#it gives both of these characters complexity because this is a relationship that should not exist in real life but it lends humanity

[unknown-cold]

Omg that's true!!

I'm so tired of these people saying Vi and Caitlyn's relationship is toxic, I mean literally the same thing she said Jinx and her relationship with Ekko wasn't good either and Jayce and Viktor too.

It is natural for problems and disagreements to occur in relationships, but it is not natural to think that a relationship will be peaceful and good all the time. These things only exist in Disney movies.

But apart from all that. Seriously guys hating on Vi or Caitlyn or both is way over the top. Like let's just imagine JUST IMAGINE, if Vi were male, the narrative surrounding her actions and character would change dramatically. She would likely be hailed as a "brother hero," a model of loyalty and kindness despite impossible circumstances. Her trauma, in prison, losing Vander, failing to save Jinx, and so on, would be sympathized with as a testament to her strength and determination.

Her status as the “bad sister” is undoubtedly tied to gender expectations. Women, especially older sisters, are often burdened with the role of caregiver, and are expected to be endlessly compassionate and self-sacrificing. Vi’s moments of anger, guilt, and mistakes, however, conflict with societal stereotypes of women as the natural “fixers” of emotional and familial conflicts. The fact that Vi is pigeonholed as the “bad sister” while Jinx is often seen as the tragic victim reflects deeper gender biases. Vi’s traumas and emotional wounds are ignored or minimized because she is expected to be the “strong one,” while Jinx is given sympathy and a more nuanced lens because her messiness and vulnerability fit into certain stereotypes of women who are broken or in need of saving.

It’s a frustrating double standard, and it underscores just how progressive Arcane is by refusing to fully give into those tropes. Vi’s character still shines as someone strong, flawed, and deeply human, but the criticisms she faces highlight how society treats female characters with such biases.

The misogyny is REAL and don’t think for a second that other women aren’t fully participating in that also. The amount of shit Vi gets for temporarily joining the Enforcers with Caitlyn to stop Jinx is insane. A male Vi would have been seen as a TORTURED HERO for joining up with the EVIL FORCES that took his parents away all so he could do HERO THINGS. But Vi does it? “Wah wah she joined the COPS she’s A TRAITOR THE REAL VI WOULD NEVER”. Like. Watch the show, my friends, and you will see she did what she thought was best and it was a very complex and very emotional decision for her; she hated every second of that uniform. But no, people shit on Vi and then complain like any of them could write a better show. Ugh.

And nobody would have hated a male Vi for having his love scene. Nobody. In fact, it would have been EXPECTED, but because Vi’s a woman, and a lesbian expressing her big gay love for her gorgeous gay lover, some people refuse to see her humanity and her growth as a person in that moment. I'm so tired

And the argument that we hate them because they did bad things is not true, I have seen people hate Caitlyn just because she is lesbian and one of them said if she was a straight woman I would have accepted her character on the show. Seriously this is someone who takes his criticism seriously, he forgot the story and everything in the show and focused on whether the characters are gay or straight or worse when I saw a comment from someone saying why are the main characters on the show female characters? Like is this an idiot or is he drug or what exactly? I think we should also ask, why do men always take the lead roles and when they are evil they are better, and if they are good they are also better, but if a woman comes along who is evil or wants to be evil or does just one mistake everyone hates her and she is the worst person in the world, but men are the only ones who deserve to play the role of evil and do bad things and we will sympathize with them and love them. THIS IS CRAZY!!

To understand what I'm saying more, compare Viktor's character and Caitlyn's character and you will see that Caitlyn was the character who was criticized the most even though she didn't kill anyone innocent and in the end she tried to fix things, while Viktor tried to kill all the people of Piltover and Zaun and didn't care about anyone, even his friend's pleas, he didn't care about them and Viktor thought that this was the solution but to end the conflicts between the two cities. But is there anyone who criticizes this, is there anyone who says that this is a bad act, of course not, yes you will see some people justifying it, as they did with Silco, the person who killed an entire family for control and drowned all of Zaun with shimmer and made the children work in dangerous factories, and there is not a single criticism, and people defend him even after Jinx's condition worsened, no they say that he is better than Caitlyn, my god like what the fuck!?

Then they tell you we don't hate women we don't hate gays or lesbians, just shut the fuck up, everything is clear, Arcane revealed to us that there are still people who are fanatic and traditional to the extreme who still want to see a man as the hero of the story and that all people and women should respect him even if he is evil and cruel he is always better than this bullshit, Arcane proved to us that it is possible for both sexes to appear in an excellent, strong and realistic way without insulting or belittling the other because these things are not useful and will not help in telling the story in any way.

Quick note I don't hate Jinx or Viktor and many of you who follow me know that I love Viktor very much but I will not deny the bad things he did and I am also really tired of the hypocrisy of some people and their constant criticism of other characters and characters. Just bc they say like these characters

Like I don't like Silco but have you ever seen me post every day criticizing Silco and Silco fans all the time or go to Silco fans and tell them if you like Silco then you support child labor and the drug trade and blah blah. Like they do with Caitlyn fans when one of them says he likes Caitlyn they accuse him of supporting collective punishment and corrupt governments and police brutality just because he likes a fictional character. I've never seen such stupidity and backwardness and bullshit in my life, just because I like a fictional character you think I will act like her in real life?? These people need to grow up seriously or find a job

[hbpseverus]

for all that us snape fans say how we love his character because he is flawed and complex, i find it disappointing how many of us can't extend that line of thinking towards lily, while pretending that young severus was entirely innocent. i've noticed this a lot recently and it's been bothering me quite a bit so i've felt the need to defend lily, or to be exact, analyse the downfall of their relationship without basically giving her all the blame and instead looking at both characters and especially lily more critically.

so. let's talk about the conversation between her and severus after the werewolf prank. some snape fans harshly criticise her in this scene because she insists that james saved severus and doesn't acknowledge how serious this prank was, while insisting that at least the marauders don't use dark magic.

