style, clinging onto whatever relationships she has in order to avoid feeling lonely and isolated, such as her friendship with Junko. She compares the feeling to be worse than Asano breaking up with her - the moment when she realised the extent of her unrequited love and the fragility of relationships, causing her to come to terms fully with the threat of loneliness and abandonment. This concept and revelation seems to haunt her visibly throughout the first few episodes, and more insipidly years later as she still seeks companionship and intimacy to avoid the depression and fear she feels when encountering the emotion that she has correlated with feeling unwanted and used.

So given this, it makes Hachis decision to stay with Takumi even more painstakingly in line with her character. Hachi is not written to be a perfect character for readers to project their own morals into - Hachi is young, still rather sheltered and unsure of her place in the world. She thrives off others' reassurance and the security they provide her - when she feels this is being threatened ( such as when she saw Nana interact with Tsuzuki) she spirals. So when she found out she was pregnant, Takumi very intentionally divulged the information without giving Hachi a chance to prepare, recognising Hachi’s intense aversion to being alone, and exploited it in the scenario to fit his interests in keeping her by his side. Hachi was at this part of the story in a very vulnerable and insecure position. She feared and expected rejection and disappointment from her friends, a reflection of her own and society's negative and sexist feelings on her situation, and saw herself as alone. Blast was excelling and becoming increasingly busy, Junko and Kyosuke were occupied in their own daily lives, and she saw herself with nobody to turn to for help or support, and was too ashamed to ask for it from people she held in such high regard. She believed she had nobody who could give her the stability and comfort she has sought for consistently throughout the manga/anime in her friends and romantic partners.

Nobody but Takumi. Hachi knew she would not be happy. She knew that she did not love him and was not loved the way she always idealised. She knew that by marrying Takumi and raising the child with him she would be sacrificing her friends’ trust and opinions of her, and putting herself in a situation that may seem like what she always wanted ( financial stability and a family) , but was less than ideal in reality. But she ended up marrying Takumi - because she believed Takumi at the time was the only one who would accept her, who would not be any more angry and disappointed at her than she was with herself. She saw him as the only option that guaranteed the security she yearned for and seeked in every one of her personal relationships, even at the expense of her own happiness and friendships - and this because we are shown time and time again that Hachi would rather uproot her life than be on her own. She would rather suffer a person and learn to love them than be without. And that is the painstaking tragedy of it all - it makes sense for her character.

Ai Yazawa does a beautiful job at showing the very human side of personalities and relationships. Personal growth is not a linear process, and while Hachi shows moments of self-awareness and even growth, with instances where she is shown slowly blossoming into a more independent woman and recognising her self-destructive tendencies, she ultimately gravitates towards what is most familiar to her. She acts seemingly as a survival instinct, where the pale mockery of a loving relationship seems more plausible and tolerable to her than the shaky and unpredictability of her future, and facing the shock and hurt of those who she holds so dear to her heart. Though this may frustrate viewers, it is also what makes Hachi such a compelling and relatable character — her choices, while flawed, feel deeply human. Hachi doesn’t always make the smart decision, nor the one best in the long run. She is a character that displays the more uncomfortable sides of human nature and actions, and is a character that can be simultaneously loved and sighed at and learnt from, which is infinitely more educational and enjoyable than a character who has things just happen to them. She is a culmination of her past experiences and how she operated through them and processed them is translated and depicted through her relationships and actions in a realistic, though heart wrenching fashion.

[mesetacadre]

One mistake that is very common for communists to make (both online and offline, though it's more annoying online) when talking about and participating in trade unions is forgetting both your and the union's place in class struggle.

A trade union is by its very nature a reformist entity that fights partial struggles at best and reinforces the state's management of capitalism at worst. The purpose of any trade union is to represent a group of workers at the a company or sector at the same level of the capitalists who run it to achieve better conditions for the workforce. Two crucial aspects of this are (1) that it simply puts the workers at the same level of capitalists to negotiate, it does not question the very role of the capitalist in the wider economy, and (2) its ultimate goal is always to reform the contract that defines the relationship between the worker and the capitalist, not to remove it altogether. It does not matter the amount or length of strikes the union might organize, or how much they embolden workers to act in their (supposed) interest. Every fight organized by a union is, by definition, reformist. The only situations in which unions seize to have this character are in either a dictatorship of the proletariat, and like any other element of the superstructure it's put to work in the interests of the working class, or a situation with a strong communist party pre-revolution that has been able to influence the union in such a way that it becomes internally aligned with the interests of the vanguard.

Does this mean that unions are worthless and that we should ignore them because they don't immediately acquire rifles and take over human resources? No. What we should do is avoid creating false illusions or misplacing importance on these fights

An organized (that is, in a communist party) communist's role is to elevate the working masses to a revolutionary conscience, so that the party can have the sufficient amount of people, and organizational capability, to exploit the crises of capitalism to their favor. And this never changes, no matter the context of your intervention. When you go to a protest, you are a communist in that protest, not just another protestor. When you do work in a union, you are a communist in a union, not a unionist. This means that your work and your interactions with other workers should always be done as a communist. You may be an active member of a union, in fact that's the main way for organized communists to act in a workplace, if their party does not have the sufficient strength to act on its own. But you're a communist first, a communist who understands the utility of unions to create the seed of revolutionary-political conscience in workers.

And a misunderstanding of any of these two concepts usually manifests in what I see some communists do, which is taking the reformist slogans of trade unions ("fight for a just wage", "united we bargain", or just an oversimplified "join a union!", for example) and parroting them without much apparent thought. Trade unionism and socialdemocracy go hand in hand, these two currents hinge on the idea of promising workers a bigger slice of the national wealth. But the difference between these two, and part of the reason why many more communists are less critical towards unions I think, is that unions take the position of workers, the "underdog", while socialdemocracy deals directly with putting reforms in place. But ultimately they both misdirect the spontaneous conscience workers acquire by the everyday class antagonism towards policies that reinforce capitalism and the system of wage labor through which workers are exploited in the first place.

