#lETS' FIGHT IN AN EPIC BATTLE

[odmn124]

wow the new season of beyblade looks really good guys [spoilers lol] [EDIT: didn't realise that Raven at the writing desk made the joke already, sorry]

beyblade, beyblade, LET IT RIP

[vertigoartgore]

Thor & Jormungandr pin up by artist Walter Simonson (from 1989's Marvel Fanfare #45, the all pin up issue).

[schrodingerseurydice]

odysseus the moment when, for the first time in 20 years, nobody is trying to kill him: whelp, guess it's time to kms

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[nemesis-is-my-middle-name]

having shrimp emotions abt the end of shb again

[le-scenariste]

Headcanon that Mikey got his "let it rip" thing from Beyblade

[enemyoflactose]

In Yami Bakura voice: I lied. I don't actually like sex. Now put your clothes back on I'm explaining the plot of Beyblade Metal Fusion.

[demonlordcosnime]

lets play genshin impact part 178

[gotstabbedbyapen]

Another plot hole sighted:

ODYSSEUS CAN'T EVEN FIGHT HIS WAY OUT OF CALYPSO'S ISLAND, HOW THE FUCK COULD HE BEAT POSEIDON???

I have very complicated feelings for the Vengeance Saga (after the first listen)

Disclaimer: I will only criticize Epic the Vengeance Saga as a work on its own, not for its inaccuracy or deviation from mythology and The Odyssey. There are more knowledgable people who can point out and analyze the changes in Epic the Musical, but that is not what I'll be tackling here.

To put it bluntly, I'm not being angsty about it as I should. The whole saga just... didn't feel right with me.

Now, first off all, I'm a big fan of Epic and had been following it since the Cyclops saga (first version). I've been in love with many songs and hyperfixed it for months on end. But when the Vengeance saga came along, I didn't feel that same bubbling love rise in me.

Even as a fan, this isn't my first time having peeves with Epic. I didn't jam with the re-release sagas for a while, I'm underwhelmed with the Circe VS Odysseus fight and other issues, very unpopular opinion but "Monster" wasn't too impactful to me, and also the God Games (especially Zeus' attack).

The Vengeance Saga though? Well, they say we gotta do the Bun-Meat-Bun (or whatever the hell its name really is) technique when giving criticism, so I'll start with the good parts.

I love that Odysseus looked so done with Calypso in "Not Sorry For Loving You". They're basically this meme:

Like sorry you're a sad but you're still an abuser 😒

Then Odysseus starts singing the reprise for "Full Speed Ahead" but there's no one to back him up. That one hits me hard. To whoever on Tumblr said that after the Thunder Saga we will never hear the crew's back-up again and Odysseus' singing will be answered with silence, Apollo really blessed you with the red ball.

Hermes and the Winions' part was really cool too! I really like them being mischievous helper! The warning about the wind bag and the changing scene of Odysseus fighting off sea monsters while Hermes just vibing with the beats is 👌👌👌

But after that the hype started to sizzle out for me. You might want to skip this part if you're not comfortable with harsh criticism because I WON'T hold back.

It's really backward but I like the Odysseus VS Charybdis draft more than the final production. Charybdis' roars and music are somehow less intimidating, which is a shame because I thought this would be one of the biggest struggles Odysseus will face. Even with awesome illustrative animatics, the scene wasn't as thrilling as I've expected.

The other songs got massive improvement from its draft version (on top of my mind I can think of "Thunder Bringer", "There Are Other Ways", "Little Wolf"), but I don't get why "Charybdis" didn't get up-graded as much like them. It's like a cake that was throughly baked but half decorated and it just didn't taste as good as I've hoped.

Then we have the Odysseus VS Poseidon part in "Get In The Water" and "Six Hundred Strikes". The first thought I had for GITW is this song sounds like all the draft snippets were mashed together without a smooth transition/connection between them. Jorge and Steven's performance is great, but there's not enough tension for me to dread for Odysseus. When Poseidon first met Odysseus in "Ruthlessness", the whole opening was terrifyingly good! And we didn't even have any illustration animatic back then! (that's not to say the GITW animatics were bad, they just can't salvage much when the song itself was already weak)

I wasn't impressed with Poseidon's Shatter The Ocean move either. It's supposed to be the Strongest AttackTM but it's less scary than when he and the Laestrygonians destroyed Odysseus' eleven ships with probably 1% of their power. It didn't even help when Poseidon looked like he's having a seizure with lights pouring out of his eyes and mouth during the transformation.