and i agree that she should have been more on severus' side in this case. after all he could have died or gotten seriously injured, turned into a werewolf etc and she downplays the severity of the situation and generally doesn't acknowledge how the marauders bullied severus very much. so yes, she could have been a better friend here.

but at the same time, from her perspective, she was already noticing that severus was spending more time with his housemates, all of them aspiring death eaters, how he had always looked up to lucius and was slowly heading down that same path. how he didn't truly disapprove of his housemates disgusting actions towards muggleborns - her own kind. even though it's not entirely logical, since we see through the marauders that light magic can be used to do harm aswell, this also explains her dislike of dark arts, which these (aspiring) death eaters all were fond of and using to do awful things to her friends (and hogwarts also pretty much teaches that dark magic is pure evil). by this point she had most likely also experienced discrimination at hogwarts for being muggleborn. she knew the situation in the wizarding world wasn't favourable for her, and now her best friend was starting to agree with those people?

the next notable event was of course snapes worst memory (sigh, here i go talking about it for the millionth time). and i really don't like how some people on our side of the fandom talk about lily in this scene (of course, this is not all of us).

first of all we saw that she initially smiled upon seeing severus be bullied, and yes, this was honestly quite disgusting. we know that severus saw this and was rightfull hurt, and this very well could be the reason why he snapped at her. but that is her only 'crime' in this scene. because she then does quickly turn against james and this entire crowd and defends severus. only for james to insult and threaten her, and severus to call her a 'filthy little mudblood'.

now, people say she should have done more to defend severus, that her attempt was quite half-hearted. i don't know. maybe she could have done more, but she did tell the marauders to stop, you can't say she didn't try. some say she should have hexed james herself or bring up her prefect role (although i'm not sure it's confirmed she was one at this time). but say she was a prefect, her job would be to stop fighting, which she tried to do, not to get involved in fights herself. and you can tell that james is entirely dismissive of her and clearly won't let her stop him no matter what, even threatening her in the process. lily also genuinely seems to still hate him at this point in time, she is described to have been disgusted with him to the point where even harry questions his parents marriage. so i don't believe it's fair to say she was just 'flirting' with james here.

furthermore, people believe she should have forgiven severus for being called a mudblood. i used to agree that it wasn't that serious, but i feel differently now. because it wasn't just a word, it wasn't a one time mistake or slip up or even the first time she noticed that he was slowly turning into a future death eater. that's why i brought up their conversation after the prank. lily knows that severus' descend into the death eaters arms had been going on for months, years even. being called - not even just mudblood, but hearing the words "i don't need help from a filthy little mudblood like her" out of the mouth of her former best friend was just the final nail in the coffin. it was her confirmation that severus was finally too far down that road, and she, as a muggleborn, could no longer justify surrounding herself with him. so she abandons him at the scene, and i can't blame her one bit.

of course this post is not meant to be severus bashing in any way, he is and always will be my favorite character, but i don't enjoy pretending he was completely innocent, even his younger self. this is also not to excuse the marauders, as their bullying never had anything to do with severus possibly being a death eater and was really just for fun and because they could, and because he was an easy victim. but i truly believe that lily deserves some grace and also to be analysed as a complex character like severus, rather than painting her as one dimensional, either fully good or fully bad.

severus becoming a death eater is the tragic result of his background and surroundings, and when we analyse him we factor all of this in. lily was wealthier, had a better family, was pretty, smart and popular and had a good support system in and out of hogwarts. she couldn't understand why severus made the choices he did. maybe as an adult she would have looked back and understood it all better. but as it was, she was just a teenage girl watching her best friend turn against people like her and not knowing what to do about that. and what's also important to me to point out is that it was not her job to try and stop this, to try and fix him or whatever. it was first and foremost the adults in severus' life who failed him over and over again, not lily.

finally a lot of us can't understand how lily ended up marrying her former friends abuser and use this as an argument against her, but i honestly don't want to go too deep into this topic. i personally strongly dislike this relationship, because james treated lily herself like shit too, aswell as other people. we have to believe that he truly did change, even if there is not much to prove this. even if he did, i personally wouldn't have been able to forgive him. but i don't believe that marrying james makes lily a bad person by extension or anything. ultimately, if she was able to find happiness, i'm happy for her.

[rabbitcrimes]

When people are like Wei Wuxian was NOT suicidal it’s like. Ok sure. He just believed that his debt to the Jiangs should be paid with everything up to and including his life. And also that the moral and obvious thing to do in any situation is to put himself between anyone and harm's way. This is because he thinks he’s unkillable but he makes himself unkillable for the same reason he’ll die for a good enough reason: because it’s a way to have worth!

And then famously once everything goes to shit he does beg Lan Wangji to let him die as part of the moment where he is either destroyed by his own evil magic or lets his own evil magic tear him apart, a distinction I don't personally think matters very much at that point. Less explicitly textually, his mentally ill ass behavior after he gives up his core says to me that he wishes that he'd died honorably for Jiang Cheng when he had the chance and doesn't know what to do with himself since he hasn't.

Again I’m aware that he’s operating under a pretty specific set of culturally informed norms as a cultivator and member of a sect but like. TO ME. Everything about how Wei Wuxian conducts himself indicates that he has a box in his mind at all times that says 'in case of emergency break glass' and what’s inside the box is his own death. All the sound of mind actions of a man who has a normal and not suicidal relationship to death.

[musical-chick-13]

Fandom understand the narrative significance of Jaime/Cersei challenge (impossible).

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[straylightdream]

three simple words

𝐟𝐞𝐚𝐭: jeon wonwoo x f.reader

You were his first serious girlfriend and his first for many things, and he was the first boy you had ever actually loved. For some reason saying those three simple words terrified you.