[xgraavyx]

I feel like a lot of people ignore Mariana's role in Sherlock and Co. I understand that the bond between Sherlock and Watson is a heavy focus in the original acd books, but Sherlock and Co is it's own thing. Mrs Hudson may not have played a large role in the books, but in Sherlock and Co she is one of the main characters. Ignoring her prominent role in their dynamic just so you can focus on Watson and Sherlock's dynamic is strange. You can still talk about their dynamic without ignoring one of the main characters. In Sherlock and Co I have always seen them all three as being like a family. Regardless of how you percieve their relationship, you cannot ignore the fact that Marianna is important to both of them. People shit on those who ship John and Mariana bc it "gets in the way of sherlock and watson" but that is such a stupid reason to hate a character. People can ship Watson with whoever they want. It isn't hurting anyone to have people ship him with Mariana.

Watson has a very lovely dymamic with both Sherlock and Mariana. I've seen people genuinely angry to see the podcast focus on Mariana and Watson for even a second. Sherlock and Watson have also had many one on one interactions. They've had a lot of focus on their dynamic and how it is built throughout the podcast. People being mad that Mariana also gets those growth opportunities despite her also being a main character is WILD. A man and woman can be platonic friends without being a threat to the "main ship" This reminds me of what happened to Mary in bbc sherlock. While I agree that Mary is a poorly written character, people give her way too much hate. Hating a character is fine, but hating a character just because she "gets in the way" of your ship is dumb. I don't like Mary in bbc sherlock. I think her being a spy was weird. Her death was only there to kickstart sherlock and watson's discord and I think that is a stupid reason to kill off a main character. It had no proper impact to the story and she only existed to contrast with Sherlock. Those are valid reason to hate her, but I don't just ignore her existance. She was still a part of the bbc sherlock canon regardless of how buchered her implimentation was. Mariana is a fun character and a lovely addition to sherlock and co. She has been given the same if not less focus than Sherlock and people still rarely include her in fan content. Yes Sherlock and Watson have a very interesting dynamic but I'd love to see more love for Marianna. She is a part of their family. Regarldess of if you see the dynamics between characters as romantic or platonic Marianna is still an important person to both Sherlock and Watson and I would love to see more of her. She is like the "straight man" of their dynamic. She handles the business aspect of their organization. She canonically eats with them at 221b very often. So much so that she doesn't even have a dining table in her flat. I love seeing different interpretations of her design. She is such a fun character and her personality flows very nicely with the others. Tldr I want to see more love for Mariana, and people who hate her unjustly get on my nerves lol. You can ship two characters without ignoring or hating on the girl character.

[amerricanartwork]

RW Headcanon: "Pebbsie Privilege"

Here’s a headcanon I’ve had in the works for a while, and now I finally want to share it! It's shorter than some of my others, but I hope you'll still find it amusing!

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So firstly (and I plan to expand on this more later) I headcanon Five Pebbles is someone who cares a lot about his appearance, though not in a prissy or snooty sense and more in a “likes being the smartest and most sophisticated one in the room” sense. That means, more so than the average person, he generally doesn’t like being teased, ignored, belittled, condescended to, or otherwise disrespected, and very understandably so if you ask me! But it also means there exists a very special ability when it comes to interacting with Five Pebbles that almost no characters have. 

It’s no more than the ability of someone to refer to Five Pebbles as “Pebbsie” while he’s in earshot without getting death-glares from him. Looks to the Moon, who first started using it, affectionately calls this ability “Pebbsie privilege”, and she ends up being one of the only characters who has it (besides Innocence, who in my portrayals eventually gets it too). Though even so, Pebbles originally got rather flustered when she called him that alone, much less in front of others, considering it's definitely a very cutesy nickname. In fact, poor Pebbles really didn’t like being called “Pebbsie” because one of his least favorite ways of being treated is like a child (which includes being thought of as "cute" in any way). This unfortunately happens to him a lot though since he’s part of the newest iterator generation and tends to have lots of uncommon ideas rarely taken seriously by the older models, and this treatment only amplified as he grew more stubborn and arrogant. 

To elaborate on the origin, Moon developed the nickname pretty much on an impulse — quite a rare thing for her to act on actually — of wanting to hearken more to her role as “Big Sis Moon�� and show love to her little brother. Soon after she started using it though Pebbles would pull her into private chats and urge her to drop it to save his dignity. Not wanting to hurt her brother in any way, it didn’t take long before she apologized and stopped using it, and basically got her "Pebbsie privilege" revoked. In the current time she secretly still likes calling him that in her mind, but knowing how much he dislikes it she always feels pretty guilty afterwards, despite them being no more than thoughts at that point. While not a major issue in-and-of itself, this situation was actually a small step in worsening a long-time fear Moon has, though that’s a headcanon for another day…

On a (marginally) more positive note however, after Moon’s collapse and the worsening of Five Pebbles’s rot, along with him generally reminiscing about the things he used to have (as part of yet more character headcanons I’ll elaborate on some other time), he actually began to grow fond of the nickname more and more. Yet he also couldn’t also shake the growing heartache the memories brang, as he came to see it as a reminder of his sister’s never-ending love for him and the better times he now regretted taking for granted and trying so hard to escape. While I headcanon he handles it differently in Downpour’s canon, in the worm-off-the-string AU story I’ve got so far, Moon slowly regaining her “Pebbsie privilege” and Pebbles appreciating it and no longer taking it so seriously (though he still forbids its usage in public) could serve as a small, yet sweet indicator of character growth for both of them.