Odysseus being literally on the brink of death with the souls of his loved ones pulling him into the abyss is a gem in the rough, but because we've seen Odysseus almost drowning before in the end of the Thunder Saga, it's not as shocking as it should be. Furthermore, Poseidon could have instant-killed Odysseus right then and there but didn't really annoyed me. But I guess he just wanted Odysseus to slowly suffer while dying.

Right when I thought the progress will get better, it... gets down. I can go with Odysseus using wind to escape the water, but him wearing it like a jetpack is so comical it ruined the drastic of the situation. And I'm officially let down when Odysseus FUCKING ATTACKED Poseidon in "Six Hundred Strike".

What? Just... why with that choice?

Look, I'm not gonna fault Epic for making creative liberties from the source material (as said in the disclaimer), but I will criticize if that change contradict itself in the transformative work. And this is one of them.

Poseidon and the gods have been proven time and time again in the musical just how powerful they are. Their ominous and grandiose entrances, them striking fear and inferiority in our hearts just by singing. Even Circe, a low-level goddess, poses a constant threat to the crew and Odysseus had to get help from Hermes just to get a chance to corner her (and Hermes even joked that he can still die!)

Poseidon easily destroyed almost all of Odysseus' fleet. Odysseus was very avoidant of him, opting to go to the literal Underworld to find instruction on how to dodge him and sailing through Scylla's lair + willing to sacrifice six men for safe passage. And when Poseidon said he can drown all of Ithaca, it's not just bluffing, he would and could have done that. Yeah, the King of the Sea is THAT BIG of a treat.

So no, Odysseus isn't cool to attack Poseidon, he's being stupid. I'm not even cheering for him the whole him he fight, just groaning at how ridiculous the whole thing is. If Epic is more believable and sticks to WHAT IT HAD ESTABLISHED BEFORE, having a sudden burst of anger and choosing ruthlessness won't save Odysseus from one swipe of Poseidon's trident. Odysseus stood no chance against a one of the most powerful deity, even if he's the protagonist and love his family.

Not only that, Poseidon didn't even defend himself and was wounded by a mere human! And he just sat there and took all the blows and insults from Odysseus??? And he actually begged Odysseus to stop and agree to quell the storm to let him get home??? I'm not buy that bullshit. I'm more upset that a literal Olympian god was nerfed down than Odysseus having a Gary Stu moment. Give me a break, that try-hard moment to be cool and edgy just show how badly written the scene is.

What's the fucking point of hyping up how dangerous the gods are if a human can take one down? Tell me this isn't some Wattpad-y Greek myth retelling fanfic where the teenage Y/N sass her way to defeat an entire pantheon. Epic really traded its opportunity to be better for some cheap and out-of-the-blue dramas in this saga, dare I say it's even worse than Zeus' OOC attack on Athena. I'm very disappointed with that decision.

On an end note, the saga did have one saving point with the "After everything you've done, how will you sleep at night?" - "Next to my wife" lines. Odysseus knew he could be the most horrendous man ever and Penelope would still choose his side, that just show how powerful their love and faith in each other are.

But not enough to excuse all the terrible cinematic choices.

[helladventurers]

On a positive note, I played the FF7R demo and I'm surprisingly pleased with it, I don't think I'll ever play it because I'm not spending hundreds dollars to get a full experience over several years, but for how bad square enix's action RPGs tend to be, that was a neat lil fun demo

[prokopetz]

Tabletop RPG about a band of epic heroes with full sentences for names on a quest to murder God and shatter His throne, as one does, except the epic heroes in question are a mob of foot-tall gremlinny critters who are not 100% sure what "God" actually is, and they're not about to let that stop them. The game features an elaborately statted-out bestiary of "divine beasts" to fight which the human reader will recognise as things that are neither divine nor beasts; the climactic battle of the example scenario involves the player characters going Shadow of the Colossus on what is clearly a windmill.

[madrone33]

Number 1 Rule of adapting the Odyssey into EPIC is: if it can be more dramatic, it will be more dramatic.