𝐠𝐞𝐧𝐫𝐞: non-idol au, established relationship

𝐰𝐚𝐫𝐧𝐢𝐧𝐠𝐬: lots of tension fluff and, smut warning below.

𝐰𝐨𝐫𝐝 𝐜𝐨𝐮𝐧𝐭: 1.3k

𝐚𝐧: I’m forever down bad for wonwoo

here is my SVT taglist if you’re interested being add please fill out this form.

𝐟𝐞𝐞𝐝𝐛𝐚𝐜𝐤 𝐚𝐧𝐝 𝐫𝐞𝐛𝐥𝐨𝐠 𝐰𝐢𝐭𝐡 𝐭𝐚𝐠𝐬 𝐚𝐫𝐞 𝐠𝐫𝐞𝐚𝐭𝐥𝐲 𝐚𝐩𝐩𝐫𝐞𝐜𝐢𝐚𝐭𝐞 𝐰𝐡𝐞𝐧 𝐲𝐨𝐮 𝐫𝐞𝐚𝐝 𝐨𝐧𝐞 𝐨𝐟 𝐦𝐲 𝐟𝐢𝐜𝐬.

𝐰𝐚𝐫𝐧𝐢𝐧𝐠𝐬: unprotected sex (reader is on birth control), very vanilla sex, they’re both in love, wonwoo is moody and protective, nicknames: baby (hers)

It had been a long night to say the least. Things at bar were kinda messy and you hadn’t intended to call Wonwoo to come rescue you. Your original plan was to call Joshua to save yourself from Wonwoo’s “I told you so,” but you caved and call the person you truly wanted to rescue you. You also knew that Wonwoo would be mad if you called your friend before him. It turns out Wonwoo was correct about your coworker Sam wanting to sleep with you. It took very little alcohol in his system to get brave enough to ask you to hookup.

You were in the middle of dancing with Yuri when Sam came up behind you and started grinding on you. You pulled away from and tried to reject him nicely. But he only left you alone after you showed him a photo of you and Wonwoo who you told him was your boyfriend.

The moment you got away from him you rushed to the bathroom and called Wonwoo begging to not only come pick you up but play the role of scary boyfriend. You knew the only way Sam would truly leave you alone was if your boyfriend scared him off.

It took Wonwoo fifteen minutes to get to the club you were hiding in the bathroom. Stepping out into the hallway you found him leaning against the wall looking extremely annoyed.

“Thank you,” your voice is timid. You can't help but feel embarrassed that you had to call him to rescue you. You should have just listened to Wonwoo when he asked you not to go out with friends if Sam was invited.

Taking your hand in his, he makes his way across the bar. He drags you up to the one person you don’t want to see. You stand behind him as he glared at your coworker.

“Hello Sam, this is the only warning I’m giving you. Don’t touch and don’t even think about trying to mess with my girlfriend.”

“I won’t even talk to her,” Sam says, stumbling over his words.

Once again your hand is in Wonwoo as he leads you out of the club. Walking up to his car he parked on the street he helped you in before starting the car. He was completely silent as he starts to drive you back to his house.

“Wonwoo I would never cheat on you,” you feel the need to let him know you’re loyal to him.

“You’ve never given me a reason not to trust you,” he finally speaks up.

“Please don’t be mad at me.”

“I’m not mad at you. I just wish you would have listened to me, when I told you I didn’t like the idea of him hanging out with you tonight,” he lets out a heavy sigh. He keeps his eyes focused on the road ahead. “I wasn’t against Sam hanging out with you because I was jealous. I have nothing to be jealous of. I know you love me and would never cheat on me. I was against it because that guy gave me the creeps.”

Leaning your head against the window you sigh realizing you truly have a poor judgment of people's character.

Arriving at Wonwoo apartment complex he takes your hand leading you upstairs.

“I’m going to take a shower why don’t you get dressed for bed.”

He walks off to the bathroom and you walk over to his dresser to pull out the oversized night shirt you leave here. You strip down to nothing but your thong and the night shirt before walking to the bathroom to brush your teeth. Glancing at the shower you see a very naked Wonwoo washing his hair.

“What are you doing?” He says loudly over the loud water.

“Brushing my teeth,” you attempt to sound innocent as if you weren’t staring at his naked body moments ago.

“Are you going to join me?”

You don’t say anything, you just stare at his naked body as you continue to brush your teeth.

“If you aren’t going to join me, can you be naked in bed when I get out?”

“Okay.” You finish brushing your teeth before walking back into his room.

You strip down completely bare and lay on his bed waiting for him. He walks out of the bathroom with a towel sitting low on his hips.

The sight of him naked almost makes you drool. He pulls off his towel tossing it in the hamper. You immediately notice he’s already hard.

“Thank you for saving me tonight.”

“I’m your boyfriend, it's my job to save you.”

Laying in bed you watched as his curious eyes roamed your naked body. Walking over he laid on the bed next to you and stared into your bright eyes. Your hand rested on his chest as you gently pushed him back. Carefully you moved so your soft body was sitting on his lap looking down at him.

“I’m done talking about what happened at the bar. I just want to fully enjoy my time with you.”

“Okay,” you whisper.

Slowly you dragged your finger across his chest. His bottom lip was captured between his teeth as he continued to watch you. Your finger stopped right where his heart was you and traced a circle as you stared into his dark eyes.

“You own that,” he says softly. You have a feeling this l is his own way of saying he loves you.

His sweet words make your heart race. You have never said those three simple words to each other, even though it was very obvious that you were in love with each other. You were his first serious girlfriend and his first for many things, and he was the first boy you had ever actually loved. For some reason saying those three simple words terrified you.

“I do?” you say resting your hand over his heart.

Slowly he nods. You can tell he’s just as nervous as you are.

“I was hoping to say this with clothes on,” he said with a goofy grin.

You can’t help but let out a soft giggle at his comment. You were both naked and you were sitting on his lap. It wasn’t the most ideal situation to be saying “I love you” for the first time.