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Aaaand another RW headcanon done! I wanna mention, though, now that I’ve got more of an idea for the aforementioned AU I really want to start posting more of my headcanons for the Local Group, since the character interactions, histories, and ultimate character growth is perhaps one of the most important elements of that story so far. I’ve spent at least a couple weeks creating almost 40 pages worth of character notes, and while this particular one started out as just a little side-headcanon, I ended up tying it into all of that. Hopefully I can start sharing the main parts of these headcanons soon!

[yumeka-sxf]

An analysis on Anya (an Anya-lysis!)

As promised in my Twiyor season 1 wrap up post, it's time for me to give Anya time in the analysis spotlight – an "Anya-lysis" if you will! (yes, I've been waiting to make that pun!)

*I apologize in advance for the length of this post. I felt that splitting it into two would have hindered the flow of the analysis, so I kept it as one long post. But I promise it's not as long as it seems...the high number of images make it seem longer!*

Before I get into my analysis, I wanted to preface this post with a fantastic quote from @incomingalbatross, who perfectly describes the unique role Anya has in the series.

"Realizing that Spy X Family really is The Anya Show to me, and not just because "oh look, cute baby child" but because Anya is the center of the story. She has so many secrets resting on those tiny shoulders. She is juggling so many agendas. She's the one who knows everything and her choices drive the plot—she chose Twilight, she chose Yor, she chose Bond—and even when you look at the other characters and their relationships she IS the star they orbit around! Twilight and Yor's relationship is built on their shared care for Anya! And more than that, at the core of it all, Anya's goals are the ones we're invested in.

The center of this story isn't the superspy trying to do his job, or the assassin trying to do hers. It's the little girl who said "FAMILY" and pulled the building-blocks of one close around her with all her tiny strength, and everyone else in this story keeps being moved and changed and redirected by the force of Anya's attachments to her family.

And at the same time she is SO SMALL"

While Twilight may be the protagonist, and Yor the deuteragonist, Anya is definitely the main character in Spy x Family. Not only would there be no "family" without her bringing Twilight and Yor together, but her status as the main character is quite unique among shonen series, or even media in general.

Typically in stories where a little kid (like, below the age of 10) is the main character, either the majority of other major characters are also little kids, or the kid's main purpose is to be a cute comic-relief foil for the adults. But while there are kids Anya's age in SxF, the other important characters in the plot, namely Twilight and Yor, are not. So rather than the typical scenario of the main kid character constantly being surrounded by and working off their fellow kid characters, Anya is more often interacting with her adult parents. And it's not just for cutesy moments and comic relief – the true heart of SxF is about a fake family that could any minute be destroyed, with only little Anya being aware of this grim reality and doing everything she can to keep things together...all without the ability to be truthful with anyone, not with the adults or her fellow kids. While her parents are each secretly fighting for their own vision of world peace, Anya is too…the "world peace" of the family she doesn't want to lose. It really is a one-of-a-kind scenario for a little kid character.

But having such a special main character role doesn't necessitate a well-written character. But in Anya's case, she definitely is. In fact, I think she's the most well-written little kid character I've ever seen.

Too often in media little kids are portrayed as being overly cutesy, overly bratty/whiny, and/or act much older than they should. A key factor in making a little kid character believable is that you can't just make them cute and/or emotionally immature...they have to also be weird. Anyone who's spent time with little kids knows all the weird stuff they say and do because of their less restricted child brains and ignorance about the world. A good example of this is Lilo from Lilo and Stitch (another well-portrayed kid character). The movie does a good job showing all the weird habits Lilo has, like the bizarre origins of her favorite doll, the freaky voodoo stuff she does to the local bullies, and how she totally buys the fact that Stitch is a dog. Likewise, Anya has tons of little endearing weirdnesses, starting with her wanting a spy dad and assassin mom simply because she thinks it's "cool," to the funny lingo she develops like "ooting" (odekeke) and "ohayou-masu" ("happy morning," a.k.a, an adorably incorrect way of saying "good morning"), to thinking it's acceptable to give George a leaf as a parting gift (then wanting it back later), to her comical remarks whenever she thinks Loid and Yor are being "flirty."

Another realistic aspect of Anya's character is the fact that she's not super-smiley and overly cheerful/bubbly like many other main character kids. Not that she doesn't smile and can't be cheerful, but her default expression is a look of uncertainty or wide-eyed cluelessness, which makes sense considering her upbringing (I'm talking about her default expression in canon, not in merch or other marketing as characters tend to always smile in these even if that's not their usual expression – just look at Yuri's merch!) Most of the time when other characters are talking, she looks perplexed, like she isn't sure what's going on but she's really trying to learn/understand.

These expressions make more sense to me than a child who smiles all the time, because she's at an age where she still doesn't understand the right emotions to feel at the right time. A fantastic example of this is when she punches Damian – her face is totally blank! No anger, no fear, no embarrassment...because she still hasn't learned the proper emotions to feel in a situation like this.

All she knew was what Yor told her and that she was bothered by Damian's attitude. In fact, the iconic smug smile that she shows in that scene is the result of her not knowing how to properly react when faced with bullying (cry, get angry, etc).

Similarly, she has a very bored expression when all the kids are upset about George's plight, as if she doesn't really get what all the to-do is about. This also creates good contrast to how the other Eden kids from their rich families were probably forced to grow up fast, and thus act more like 8-10-year olds than the 6-year olds they're supposed to be. Meanwhile Anya, who's supposedly younger than them, stands out with her more childlike mannerisms.