The Greeks decide to throw the infant Trojan prince from the walls because they're scared he'll try to avenge his family? No, Zeus comes down to personally give Odysseus a vision of being killed and says his family WILL die. Kill the baby that reminds you of your son right now, it's the gods will.

Odysseus goes to greet the inhabitants of an island and gets trapped in a cave for two days by the cyclops that's eating his men one by one? Nope, we got BOSS BATTLE 30v1 in the Ithacans' favour until BAM fourteen pancakes are made by Polyphemus' club and oh shit Polites is DEAD-

Athena is just vaugely absent for the whole journey until the end? We got emotionally charged platonic breakups instead, with yelling and insults and "well I'm breaking up with you FIRST!"

Smooth sailing to Ithaca? STOOOORM-

Odysseus' great-great-great-grandfather giving him a speed boost to help him on his way home? Get ready for trickster wind gods, mischievous winions, and a game that was rigged from the start.

Random-ass suspicious and greedy crew mates open the bag? It's Eurylochus, his second in command, his brother-in-law, the man he trusted, Eurylochus WHYYY

Parking in the wrong harbour and getting boulders thrown at the fleet by angry man-eating giants while Odysseus backs away veeery slowly? Nah Poseidon himself pulls up to dunk on them, and Odysseus has to make a last minute getaway using the power of STOOORM to avoid being curbstomped like his fleet.

Odysseus gets some stronger drugs from a god to make him immune to the other drugs of a goddess? Well these drugs actually give him magic powers which he uses to engage in a Pokémon/Yu-Gi-Oh style BOSS BATTLE!

Get some closure with dead loved ones and acquaintances, and be the first interviewer of the fallen heroes of past ages? Nope, we just got TRAUMA and a whole boatload of guilt!

A neat outline of what the rest of the journey will look like, a warning against an island of cows that will slow him down, and the way to appease Poseidon? This Tiresias just says "Y'know there used to be a world where you made it home, BUT I DON'T SEE IT NO MORE. IT'S GONE. IT'S OVER. Also, your palace is fucked."

Sailing past the sirens while getting to be the first mortal to hear their song and live? M U R D E R

Sailing past Scylla to avoid Charybdis and accidentally getting six men eaten because he thought he could totally take Scylla, even though Circe said he couldn't, and then he realised he, in fact, cannot take Scylla? ... Eurylochus, light up six torches.

Eurylochus waits till Odysseus is out hunting and then goes behind his back to mutinously rally the crew and feast on some sacred cattle? Betrayal on both sides, stabby stab, K.O., and then Odysseus helplessly watches them make the greatest mistake of their lives as they ignore his pleas.

Quick clean and easy lightning-strike to the ship, leaving Odysseus to cling to some driftwood and paddle away? Zeus himself appears to the mortals, monologues, makes Odysseus be the one to choose, and then smites the whole ship leaving Odysseus to nearly drown anyway.

Telemachus gets advice from a disguised Athena to yell at the suitors and then sail away to look for news of his missing father? Telemachus gets into a full on beatdown with the suitors and gets FIGHT CLUB TRAINING from Athena!

Athena goes "dad I want my favourite mortal back? Did you forget about him? I think you forgot about him" and Zeus instantly replies "nonsense. How could I have forgotten that funny little mortal? Of course you can have him back my sweet favoured child <3" and then Athena skips off to Ithaca? "Father please-" "LIGHTNING BOLT! ANOTHER LIGHTNING BOLT! LIGHTNING BOLT TO THE FACE HOW DARE YOU ASK ME OF SUCH A THING!"

Poseidon does a double take "wait they let him go?? Oh hell nah!" and then sends a giant fuck off storm for Odysseus to swim through until he reaches the Phaeacians? No, Poseidon's just been there on Ithaca's shores, waiting for eight years, now get in the water BITCH- except Odysseus is just like "oh yeah? Fucking FIGHT ME"

You thought the suitors in the Odyssey were bad? Jorge really just said "dial that shit up to ELEVEN"

[my-name-is-apollo]

Honestly one of the best parts of the iliad.