“What were you hoping to say?” you ask, attempting to get him to confess his feelings first. You wanted to hear him say those three words.

“You aren’t going to run away if I say them right?” he asked, knowing you all too well.

You shake your head and smile at him.

“I love you,” he says those three sweet words and your heart soars.

Leaning forward you connect your lips to his for a passionate kiss. With your lips ghosting his you say, “I love you too Wonwoo.”

Very little is said from there on. His lips moved against your as his hand moved down to touch the most sensitive part of you. He makes you feel things you weren’t that you had ever experienced before. Sitting on your knees you straddle him, hovering over him you slide down his hardened length. His hands gripped your soft sides as yours rested on his chest. Your eyes stared locked on his as your bodies moved together.

“I love you,” you gasp.

The smile that forms on his face is something you don’t think you’ll ever forget.

It wasn’t long before he pushed over the edge and fell right behind you. Lying on your bed he held you in his arms. Everything between you felt perfect as he held you.

[anneapocalypse]

I cannot help feeling like the tendency to see Inquisition!Leliana in stark contrast to Origins!Leliana has led to some people forgetting what... Leliana is actually like in Origins.

In fairness, as in all Dragon Age games some very revealing character moments happen in party banter which makes it easy to miss. But the gentle-hearted mystic who desires only to draw others unto the love of the Maker has never been all that Leliana is, and it's always been in direct conflict with the side of her that is not only adept at intrigue and yes, violence, but enjoys those things. This is the central conflict of her whole character, and it's not a trivial conflict, because there is not one simple answer to who Leliana truly is. She is both of these things. She is deeply religious and finds comfort in her faith, and thinks it should bring comfort to others as well. She's also prone to gossip and pettiness and all the qualities that helped her thrive as a bard.

There's this one particularly revealing piece of banter with Alistair if the Warden is in a romance with Morrigan:

Alistair: So have you heard? Morrigan and him are... you know. Leliana: Have you nothing better to do than to spread idle gossip? And besides, he can probably hear us both. You're not being very discreet. Alistair: No, look, he's not even paying attention. Leliana: Hmmm. maybe. You don't... think that he's serious about it, do you? The woman is a vile fiend. Alistair: Well, look here, now who's an idle gossip? Me-ow! Leliana: You're the one who started this, I might remind you. And I'm... well, I'm ending it!

I once had the especially entertaining experience of getting this banter, and minutes later hearing Leliana turn to Morrigan to give her the "It's so nice that you're together, isn't love wonderful?" line. But whether or not you have the pleasure of hearing them back to back, I think this dialogue make it pretty clear that while Leliana would like not to think of herself as a gossip, it takes very little prompting from Alistair to get her to slip back into that mean girl persona. And Alistair (who is more perceptive than he often gets credit for), calls her on it immediately, clearly embarrassing Leliana--who realizes that her mask has slipped.

I don't think it follows from this that Leliana necessarily hates Morrigan unilaterally. There's something much more complex going on between them, in my opinion, because they are such distinct opposites in upbringing and personality. Both Leliana's faith and her life of courtly intrigue are nonsense to Morrigan, who neither believes in the Maker nor has much patience for intricate social graces (at least, not yet). Meanwhile, I think Morrigan's outward self-possession and the sense of power she exudes is a source of both fascination and frustration for Leliana, who thinks she understands power, both social and divine--but finds in Morrigan a kind she cannot fully comprehend. (I also think you can definitely feel some sexual tension into their banter, especially the much-beloved banter about the velvet dress.) Ultimately, both of them are very concerned with power, but approach that concept very differently. And Leliana responds to this clash of ideals in a particular way because her own self-image is so conflicted.

As all great Dragon Age foils do, Leliana and Morrigan needle one another, push each other's buttons, challenge one another's sense of self, and in doing so reveal one another in their complexity and sometimes in their ugliness. It is perhaps easy to write this off as the tired trope of women being unable to get along with one another, or conversely to claim that they get along just fine and fandom has fabricated the tensions between them; I think to do either of those things diminishes a genuinely complex and sticky relationship that serves to reveal a lot about both characters.

[autisticrosewilson]

It's not that I hate fanon or that I think fanon is inherently less intelligent or morally wrong, but a LOT of fanon is based in racism, misogyny, and classism that I feel like a lot of you accept without question.

WHY is Duke (Daredevil, son of a god, has never once allowed himself to be defined by anyone's actions but his own) relegated to a background role, only characterized by reacting to the whims of other bats?

Why is Babs - Birds of Prey leader and backbone of the hero society, tells Bruce to fuck off and die 4 times a day and is constantly ruining her relationships by being biased and unhinged - Gotham bound, the mature responsible mom of the group who never argues with Bruce and never gets in trouble?

Why is Dick, both a tactical genius and master manipulator, a himbo only appreciated for his sex appeal? Especially when he is both Romani (group of people demonized and condemned as hypersexual by their nature alone) and an SA victim.

WHY is Damian "feral" and "uncivilized" despite being raised as a literal prince? Half of you treat him like a sociopath with no hope of redemption for an unfunny three second joke and the other half of you go full throttle into Bruce's white savior bullshit so that Damian can be "redeemed". Y'know when you're not villainizing Talia and acting like Dick is his other parent, actually.

WHY is Stephanie - extremely intelligent detective who can't stand Bruce and has a living mother she loves - lumped in as another member of the Batfam, a blonde ditz who only cares about prank wars and emotionally supporting Tim?

WHY is Cass - intelligent, a grown adult, suicidal perfectionist - emotionally intelligent, primarily existing to support the characters around her, immediately accepting of everyone she meets regardless of her own morals?

Why is Bruce the golden standard? Enough so that though everyone in the fandom could agree that he's an emotionally unstable wreck, being considered "the most like him" is seen as a compliment and not the HIGHEST insult? Everyone would agree if I said that Bruce purposely self sabotages his relationship half the time and the other half he simply does things without caring about the emotional impact it will have on people because he has to be the smartest in the room, but if I said that makes him a shit partner and emotionally abusive parent the fandom would bend over backwards to argue with me.