This all makes sense not just because she's still a little kid, but because her view of emotions has been skewed by the fact that she can read people's minds. So she has to not only learn the socially proper way to react to people's actions and words, but also when she should, or should not, react to what's on their mind. I believe this is why she has such a wide variety of expressions compared to the other characters – her mind reading has forced her to experience way more emotions at such an impressionable age, though not always with enough context and guidance to identify when they're socially acceptable to express.

There are way too many examples of Anya's incredible range of expressions, so I'll just have to pick a few!

Put all this together – her childlike reactions to situations, but with a twist because she can read minds, plus her endless array of comical faces, and you have one of the funniest characters I've ever seen.

Because Anya has such a wide variety of expressions, and her default expression is that of uncertainty, there's a lot more meaning when she does smile. The shining smile she has when Loid praises her for getting a stella, when she plays with Bond for the first time, and when she meets up with Becky after their shopping trip, have a lot more significance because that's not an emotion she expresses all the time. Since happy/cheerful isn't her default mood, the emotional impact of scenes where she does smile is all the more stronger.

Likewise, considering her age, Anya isn't much of a crier either. Having a kid character burst into tears and throw temper tantrums is common, but the amount of notable times Anya has exhibited this behavior is relatively few. She did have a tantrum early on when Loid stopped her from going into his room and when she demanded that Bond be her dog…but those are the only notable cases in my opinion. She has shed tears here and there, but again, not a significant number of times. Similar to the scenes where she smiles, when she does cry (in a non-comical way), like when she's reminded about her mother at the Eden interview or when she's finally reunited with Yor after the bus hijacking, it has a lot more meaning.

Another common trait for little kid characters is that they're usually a representation of total purity and innocence. While Anya doesn't have the same dark ulterior motives and immoral occupations that the adults have, she's not shown to be a complete angel either. Even though good intentions are what drive her, she can be a manipulator, mischievous, and even cocky at times, like when she insists on being called' "Starlight Anya" after getting her first stella, when she was being overly competitive with Damian after the bus hijacking, when she was joking around on the bus after finding out the bombs were fake, and when she almost attacked Bond after he chewed up Penguinman. But all of these examples only serve to make her a more fleshed out character as opposed to just being the cutesy, happy series mascot all time.

Obviously because of her mind reading powers, she manipulates the adults around her all the time, but again, there's never any malice involved…it's clearly the result of a little kid doing everything in her power to keep the happy family she's created. And due to her mind reading ability, she's learned to be much more proactive than reactive – she knows what people are going to do before they do it, and what their intentions are without them saying it. This has allowed her to become resourceful way beyond her years, which has led to her saving the lives of both Twilight and Yor on more than one occasion.

One emotion Anya does have an abundance of is empathy. Typically children don't start to develop empathy – the ability to understand and relate to the intentions and feelings of others – until a bit past Anya's age. But because of Anya's ability to read minds, it makes sense that this part of her development would take priority over something like proper speech and school smarts. Her empathy extends to all the adults around her, her fellow kids, and even animals. While a lot of her empathetic actions stem from her need to help keep Twilight's and Yor's identities secret and thus maintain the peace of the Forger family, there are many examples where this isn't the case and she's simply acting out of nothing but concern for others: comforting the Eden cow because she understood it was scared, worrying about the well being of the Project Apple dogs, leaping into action when she heard someone drowning, and comforting Damian when she knew he was scared during the bus hijacking.

Even when identity reveals aren't at stake, she still comforts Twilight and Yor when they need it, like when she thought Twilight had a nightmare after his backstory reveal, and when she knew Yor was concerned about Loid's relationship with Fiona.

The bus hijacking was a prime example of Anya being empathetic, but not to an unrealistic degree. She empathized with Billy enough to diffuse the situation, but not on a deeper level because, again, she's a little kid. She understood he was upset, but she didn't have outpouring sympathy or deep, introspective thoughts about his situation – that's something an adult would do, not a little kid who's still learning what emotions to feel at what times. What she eventually does is something that makes perfect sense both for her personality and age. With some great resourcefulness on her part, she was able to figure out what she had to say to manipulate Billy the right way, but at the same time she was playing it by ear and basically clueless as to the depth of the matter, yet mustered up all the courage she could…typical Anya.

There are a lot more examples like this of Anya's sense of empathy, too many to list. But the bottom line is, although Anya does use her powers to manipulate people to benefit her own situation and those she cares about (who can blame her?) it's clear that even at such a young age, she's a genuinely good girl who wants to help others and do good in the world, even if she's too young to realize it yet. Not unlike her parents, really. I think we'll be searching a long time before we find another 1st-grade aged character as awesome as Anya.

[sapphire-weapon]

When Capcom sat down to write RE4make and Separate Ways, they had to have a moment of reckoning when it came to Ada's character:

Do they continue to write out her romance with Leon, or

Do they commit to her role as an ambiguous third party agent keeping her fingers in all of the pies?

They chose the latter. They chose the latter because it was more important, narratively. And they couldn't have both, because having both doesn't make any fucking sense and never has made any fucking sense.

Ada is a selfish character, at her core. To have her constantly be soft for Leon undermines that selfishness and makes her other actions not make any sense; if she cared that much about him, why would she continuously serve the bad guys that make his life a living hell? And the reverse is also true. Why would she care so much about Leon if all he does is get in her way and act as a distraction for her?

So anyone who complains that RE4make's Separate Ways didn't show Ada caring enough about Leon -- that was the point. They solidified her identity as a character by doing that.

The writers of the Remake series made a conscious decision to make Leon and Ada's interactions/relationship in RE2make serve an actual function/purpose for their characters instead of "uwu they're in love."