Ares: *losing as usual, nothing new*

Poseidon: *fondly reminiscing his companionship with Apollo when they both worked as slaves while also challenging him to a fight just because*

Apollo: nahhhhh *insert profound and smart quote about the nature of humanity*

Artemis: you coward, f@#king b#&@ p<$$y

Apollo: *ignores the hell out of her* whatever I should get back to the war

Artemis: *gets smacked by Hera and ends up crying and complaining about it*

Hermes: I'm not crazy enough to fight someone who was crazy enough to sleep with Zeus ✌️

Obsessed with BkXXI:383-525 of the iliad actually. This is after Achilles fights a river (and LOSES) before getting rescued by some gods. Then up on Olympus we have a brief little intermission. The girls are fighting

Ares challenges Athena, calling her a gadfly and saying she'll pay for enabling Diomedes stabbing him a few books back. He goes and stabs her shield, and she steps back and knocks him out with a stone. Then she laughs and gloats over his vaguely unconscious body, laughing over how his mom isn't even on his side. Youch. If I were ares I'd just die tbh

THEN. WHILE SHE ISN'T LOOKING. Aphrodite helps ares up and they try to sneak off, but Hera snitches on them both and sics Athena on them. That's so sad actually. Imagine your own mom sending her stepdaughter to body you and your girlfriend. Athena strikes Aphrodite and both her and ares fall to a heap on the ground. Athena continues gloating.

Poseidon sees this and feels left out somehow. My guy turns to his nephew and tries to goad him into fighting, even offering Apollo the first punch because he's older and more experienced. How shameful would it be to go back home without fighting with your nephew. Truly a disgrace. He's me fr. the girls are fighting and so must i. Apollo, smartly, declines this, saying that he'd be insane to fight his uncle over some mortals' quarrel.

And then Artemis calls him a pussy. Calls him spineless. Bitch why are you carrying a bow if you won't even fight. Reveals that he's boasted about beating Poseidon before. This is so sad, this is worse than my family reunions. Apollo doesn't respond but HERA on the other hand.

SHE TAKES ARTEMIS' BOW AND QUIVER AND BEATS HER UP WITH IT?? JUST ABSOLUTELY WHALES ON HER UNTIL SHE STARTS SOBBING AND RUNS AWAY? She leaves her weapons behind, and Hermes sees this. He tells Artemis' mother Leto that he has no quarrel with her, not wanting to get in trouble with Zeus. He offers to let her say that she bested him in combat and she takes her daughter's weapons and leaves to go after Artemis.

Then Artemis goes running to daddy and cries at his lap. Zeus hugs her (and I will say this time and time again. That man is a girl dad it is so funny. He will spit in ares' face and then laugh at Athena's jokes) and asks what's wrong. Artemis says Hera is to blame

Obsessed with "Why, it's as if they had caught you out in public doing something wrong..."

It's giving "is there something you forgot to tell me?"

All the rest of the gods then sulk back home to Olympus, all but Apollo, who flies back to troy to make sure Achilles isn't causing Too Much damage which is hilarious because that man was on the verge of tears getting his ass beat by a river a few lines back

[a-hazbin-reader]

Alastor X Reader Headcanons

✅️Romantic

❌️Platonic

TW: Violence, Kidnapping, Alastor eating bitches

Description: Alastor's X Wife!Reader who gets kidnapped and how he deals with that

Alastor's relationship with you is a strong one, the two of of you drawn to each other in an almost supernatural way

But you also trust each other's strengths and aren't prone to stepping in each other's fights

Regardless of how powerful you are

I got your pinkie fingers bby go kick his ass

Holds your shopping bags for you while you go kick ass

Unless of course you ask him to

He likes it when you fix his hair afterwards, preening like a giant rooster as you do

THE POINT IS-

It's not like Alastor spends all his time glued to your hip or sending you out with bodyguards

You can take a damn walk by yourself

You do have a target on back though, if not because of your own strength/actions, then because of your husband

So it's not unusual when someone tries to pick a fight with you

But when you're suddenly ambushed and kidnapped, against the fact that you fought hard to avoid it

Fucking holy weapons

That's new

Well I suppose you'll just have to wait for your husband to come and get you out of this mess

*spits out blood*

Not you bragging about how fucked your kidnappers are once Alastor gets there

He's already going to be mad that they kidnapped his wife, but the fact that they've now put hands on you??? Made you bleed???