Why is Tim "the best Robin" when Dick Grayson invented the mantle, it is impossible for someone to embody the spirit of Robin better than him because he made it and he created what being Robin means. Maybe Tim is the best in Bruce's eyes, but what Robin means and who has the right to give it over was a significant thing they argued about. Tim the high school drop out, and yet also somehow the smartest? Tim "the most like Bruce" except no he's not, that's Cass. Poor neglected, abused, victimized little Timmy (the rich boy at the elite boarding school with loving albeit busy parents and almost every instance of him being victimized by another character has either been racist bullshit - The Al Ghuls and Rose Wilson- or a complete 180 for the character that made no sense when examined through the lens of prior characterization - Jason for instance.)

Almost every fanon trope that gets passed around like gospel seems to deliberately push POC characters and women into the background and strip them of interesting complex traits and stories, usually for the purpose of fitting them all into bite sized incorrect quote character types and uncomplicated narrative roles that are not only completely divergent from canon, but primarily exist to prop up the two rich white boys.

Also the insistence that Bruce, a 20 year old at the time, should actually be excused for how much he mentally and emotionally fucked Dick up because really they're more like siblings! While deciding that Dick at the same age was actually the perfect candidate to be Damian's new parent/guardian...have you lost the fucking plot you don't even make sense to yourselves.

Okay I lied at the beginning, I do hate fanon. You guys are so uncritical about the media you consume it is BEYOND just letting people enjoy things and have fun. I guess it's one thing if you KNOW this stuff isn't canon and UNDERSTAND why these tropes are problematic and you engage with it as such, it's fine read and write what you want, but just spreading the same nonsense around and parading it around as "better than canon" (version of the character so bland and boring you've somehow made the old white men at DC look like geniuses in the art of representation) is just infuriating.

[tls12lessthan3]

throughout the story both kim dokja and han sooyoung define themselves in opposition to yoo sangah. kim dokja defines himself as a reader in contrast to yoo sangah as a protagonist, and han sooyoung defines herself as a villainess in contrast to yoo sangah as a heroine. outsider vs insider, evil vs good. in doing so, they dehumanize themselves and yoo sangah. kim dokja denies himself the agency that he gives a protagonist, positioning himself as merely an observer in both his life and others to cope with his mental health issues. han sooyoung denies herself any emotional or moral complexity, assigning herself a simple role she feels most comfortable in due to her own self worth issues as a way to conceptualize how her 'genre' as changed around her.

as coping strategies, these kinda suck ass. they hurt themselves in doing so, and they hurt yoo sangah. the overlapping roles they assign to her - protagonist and heroine - make unrealistic demands of her, project a perfection that isn't real, put her in a box and ignore all attempts to escape it. they distance themselves from her and damage their relationships in the process. and a large part of yoo sangah's character and arc is her either fighting back against this dehumanization or just refusing to play ball as a way to deconstruct the heroine archetype. when she is dying she uses what seem to be her final moment to make one last escape attempt of kim dokja's idolization of her, reminding him of the pepper incident and forcing him to recognize her as not just a person but a friend. and during moments when she and han sooyoung are at odds, their different attitudes towards it are so stark - han sooyoung regards it as almost a battle of good and evil, whereas yoo sangah sees it as a more personal argument. han sooyoung's discomfort comes from a clashing of philosphies, whereas yoo sangah's comes from the fact han sooyoung is kind of a fucking bitch who has killed people she cares about and might again.

when kim dokja and han sooyoung categorize the world in this way, they dehumanize themselves and their loved ones. and yoo sangah refuses to play along, recognizing both her own and their humanity and forcing that same recognition onto them. when kim dokja and han sooyoung build a wall between themselves and yoo sangah, defining themselves by that distance, yoo sangah climbs it. yoo sangah doesn't just expose the dangers of the small box she gets shoved in, but exposes the others as well. she's an incredibly important character for orv because she does exactly that - it's an extension of her larger role in the narrative as someone who challenges roles and tropes of the genre, who reaches across the divide caused by these expectations we create for ourselves and others and says hey, im just a person, just like you. so maybe we should hang out sometime and just be that, yeah?

[demonking-propaganda]

13 spoiler-free reasons why you should read Mairimashita! Iruma-kun

...if you haven't done so already 👀 (With "spoiler-free" I mean I'm not describing plot points or characters, but under the cut I'll discuss the overarching themes, so be warned if that's too much for you. The first 7 reasons may be enough lol)

It's both funny AND wholesome. I literally can't read it without laughing out loud, and there are a bunch of chapters that make me cry every time I read them.

It's clever! The Japanese version contains several puns based on the kanji "魔" (read "ma", = devil, demon), starting from the title, but it's a recurring pun. The English translation adapts them pretty well. Plus, there are some of the best plot twists in recorded history (IMO). And the names and characteristics of most characters are based on real-life demonology.

It's queer AF. Like, really gay. There are explicitly homoromantic relationships and several nonbinary and gender non-conforming characters. One of these is the best unashamedly nonbinary character ever written. Plus, the manga premise can be seen as an allegory of hiding in the closet. The only thing that made me uncomfortable because of cisnormativity (boys in drag as a joke) is completely fixed in later chapters, and very well so.

It's feminist, without being preachy or paternalistic. Simply put, the women/girls are three-dimensional, complex characters, as the norm should be. And there are lots of them, without it being a harem (...the harem trope is actually used as a joke).

It's spooky and adorable, imagine Halloween vibes all year round. Both main and background characters are super diverse, and if you like monsters there is stuff for you.

Most characters are neurodivergent-coded. It's basically the autistic/ADHD manga.