For Leon -- Ada taught him that the people opposed to him aren't always bad guys. She taught him the true lesson of "the road to Hell is paved with good intentions." He learned to trust that little voice in the back of his head that tells him "something's not right here." She also taught him that there's a way to do the right thing without following the rules -- and, sometimes, by breaking them entirely.

For Ada -- Leon taught her that being independent doesn't mean self-isolating -- because just looking out for herself and no one else actually resulted in her just keeping her head down and not asking questions, which screwed her over big time in the end. Leon didn't teach her love or compassion or empathy; he showed her that she was actually being just as naive as he was, just on the other side of the fight.

Basically, they both taught each other: QUESTION EVERYTHING. Because that was the one thing that neither of them did in RE2make until it was way, way too late.

And so, in RE4make/Separate Ways, Ada spends far less time and emotional energy worrying about Leon because she's actually taking the lesson he taught her to heart and she's questioning the people and circumstances around her in order to protect herself. That was the point of her early voiceover about how Raccoon City changed her perspective and made her start asking where her efforts were going and why she was doing what she was sent to do.

She doesn't ask questions for moral reasons. She asks them for selfish ones. Because Ada is an inherently selfish character.

On the boat, Leon asks Ada: "Are you just trying to use me again?" and Separate Ways answers and repeats over and over and over again: YES. The only reason she helps Leon in the village and at Mendez's house is so that he can continue being useful for her. Because Leon didn't teach her to care about people; Leon only taught her how to better take care of herself -- the same way she did for him.

This is a really damning exchange of words:

So, yes -- Ada is using Leon in RE4make. Yes, she only helps him because it benefits her. No, she genuinely doesn't care whether he lives or dies. Yes, she meant it when she told Leon to leave Ashley for dead, and yes, her sole reason for doing it was to get Ashley out of the way because Ada found Leon's new demeanor hot and she wanted to fuck him. No, she had no intention of taking Ashley with them on the chopper at the end -- because yes, her invitation to Leon was a bookend to her earlier offer for Leon to leave Ashley and go fuck her (Ada) instead.

And that's why Leon tells her to go fuck herself and shakes his head in utter disbelief when she asks if he's coming with her.

Because Ada is a selfish character.

I don't say this to hate on the character or even express dislike for her. This doesn't make her a bad character -- in fact, the opposite is true. It makes her consistent, which makes her a better written character overall from what/who she was in OG.

It also doesn't make her evil or a bad guy. Ada Wong is the most Chaotic Neutral character in the entire RE series -- even moreso than Billy Coen or Jake Muller ever were. She's in it for herself, and that particular approach is neither inherently morally good nor evil.

But Aeon is dead canonically in the Remake-verse. It was sacrificed in the name of bringing consistency and logic to both characters.

And that was the true point of the boat scene.

Neither of them have changed who they are at their most fundamental level. Leon is still the selfless hero, and Ada is still the selfish spy. Their relationship in RE2make served as a strengthening of those core traits -- not an erosion of them. Leon can better protect and save Ashley because of the lessons that Ada taught him, and Ada can successfully outmaneuver Wesker because of the lessons that Leon taught her.

But that doesn't change who she is. It doesn't change who either of them are. In fact, it only served to create a more authentic version of them both. Leon is more zealous in his heroism, and Ada is more committed to her own self-preservation and naked about her selfish intentions.

The only people in RE4make who changed who they were were Luis and Krauser. Luis for the better, and Krauser for the worse. And they both paid for it with their lives.

[jackdaw-kraai]

I've been a Guides fan for years but sometimes I still marvel at what an amazing character your Luke is. A character that is undeniably capable and dangerous, and who has a fair amount of darkness inside of him, who chooses to go about his life being not only kind, but friendly and warm in personality. As a trans guy I sometimes struggle with feeling like my demeanor isn't very masculine because I also like to be friendly and approachable, but having a character that walks that line (though obviously his cultural perceptions of masculinity are wildly different than mine) has really helped me.

Do I ever understand how you feel. Luke, when I’m writing him, has a few hard-and-fast rules, but one of the most important ones is that he is, always, on the side of the common people and the downtrodden. It’s, quite literally, what he was made for, and he takes it extremely seriously. So his commitment, however difficult, however inconvenient, is to be kind. Not necessarily nice, or sweet, or pleasant, but always kind. And yes, sometimes to be kind, he has to be cold and harsh and dangerous, but crucially, it’s only sometimes. The most common, effective, and easy way to be kind is often to be warm, respectful, and as open as one can be. Not a doormat, not a yes-man, not a fool, but simply kind and with a willingness to extend the grace of trust to almost anyone he meets. He trusts other people want to be good, to be kind, to have a pleasant interaction with him, and to not be needlessly cruel. He trusts other people on a vital and visceral level, not with his most inner secrets, not with his life, but with faith in their intent and desire to be good. And in acting on it, more often than not, it becomes a self-fulfilling prophecy. Another important one is that Luke, always, knows who he is and what he is. If he ever doesn’t, expect it to be a major crisis and not easily swept aside. Luke knows who he is, knows what he is, and in knowing, denies others the power to define him. He doesn’t care if he’s seen as more or less of a man, if he’s seen with respect and deference or scorn and hostility. Heck, he doesn’t even care if he is a “man” at all! He’s a Raqkesh, a Runner, a being made and not born, a purpose made manifest! What does he care if he obliges to some kind of arbitrary idea of gender? It’s not even his own! The Children have such a vastly different concept of gender to us that “manliness” isn’t even something that Luke fully understands. He goes by “he” because that’s what he was taught was his pronoun in Basic, and by now, he’s attached to it and regards it as his own, but it doesn’t mean the same thing to him as it would to you or I. Gender, to him, is what you do. You are the gender you are because of the role you decide to play in society, the functions you choose, and the affinities you have. You are a “woman” if you decide to dedicate to the ways of water and foraging, and a “man” if you dedicate to the ways of the sky and the hunt. Your pronouns aren’t who you are, but what your relationship is to the person you’re currently speaking to. You are “ach/ache” when you are speaking to someone innately more powerful to you, a spirit or other powerful individual. You are “kai/kair” when addressing your Home, your Kamir, and being addressed by them. You are “zar/zara” when being addressed by entities far more powerful than you. Your parents, guardians, or mentors are “sha/shara.” Who you are, who you are said to be, changes with the situation, and pronouns are as static as a person themselves.