Oh they're so fucked

So just sit back and look pretty while you wait for your boo to come and rescue you

And you do look pretty

Keep your damn hands off

Alastor knows something is up when you don't come home, knows that someone must've gotten to you

If the old geezer watched tv maybe he would've known a little sooner

Maybe he would've known that your little fight made the news

Tf was he gonna do?? Wait for it to show up in the papers??

BREAKING NEWS!! RADIO DEMON'S BABE WIFE GETS KIDNAPPED AFTER EPIC BATTLE!

But when Angel shows him that you've been kidnapped Alastor literally just-

Makes this face:

Oh he's getting his wife back

RIP Angel's phone 😭

He's visibly very calm about the whole thing though, which makes the others even more worried

"Well then! I suppose I'll have to get Y/N back myself, won't I? You all wait here, I won't be long now~"

Alastor does give them a chance to give you back before he comes and hunts them down

It's one of the most terrifying radio broadcasts people have listened to but this is his WIFE we're talking about

On the inside he is VERY ANGRY

Even if they do bring you back he still eats them

Fuck them he never promised them anything

They took and HURT HIS WIFE

If they don't bring you back then they're going to be subjected to slaughter like they've never known before being eaten

Not him using his massive demonic form to rip apart their safe house

Anyone who doesn't know Alastor like you do will think he's being surprisingly playful about it all

But as his wifers you know he's raging by the look in his eyes 👀 not merely playing with his food

Not wifey just sitting back and admiring Alastor while he works 💅✨️

Damn this is really doing it for me

Admires how elegantly you stretch and rub your wrists after your bindings are undone, so graceful even after taking a beating

"Thank you, Alastor~ Right on time as always~"

He begs to differ

"Anything for you, my dear."

Won't really look at you until you grab his chin and force him to, Alastor giving you a guilty smile

Le kiss

Leans in to touch foreheads with you, the two of relaxing in each other's arms amongst the carnage

Casually licks the blood off your face to ruin the moment before taking your arm

"Now let's get you home, my darling~"

Doesn't leave you alone for the rest of the night, trying to hide the fact that he's fretting over you

You want to take a bath and get cleaned up? He'll help you!

You want to lay down and rest after a stressful day? He's actually pretty tired too so you two should go to bed together

Will 100% broadcast their screaming souls as a warning to anyone else who wants to try that little stunt again

Falls asleep to it actually, one arm wrapped around you as he drifts off so that when he wakes up, he'll know you're right there with him

He doesn't think any less of you, he's been beat before too

Don't remind him

Will absolutely call himself your hero for like a week straight and land himself in the doghouse by the end of it

[writing-with-sophia]

Write a weak hero

Okay, first, what is weak? According to Oxford Dictionary, weak is lacking the power to perform physically demanding tasks; lacking physical strength and energy, or liable to break or give way under pressure; easily damaged.

That means, a weak hero is a character who isn't physically strong, mentally strong or even both.

So, how can we create a weak hero but do not make readers hate him/her? You will know after this post!

First, developing an effectively background

Unlike typical heroes who may have been born with incredible powers or had a dramatic origin story, the weak hero should come from a mundane background. They can be an ordinary person with nothing outstanding, a failure, etc. and suddenly have to shoulder the responsibility of "a hero" even though they don't want it.

Focus on their mundaneness and weakness. Describe the awkward situation where they are forced to become heroes. Why were they chosen to be heroes, when there are others who are more talented and powerful? What were the circumstances under which this happened? Make it as clear as possible.

Don't forget to describe their thoughts, feelings, and reactions. In their backstory, highlight times when the weak hero tried to be heroic or take on challenges, only to fall flat on their face. Was there a specific incident that shattered their self-esteem? Do they come from a family or environment that was overly critical? These past embarrassments and disappointments can inform their current self-doubts.

Use flashbacks strategically. Intersperse key backstory moments throughout the narrative to gradually reveal the hero's history and motivations, rather than dumping it all at once. This will help the reader better understand the character's journey and the reasons behind their reluctance to embrace the role of a hero.

Second, emphasizing their weakness

Focus on their mundane, everyday struggles. Rather than epic battles, the weak hero's conflicts should revolve around things like asking neighbors for help or failing to complete simple tasks.