The art is phenomenal. It's especially good to see the improvement of the art style over the years (the first chapter was published in 2017 and the manga is ongoing). Some panels are really breathtaking.

8. The story is about personal growth - like most shounen manga, fair enough. But the protagonist, Iruma, is so far from toxic masculinity I dare say he's the antidote to it.

9. It's also about found family, the discovery of unconditional love, and trust, and healing from familial trauma.

10. It's about finding a group of friends you belong to, and transforming your weirdness into a strength, identifying and cultivating what you're good at instead of fitting into a mold.

11. It's about the beauty of learning in your own way, and the importance of education and the shaping of future generations.

12. And the reason why I opened this blog: it's about fascism and fighting against it. I mean real fascism, as in "a powerful individual/group wants society to be hierarchical and oppress certain minorities, elevating a specific subset of the population based on intrinsic characteristics which are being misleadingly treated as merits". Ethno-nationalistic stuff. More specifically, it's about being a somewhat politically illiterate person, who learns about systems of oppression beyond personal injustices. It's about questioning what is the best way to arrange society.

13. Most importantly, this manga gives you hope about the future, something I find harder and harder to have. Hopelessness is dangerous - as people without hope stop fighting. This manga makes me actively feel better. Since it's ongoing I can't ensure it will always remain that way, but I've come to trust the author enough that I expect it to.

[braghis]

Listen. I had fun the last time, so i'm gonna leave here another list of my Riordanverse unpopular opinions/hot takes. I hope no one is gonna cancel me:

- Throwing every single female character in the hunters is lazy writing and kinda OOC for Reyna;

- The Cupid scene is disgusting and the fact that it was made by a queer god makes it even worse;

- Jason and Nico's friendship >>> Percy and Jason's friendship. Nico and Jason were more foils than the latter and Percy will ever be;

- Leo and Nico should have been friends, and the fact that Leo was so scarred of him in HoO is wasted potential;

- Today Percy is basically the not-so-unconfirmed most powerful demigod BUT both Nico and Hazel have the potential to being more powerful than him. However, since Percy is based on Rick's own son he refuses to elaborate on it;

- Actually GROVER is Percy's best friend, not Jason, and in HoO Annabeth and Piper had a more "kinda homoerotic bromance" going on than their boyfriends ever had;

- Aside from that, Jason is clearly alive. Trow that ToA scene away;

- Nico killing Bryce Lawrence is both the most terrifying and the best scene in both PJo and HoO;

- It would have been better if Hazel and Frank were friends-crushingoneachother during HoO and started dating in ToA;

- Riordan's amatonormativity wasted the potential of many characters (like Nico and Leo) and the potential of many friendships;

- Caleo is acceptable in HoO but in ToA it fucking sucks;

- Actually it would have been interesting if Calypso discovered herself as a lesbian during ToA OR in a possible Leo's standalone novel;

- In terms of capabilities, storylines and roles in the plot Percy, Annabeth, Nico, Hazel and Reyna are Riordan's most badass characters. Others (mostly Thalia, Jason and Piper) have the potential but are underdeveloped;

- And that in my opinion is HoO biggest problem: the series has many new interesting characters (Hazel, Leo, Reyna, Jason) but they are underdeveloped in favor of 1) romance and 2) Percabeth being in the major spotlight;

- I have mixed feeling about Percy and Annabeth being part of the Seven;

- Fierrochase >>>>> Solangelo;

- Tsats is utter dogshit and it is REALLY hard to consider it canon;

- Canon Solangelo is ableist and the fact that a big part of the fandom has no problem with it is kinda disturbing. Also some fanon solangelo contents are ableist as well and it is partly RR's fault;

- The fandom basically wrote and characterized Will Solace's character. Neither Riordan or Mark Oshiro give a fuck about him, and problably that's NOT gonna improve in the Tsats sequel;

- Accusing people who don't like solangelo and/or Tsats of homophobia is like the dumbest take ever;

- RR's representation characters are a concentration of stereotypes;

- It would have been better if Piper had her self-discovering - queer storyline from the beginning of HoO. It would have made her more interesting and relatable;

- Even more, it would have been more interesting if Piper had her queer-reveal storyline in HoO THANKS to her not-so-straight chemistry with Annabeth;

- Making Nico a overly morally correct/morally "pure" character makes him less interesting;

- CJ >>> CHB;

- Nico should be a rough demigod;

- It is heavily implied that the majority of CHB STILL doesn't like Nico and they only "tolerate" him because they like Will;

- Bisexual Jason is better and makes more sense than bisexual Percy. Jason's arc is basically a metaphor of bisexuality;

- It makes me sad how RR basically throw away every other Nico's beautiful relationships (with Jason, Reyna, Hazel, even Percy..) in favor of solangelo. Nico WAS a complex and developed character, now he's kinda just "the gay one";

- With his latest works RR is ruining his own franchise;

- PJo>>>>>>MG>>>ToA>>HoO;

[imbecominggayer]

Writing Advice: Too Many Characters

A common advice when writing stories is "don't write too many characters". But, like with everything creative and good, there is no definitive answer to how many characters should be in a book!

So I will be discussing numerous variables in storytelling which impacts how many characters you should have and what makes something in a book "pointless".

Themes! Themes! Themes! (Omori Spoilers, Not Too Much)

The most important question that a writer has to ask themself is "what is this scene/book/media trying to do?". If your story is based on the relationships we have with others and the impact they can have on our psyche then having a close-knitted community of people will drive the message of intimate connection better then just having more people in there. If your story is focused primarily on introspection, looking inward, individuality, and other spiritual activities then the protagonist is more likely to spend longer durations of the media by themselves.

An example of these to forces is the popular game of Omori.

(SPOILERS ABOUT OMORI<3)

Omori is a game that focuses on acceptance first and foremost. Self-acceptance to be more specific. Due to the fact that the game is a piece of introspection both for Sunny and for the player, the most important moments in the game such as the "reveal" sequence of pictures and Black Space are ones that are done on your own.