Luke isn’t a man as we understand, he is, in his own mind, a myriad of genders and roles and purposes that make up him in his entirety. What does he care if others think him less of a man? He doesn’t even put value in that idea to begin with, or for that matter understand it. It’s not his purpose to be a man, not as far as he’s concerned. It’s not who he is, and no matter what other people may insist, he knows himself true. He knows who he is, what he is, what he’s here for. He knows, down to his bones, what his purpose is in the world. Nothing can shake that from him, or deny him that knowledge. So he acts, knowing who he is, and thus has an identity that cannot be taken from him or denied. And if that isn’t manly, well... what is?

[cursedtransby]

Don and her Identities

So there's a lot of theories and whatnot rolling around about what the reveal means, what it means for Don's character, and what it can mean for the future. But I'd like to take a lens back and see how it changes something fundamental to Don, because every sinner has identities, but none of them are as...drastically affected by what their Canto reveals as Don.

Spoilers under Cut

From here on out I'm referring to "Don Quixote?" as Bloodon for short. Also read @thelordofhats post about Murder on the W Express as I think they have a lot of good thoughts about Bloodon and the event in general.

Bloodon is present in the mirror worlds. We know that from Don having Rocinante in every one of them, including more armored groups like Hammer Und Nagel and T Corp. Wouldn't make sense for her to keep them otherwise. However Bloodon doesn't seem to change a lot about how we view the identities, but I'd like to posit that she makes a world of a difference in understanding Don's position in the world and why she is where she is in mirror worlds. Because there's something VERY specific that seems to clash ALL OTHER MIRROR WORLD DONS from LIMBUS DON. Rule following. In almost every other identity, Don is seen following the rules of some wing or finger or even the head itself as a general fixer. The most notable thing to point to is she isn't a part of the group most against rules, the TLA, unlike fellow problem children Ishy and Heath. We never see a "Kurokumo Hong Lu" situation where she's called out for bending or breaking the rules of those she works under. This is all despite her constantly doing it under Limbus Company (at least until Vergilius tells her to back off) Why is this? I believe it has to do with Bloodon's priorities when it comes to the Don we know and love.

First and foremost, keep her alive.

We've yet to see a sinner's backstory specifically call out Dante like this. Almost as if Dante was part of the contract for Don Quixote. It wouldn't make sense for her to say they were promised. Why Dante was part of the contract is important is up to interpretation. It's possible there's something more, that Bloodon is more aware of the stars like Demian, she wants Don to completely override her, or she is simply scared of death. Either way, she needs to live for long enough to see some change for herself and Don. Thus, she needs both of them alive, hence her primary goal being that.

Secondly, she wants happiness. Lust isn't her base ego's affinity for now reason. It's likely a core part of both Don and Bloodon. If Bloodon is miserable, then it's likely she wants to help herself out of that pit somehow. Likely by making her other self happy in ANY way.

We can see this manifest throughout the mirror worlds and how Bloodon is trying across them. In each world, Don has something she can say she is happy about. Let's go over a few key ones and the way the two rules interact.

W Don! Everyone's favorite depressed and OP don. Bloodon likely setup Don's role in W Corp because of her love of the Warp Trains and the company itself. It seems like a slam dunk. Secure meal everyday, safety being a employee of a wing, and Don is happy! But when Don learns the truth, she becomes far less happy about her position. However, leaving her job is extraordinarily dangerous, if not lethal outright. To leave her Wing means death for a mere fraction of a chance of finding more happiness. Aside from her second uptie chat, she is also quite happy in all of her voicelines, and we don't really get to see how she evolves and adapts to the reality of her otherwise comfy job. It's a bit rough, but Bloodon has to keep her alive, and being a W employee is a pretty safe gig (up until something goes wrong :)

The above mentality also applies well with T Corp and Shi. While Shi is a bit less safe, she's still a director of a numbered Fixer association. She's still fairly comfy, and most of her angst comes from her subordinates suffering and having to take the lives of random individuals (something she also suffers with in T Corp).

As for ones where everything aligns, we have plenty of examples of that. Middle, Lantern, and N Corp Don all are examples of Don being perfectly happy regardless of the morality or duties her job entails, as long as it's presented to her fantasies well. However, all of them still have her following some kind of rules, whether it be the Middle's or the Corps. It's very possible a Don without a leash in the form of Bloodon informing things could very easily fuck it up, and even if Don gets her dream job as a Cing director, she still can't save everyone she wants.

All of these identities illustrate the point that Don can't have it all. Risking her life for civilians means putting her neck on the line, and it's something Bloodon in the mirror worlds isn't setting up for her.

However, it's something Limbus Company can help her with. She can achieve her dreams of being a genuine hero in Limbus Company, because Limbus Company has solved many a problem for many a person. They've saved countless lives from the Time Ripper, helped resolve the distortion that is Papa Bongy, and slain the Pallid Whale. She can be the hero she dreams of...as long as she has enough power.

Consistently, Don has been shown that she can't make it in time or have enough power to save those she wants. We see it most prominently in her desire to save Pilot's crew, where the very laws of the ocean dictate that she did not make it in time. We also see it far more clearly the 'lacking' power in the Warp express.