You can also contrast them with stronger, more capable heroes. Have the weak hero regularly get overshadowed or overlooked by the more impressive feats of other characters.

The weak hero's ineptitude and frustrations can be a great source of comedy. So don't be afraid to poke fun at their failings :).

Third, slowly build towards small victories

If you want your weak hero to be liked by the readers, never let them be weak all the time. Drop subtle hints in the backstory that suggest the hero has untapped potential or unique talents that could one day be leveraged in unexpected ways, even if they don't realize it themselves.

Focus on the why. What made them become strong, or strive to become stronger? Is it a long-term motivation or a temporary one? Are they doing it for themselves or others? What will they do to overcome their weaknesses? Over time, the weak hero can learn to leverage their "useless" powers in clever ways and gain a little more confidence, even if they never become a heavy hitter.

And, remember to highlight their determination. Despite their shortcomings, the weak hero should possess an underlying stubbornness and refusal to give up. Showcase moments in their past where they persevered even when success seemed impossible.

Fourth, crafting challenges

When crafting challenges for a weak hero, you need to focus on obstacles that play to their specific limitations and insecurities. Here are some types of challenges a weak hero might face:

Outmatched in combat

The weak hero tries to take on a powerful villain, only to be easily overpowered by the villain's superior strength, speed, or abilities.

They get into a fight they can't win and have to rely on their wits or dumb luck to escape unscathed.

Inability to complete basic tasks

The weak hero struggles with simple everyday activities like opening a jar, fixing a leaky faucet, or assembling furniture.

These mundane challenges become major roadblocks that highlight their incompetence.

Social humiliation

The weak hero tries to interact with others, only to say the wrong thing and embarrass themselves.

They may attempt to flirt, negotiate, or simply make small talk, but end up flustered and socially awkward.

Lack of confidence

The weak hero doubts their abilities and has a hard time believing they can accomplish anything meaningful.

They may shrink away from opportunities to be heroic, worried they'll just mess things up.

Overbearing comparisons to stronger heroes

The weak hero is constantly overshadowed by the exploits of more powerful heroes, making them feel inadequate.

They may try to emulate the other heroes' successes, only to fail miserably.

Underestimation by villains

The villains dismiss the weak hero as harmless and ignore them, allowing the hero to stumble into accidentally foiling the villain's plans.

The villains may even make the mistake of toying with the weak hero, giving the hero a chance to catch them off guard.

The key is to create challenges that force the weak hero to rely on their limited abilities in creative ways. Gradually building their confidence through small wins can be a rewarding character arc.

Fifth, supportive relationships

The weak hero likely has friends, family members, or mentors who believe in them, even if the hero themselves does not. By including a support system of characters who see the weak hero's hidden potential, the narrative can strike a balance between the hero's self-doubt and the encouragement of those around them. These supporting characters can provide a counterpoint to the hero's negative self-perception, offering validation and pushing them to exceed their own expectations.

The interactions between the weak hero and their cheerleaders can also be a source of character development and emotional growth. As the hero gains confidence and finds ways to leverage their unique talents, the relationships with these supportive figures can evolve, deepening the overall narrative.

Supportive relationships can be of many types, but the most effective are:

A mentor figure who sees the hero's hidden strengths and pushes them to overcome their limitations.

A loyal friend who constantly encourages the hero and refuses to give up on them.

A capable sidekick or partner who can cover for the hero's weaknesses in battle.

A tech-savvy ally who develops gadgets or abilities to enhance the hero's limited powers.

A family member who provides unconditional love and acceptance, even when the hero doubts themselves.

A romantic interest who sees the hero's inner strength and brings out their best self.

A rival or adversary who recognizes the hero's true talents, forcing them to confront their own insecurities.

A renowned hero or role model who inspires the weak hero to strive for greatness, even if they don't believe they can achieve it.

It is not easy to create a weak hero. Crafting a compelling weak hero requires carefully balancing their flaws and insecurities with moments of growth and determination. You must find ways to make the character relatable and likable, despite their shortcomings, by highlighting their underlying potential and the support system that believes in them.

Hope you enjoy this. If you have any questions about writing, inbox me. I will answer as best as I can.

[fandomsandfairytales]

Ooooooo I love this idea! I do have to say, it's got me thinking....what about bagpipes for battles 👀

first age elves going into battle with a marching band