However, the game also prioritizes the relationships Sunny has between his friends as this serves as motivation for the final duet. The final duet was an act of bonding as Mari and Sunny just wanted to spend time together, doing something they liked.

The introspection moments are pushed towards the end of the game because it's only when Sunny has that support and belief in his friends, can he rise above his doubt and shame and fear.

2. What Is The Purpose Of This Character?

All characters need to have a purpose in the narrative. Both within the context of the world and in the context of the book.

Within the context of the world, they need a goal that is going to impact the protagonist either positively or negatively.

Within the context of the book, what is this character giving to the audience that wouldn't otherwise be there?

Pro tip: All the characters you have need to have more then one purpose! Characters that give exposition can't JUST give exposition.

If you have a love interest that can be cut out without taking away a vital part of the story either from a thematic(theme) standpoint or a narrative(plot) standpoint, just replace them with an object and move it along!

If you have an ally character that only shows up twice and can be changed into "I went down to the store to buy these items", give that "ally" tag to someone more story relevant"!

3. Priorites?

Ask yourself this: "Do I have the book length to dedicate time to this person?"

If the answer is no, follow my next steps. If the answer is yes, here is how to make them better.

When I say "prioritize", I mean you need to figure out what type of character this character is. Are they a main character? A side character? Cannon fodder? A symbol? WHAT ARE THEY?

Also, can you give these character responsibilities to someone else? This simultaneously gives those characters deeper complexity and eliminates more characters

Example: Love Interest, after being trapped by the villain, uses their intelligence in order to provide information about the villain to the hero. (Love Interest + Ally + Informant)

Example: Friend is revealed to be a double agent on the side of the Villain. However, it's revealed that Friend was secretly a triple agent who is finally redeemed from their original believed betrayal. They're back to being an ally. (Friend + Betrayer + Ally + Enemy)

[feralforbeanix]

Wrightworth is not "Sunshine x Grumpy"

They are "Visibly Traumatized x Repressed Trauma", they are bitch for bitch, they are so many more interesting things than that overused dynamic.

Miles is not some sad boy who needs to be coddled, he is a grown ass adult who sent many people to jail. Some of which could have possibly been innocent. He's done some shitty things that are influenced yes--but not excused by his trauma. He can and SHOULD be called out on things he did, stop blaming all his bad actions on Manfred or Gant.

Phoenix is not a golden retriever boyfriend. Maybe he was in college when he was "Feenie" but that shit ended the day Dahlia was arrested (Hot take Feenie feels more ooc to the Phoenix we knew in the trilogy than Beanix ever did to me). Phoenix is a snarky bitch almost all the time, even thinking/saying downright mean things to/about people he cares about like Maya. He has massive big brother energy but not always in the "I'll take care of you" way but often in the "I'm gonna disgust/upset/annoy you on purpose because I think it's funny" way. (Like if you choose the fishing pole in Turnabout Goodbyes, he teases Maya by suggesting they use Missile as bait, which Maya takes as well as you'd expect).

Miles is not a princess who waited every day for Phoenix to save him. Miles was perfectly content to forget his past entirely as is his coping mechanism, and Phoenix has a savior complex that no one asked him to have. Miles never asked for Phoenix to reappear in his life, Phoenix just realized Miles was gonna ignore him, so he became a lawyer himself so that would no longer be an option for Miles.

This isn't to say Wrightworth is a bad ship by any means. This is to say that their characterization and relationship are so often blatantly misunderstood by the fandom. So often watered down to fit a basic mold. Which is a shame because their actual relationship is so much more interesting to me.

Sooo many fanfics get both of their characters wrong to either fit a dynamic they never were or because they want to give them less accountability than they deserve.

[genericpuff]

This plot point annoyed me so much! I thought she was finally going to open up to Persephone about the reasons why she hated Hades so much, about what he did to her, but no! They just introduced a new yet unnecessary character to the story 🤦🏼‍♀️

What are your thoughts about it?

oh yeah it annoyed the piss out of me too and for one very big reason that is CHRONIC in LO:

It's a solution to a problem Demeter didn't have.

This happens to a lot of characters throughout the comic. They'll have some kind of plot-driven conflict or character-driven flaw, and then it will be solved by something else entirely that had nothing to do with their original problem or doesn't line up with the theme of their storytelling. Minthe had insecurity issues and a toxic relationship with Hades? Just give her a classroom full of children to babysit! Hades had infertility issues? That's fine, Persephone somehow fixes those issues because at the end of the comic they have babies and Hades has his happy ending so it's fine! Hera was in an unhappy relationship with Zeus and had trauma from her past as a victim of Kronos? No problem, just make her an all powerful fertility goddess! Persephone accidentally causes winter which kills possibly thousands of people? Gaia is here to save the day, and also she's the one who makes Persephone return to the Mortal Realm for a couple months with full visitation rights. Apollo is a serial rapist who's attempted murder on several occasions, even against his own father in an attempt to take the throne? Community service, that'll solve it.

Demeter is one of the biggest examples of Rachel's inability of writing an actual cohesive plotline. She writes like the only goal is to come up with new twists to keep people reading each week without ever considering what themes or questions she should be answering throughout. So when she does pose questions, the answers often wind up being severely disconnected because she can't be bothered to actually plan out a plotline with narrative structure, she just needs 'things' to happen. To put it bluntly and simply, she writes like how a 13 year old on Wattpad would write, no actual thinking about the material she's presenting, no consideration for the curtains and what color they are, just "make the things happen so that people will keep reading because that's what writing is!"

Demeter's problem wasn't her failing to understand Persephone. It was people failing to understand her when she had reasonable cause to both be wary of Persephone moving to Olympus as well as Hades and his intentions with her daughter. But because Rachel needs to have the perfect happy ending for her self-insert power fantasy couple, she resorts to gaslighting both Demeter as well as the audience by extension into believing that the solution to Demeter's character arc... is understanding Persephone more.