She so badly WANTS to fix things. She's willing to sacrifice a thousand times over to make sure villains die and the innocent survive. But in this instance, and many others, she can't.

But someone else did. Bloodon was able to salvage the situation Don couldn't. And that's what I think Canto VII will be about.

The fact that, in order for Don to be consistently happy, she needs help to fight the fights she doesn't have a hope of winning. The fact that, in order for Don to build her future, Bloodon has to face the fears that her powers are a part of them both. Afterall, who ate that Warp employee hiding in the secret compartment?

[piratecaptainscaptainpirates]

If there was one thing I could tell every white fan who writes meta and fic about OFMD, it's that there's no way to do a "race-blind" reading of a story.

The simple fact of the matter is that our biases about race impact how we interact with every single piece of media we'll ever consume, and that's true for every person on the planet. We're all of us informed by the racism of the societies we grow up in, and we always all need to do the (often uncomfortable) work of examining why we think the way we do about characters of color. This isn't just important for making fandom feel like a safe space for fans of color, these are important life skills to build to help you become a better ally.

An important thing to remember is that you don't have to explicitly mention Ed's race to unintentionally reinforce racist readings of the text. Racist takes very often don't look like "Ed is obviously super violent and angry because he's brown," they more often look like "Ed is inherently violent" while ignoring how white characters like Stede engage in violence with much more enthusiasm. Trying to avoid thinking or talking about Ed's race doesn't mean you're less likely to accidentally reinforce racist takes - it in fact means you're more likely to do that because you're not taking the time to examine your biases!

Ed's race became an important part of the story the moment a Jewish-Māori man was cast in the role. While for a character like Stede the idea of being seen as threatening might even feel empowering (he's a gnc white gay man who has often be made to feel weak and useless), for Ed you will miss part of why the Blackbeard caricature feels so dehumanizing to him if you ignore the racial component. The way Ed is depicted in Blackbeard posters, the way he's exoticized at the party boat, his interactions with other characters - it's impossible to understand Ed's character without considering how the color of his skin impacts how he moves through the world. Moments like Izzy essentially buying Ed from the crown become much more troubling when you take the time to examine the text with Ed's race in mind, and you might even end up with reductive ideas about Ed's gender expression and relationship to masculinity if you fail to consider that things such as longer hair are ways that some Māori men like Ed express their masculinity. You can ignore that Ed's a man of color, sure, but then you're missing a lot.

At the end of the day, it's just important to take the time to sit with yourself and think about how you understand characters of color in the media you enage with. It's good and healthy, I think, to ask ourselves uncomfortable questions. Do you find yourself assigning Ed's violent actions more weight than those of characters like Stede or Izzy? Is it easier to ignore Ed's tears to focus on what he's done wrong? A common example is the moment when Ed orders Fang to skin the racist French captain with a snail fork - do you find yourself thinking that Ed overreacted?

[writingwithfolklore]

What advice would you have with a story that doesn’t necessarily have one set main character, but rather a group of important characters that influence the world around them? Is one set main character necessary?

Hi, thank you for the question!

Managing Multiple Main Characters

One main character is definitely not necessary. However, it depends how you define a main character. Are main characters just characters that have their own POV and arc? Or are they the point of the story telling? How significant does their impact on the world need to be?

Typically, even stories with multiple main characters (characters with POV and their own major arc), still has one main arc to follow that the others work with.

To make this point clearer, imagine a story with two main characters--one is a ballerina trying to land the main role of the show. The other is an astrophysicist discovering new things about our universe. At the end of the story, the ballerina lands the role, and the astrophysicist lands their promotion. One might wonder why these stories couldn't have each been their own novel, right?

So imagine instead, a ballerina is trying to land their dream role, and an astrophysicist is discovering new things about the universe. The theme for the upcoming ballet is space, so the ballerina goes to the astrophysicist for inspiration--leading to a blending of discovery, dance and science that leads the ballerina to landing the role and the physicist to opening their perspective on the universe.

Two main characters, but one 'story' that draws them together.

This is the most important part about writing multiple MCs. Readers typically expect--at some point--for the arcs of the MCs to intersect and work together. That's to say, if you have two characters who are both going through their own individual arcs completely separate from each other (such as the ballerina and physicist), at some point, they will have to interact or impact each other, and typically finish the story together, strengthened by their connection.

In cases of more than two main characters, it gets a bit more difficult. The more arcs and MCs your story has, the longer and more complicated it becomes.

To help with this, you can do a few things:

1. Have several arcs work together

Just like with two MCs, you can combine several of your MCs to going through arcs together. They may have the same objective (maybe for different reasons/motivations/goals, but the same 'end-game'), or otherwise they have to help each other or bounce off each other to get to their goal.

Romantic subplots are a really easy example of this. Two characters have an arc that both contribute to the same thing: the relationship.

2. Make some arcs 'weigh' more than others

The project I'm working on right now has five major characters who all have arcs and POV chapters. Character A and B are the protagonists, but character A is the 'more main' character out of the two of them. Then characters C, D, and E still have arcs, but theirs are much smaller than A and B. They still take the entirety of the story to fulfill their arc, but require less chapters and scenes to do it.

Thus, the breakdown in amount of time spent with characters is easy:

A - 40%, B - 30%, C - 15%, D - 10%, E - 5%

It's a bit less common to find a story with a lot of main characters that are all equal in their main character-ness. They may all impact the world and the story, but they aren't necessarily equal in doing so.

3. If all your characters are equal, they probably all have the same objective

Now, characters all having the same objective doesn't mean they're all going through the same arc. Objective may just be 'save the world from evil', but character A wants to save it for their family, character B wants to save it to have some control over it, character C wants to save it to promote their podcast, etc. etc. Their goals (or what they want out of achieving the objective) will be different, but they can band together to accomplish the same objective.

This keeps your astrophysicist and your ballerina together. Your characters' stories have meaning to each other, and a point to being put in the same novel.

Good luck!

[writers-potion]

Any tips on how to make it clear a character is trans in a fantasy setting without a huge moment about how trans people exist and also without relying on transphobic tropes? I want it to feel natural, but I feel like I'm not being clear about it.

Introducing Trans Characters in a Fantasy Setting

Hi! Thank you for the question 🙂

In a fantasy setting, I can imagine two ways trans people exist in it: (1) Trans people (or trans creatures, whatever) are a natural part of the world that no one is bothered about (2) Trans people are unheard of, perhaps even illegal, and everyone would be horrified/shocked when your character is introduced. 

Fantasy World - Trans Friendly

In a fantasy world that sees trans people as nothing special, it would be something like:

This fantasy world has enough trans people that is rather quite common

Trans people are a rarity, but they are considered holy/blessed/special in some way, so they actually kind get more status/respect

Trans people are a necessity (for some reason), so even though there are haters, they need to shut up because trans people play an important role in their society. 

Here is what you can do:

Have your character meet another character who is openly trans and is not afraid to talk about it. Other side characters would also just treat the trans character as a part of their daily life, nothing more nothing less. 

When your character “enters” the fantasy world, provide a description of how trans people are a part of it. This can be a trans person walking along the street or being aired on TV, etc. 

If your character is new to this fantasy world and they have someone explaining/introducing it to them, just drop hints when you’re doing the rest of worldbuilding. 

If your trans character has someone close who knows their backstory, try dropping hints in their conversation, letting the readers catch on. 

Fantasy World - Trans Unfriendly 

Generally, a society that hasn’t encountered trans people will be transphobic towards it, since those who are marked as “different” are often seen as a threat. Rather than depicting straightforward hate towards trans character, you can try to direct it differently:

Have characters who are genuinely curious. Think back to the time when you didn’t know what the concept of trans was - these characters just haven’t seen someone who’s trans and due to that, will be insensitive but not rude/hateful. 

Other characters can have the “We don’t really care and you can be whatever you want but you’re still a weirdo” kind of attitude. This can work better if the gender roles in your fantasy setting aren’t divisive/stringent and the other characters don’t care if a trans person wants to be in roles not generally assigned for their sex at birth - but it would still be something that draws the eye. 

You can also have a world where being trans is an established social taboo, but the present day people don't vibe with the ban that's been in place for so long. You can have the immediate side characters wanting to be supportive despite the general societal discomfort with trans people. (The "hate" here would be more vague/ kinda in the background)

When it comes to introducing queer characters, I suggest you treat them as you would any other character. When you introduce them, you would provide a description of their outer appearance and personality - the fact that they’re trans might or might not be clear from how they look or act. As you layer more characterization & the trans character starts interacting more with other characters, the fact that they’re trans can be a piece of backstory.

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[utilitycaster]

There were a few incredible decisions regarding mechanics from Spenser this past episode that I wanted to highlight.

The first is obviously the choice to have Sean's decision take place behind the curtain. We've seen this used a few times on Critical Role by Matt; but it's been in front of the audience, away from the other players (most notably Vax's choice with the Raven Queen, but this has also been used for some of the Mighty Nein's interactions early on, and for Yu's conversation with Zathuda). It's apt for a horror series; the tension is derived not just from the other players not knowing Sean's position, but also from the audience being unaware.

The second is the decision to have Sean's roll to navigate the underwater tunnel be hidden from the other players, but not the audience. It's important that the other players make their decisions without knowing if Sean was successful, but it's fine if the audience knows as it's not part of the larger mystery.

I don't necessarily think it's a strength or weakness of many TTRPGs that players above the table have information their characters might not have access too; the metagame is still part of the game, and truthfully, the players still knew that Sean had been offered a choice whereas their characters knew nothing of it. Because of the limitations of the medium - you only know what you are told by the GM or by other players, who may not think to narrate every little potential tell - I would even argue that a well-run game allows room for a little metagaming to make up for that significant gap between the truth of the story and what the characters are "supposed" to know. But I also think it is important to allow some surprises and reveals to be genuine, and in a GM-ed (as opposed to GM-less) horror game with complex character relationships that does require concealing some player/GM interactions.

The third was the resolution of the two PVP moments. The first, between Jean and Sean, defines a turning point. It's Jean's realization that Sean is compromised. A success, for each of these characters, represents them surviving so that they can carry out their as of yet unrealized goals in the scene; they are shooting to prevent the other from stopping them from doing so. It's better to keep living having missed than die having hit. And so with the sixes they roll, they miss each other but both have the information they need to make their next decisions.

On the other hand, the second moment, between Sean and Bee, is a desperate last-ditch attempt. Neither of them expect to survive the encounter, and both make this clear in their narration. Sean just needs to make it so Bee's soul can be taken, even at the cost of his own life. Bee, meanwhile, is not trying to save herself, but is simply trying to stop Sean so that Jean can close the rift without his interference. A success is the realization of these goals, even at the cost of their own lives; it's better to die having taken down the other than live with the other having escaped.

I think this is a masterful example of understanding player goals and finding a way for the mechanics to support it, because this is, ultimately, a standard roll for each character involved that simply happens to affect another character instead of something controlled by the GM. A lot of people can get very caught up in rules as written and neglect that often, written rules still allow a certain degree of space for the GM and for the players, and stepping back and understanding the purpose of the scene lets everyone find a satisfactory resolution quickly and tell the story instead of going down rules rabbit holes.