Like first of all, the moral "people just want to be understood" is way, WAY too "baby's first storyline" at this point in the story especially when we've tried to tackle much bigger topics like sexual assault, and when we know how complex Demeter's backstory is. There's no way she needs to be told by Hebe that people just want to be "understood". She absolutely knows this already, and has been fighting to be understood by her siblings and peers and family for centuries, but of course, everyone sees her as just "the contrarian".

But then the final solution is... the sudden appearance of Demophoon as her long-lost child, and Hades giving her the volcanoes. That's it. She doesn't get to actually become Queen of the Mortal Realm, she never really gets closure over the past 2000 years of abuse from everyone around her, Hades just - like with everyone - buys her affection and she gets a new baby to pour her attention into instead of Persephone and we're all just forced to go along with it for the sake of Rachel's fantasy.

Rachel can't write (￢_￢;)

[teambuddie]

when i started to watch 911 i already liked buddie, but i wanted to give b*ckt*mmy a chance, i really did, but honestly, i just couldn't and i'm gonna explain why.

1. eddie was haunting the narrative.

after watching 6 seasons of buck dating women i'm not gonna lie i was pretty excited to see him flirt with tummy because yay bisexual buck!!! and the very first scene i was filled with joy until... eddie was in every corner of the relationship. i know, the writers were using buddie as a diversion, they wanted to surprise us that hey he was jealous of tummy not eddie! but then they kept eddie haunting the narrative through the whole relationship. every bt scene eddie was there or was mentioned and obviously the writers did that on purpose, because we're supposed to keep thinking about eddie, we're supposed to know buck is still thinking about eddie even if he's dating someone else. to me the writers made bt impossible to exist separated from eddie and buddie and that made it impossible to me to truly give bt a chance even if i was already biased.

2. tummy is BORING.

look, i was so happy buck was gonna date a man and figure out his sexuality, i really was, but holy shit tummy made it almost unbearable to watch some scenes. how can a man be so boring??? he has zero personality, zero charm, zero everything. every LI from both buck and eddie had at least SOMETHING going on, you know? even natalia and ana had more personality than tummy and that's a bit insane like how a character who showed up for like 5 episodes is more well developed and interesting than you?? and again, to me the writers did that deliberately, they wanted us to feel like something was missing, they didn't want us to get attached to tummy because he wasn't going to be a constant, he was a plot device and he was treated as such. no personality, no complexities, nothing, a blank state.

3. the acting.

this is probably gonna sound mean, but i have to be honest. one of the things that made it even more impossible to enjoy bt was l*u's acting. imo 911 has fantastic acting, like ANGELA BASSETT is on the show, the bar is high guys! even side characters act really well throughout the show and yeah sometimes there is overacting, but mostly is really good and expressive. and then there's l*u... he's so stale, so unexpressive, so bland is like watching a sixth grader acting on a broadway production (but a sixth grader would do a better job probably). i can't take tummy seriously as a character because not only is he boring but i don't feel like watching a "real" character, just a person pretending to be a character and i know that's what acting is but good acting makes you forget that what you're watching is fiction and makes you feel for the characters. l*u's acting achieves none of that.

4. b*ckt*mmies.

i understand when b*ckt*mmies say they can't enjoy buddie bc of the fandom, i do bc they just pushed me even further away from bt. the way they reacted to the break up was... something. some of them had valid reasons to be upset and ofc they were gonna be emotional about their ship breaking up, but the whole "this is homophobic/biphobic" discourse was too much. first they decide to simply forget michael was also an elder gay and say that bt was the only gay couple that showed someone older can be happy... like, are you serious???? "oh but michael wasn't a main character" but his storyline was very well developed and it just as a representation as bt. even better than bt bc no one was saying how he wants the other to have daddy issues (that irked me so much god WHY WOULD HE SAY THAT????). calling ostark biphobic bc he said he wants buck to sleep around again??? as if he said that bc he's bi when it's obvious he said buck should sleep around bc he's buck. ostark showed nothing but support to bi buck and he was always so excited about the storyline, but since he wasn't too onboard with bt and said he'd like for his character to sleep around a bit suddenly he's biphobic???? the way they decided to interpret what tummy said as him saying buck isn't sure of what he wants when it's clear he meant that buck should explore more his sexuality not to be sure but because that's what he probably did and he knows it's healthy and normal to get with new people to figure out what you like and what you want. nothing about the breakup and what ostark/tim said was prejudiced and while i understand feeling hurt and interpreting some stuff with a negative light, i don't think they were being fair to the writing and the crew.

maybe i'm biased bc buddie was already my ship even before i watched 911, but honestly i think if they wanted us to root for bt they'd make their relationship more compelling, they'd give tummy more personality, they'd not make eddie haunt the narrative, but that's not what they did and you may think that's "unfair" to bt and tummy, but honestly it was a warning sign b*ckt*mmies ignored... the sign that said: "this is not meant to be". when tummy called buck evan it wasn't without a deeper meaning, it showed us he was the odd one out, it showed us he didn't belong. and so, he's gone.

[thewriteadviceforwriters]

Crafting Compelling Morally Gray Characters: A Guide for Fiction Writers

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

What Are Morally Gray Characters?

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

Examples of Morally Gray Characters

Some well-known examples of morally gray characters include:

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

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

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

Why Are Morally Gray Characters Compelling?

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

The Power of Relatability

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

The Element of Surprise

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

The Exploration of Morality

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

How to Craft Morally Gray Characters

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

Give Them a Strong Motivation

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

Show Their Flaws and Vulnerabilities

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

Create Internal Conflict

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

Avoid Stereotypes

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

Show Their Growth and Development

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

How to Make Morally Gray Characters Stand Out

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

Give Them a Distinctive Voice

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

Create a Strong Backstory

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

Use Foils to Highlight Their Morality

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

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