#love interest dialogues

[ramen-writes]

Concerned love interest?!?? Yes please with extra angst in top!

"It's 2 am! where are you?"

"I'm your best friend, of course I care!"

"Where. Is. My. Wife/Husband?!" (In marriage of convenience trope)

"You need to stop, I'm serious. I don't want to lose you"

"I'm right here. You're safe. I'm not leaving. Stay with me"

"You said you were okay! You promised!"

"You idiot!" (With extra concern)

"You stupid stupid idiot! I'm so glad you're okay"

"you're safe now"

"you told me not to worry. You told me you were fine"

"It'll be over before you know it. Just push through"

"Please don't cry"

"Let it out. Cry all you want. I'm right here"

"stay" "always"

"Holding everything doesn't help, you know?"

"Why do you keep lying to me?"

"Why are you awake right now?"

"You said no secrets! You promised! I was terrified"

"Please look at me"

"[out of breath] I know I shouldn't be here, and I might have gotten the wrong idea from the call but-" [gets cut of by sudden hug] "[relaxes and hugs back] I'm right here, I always will be"

[theribbajack]

"Now, the vow will be honoured, and my Lord brother's soul will return."

Radahn stans keep winning, but I personally am in Miyazaki's walls rn

[welcometogrouchland]

[ID in ALT] I've made posts before about Talia/Dick co-parenting Damian moments (will never happen but let me dream) and this came to me in a vision. Took me ages to finish for some reason 😭 and then even longer to post

[lotus-pear]

the dialogue choices in this game should be more diabolical

[fumifooms]

Homegrown

Thistle and Delgal - Dungeon Meshi, Ryoko Kui

^ Fernando Pessoa / Killing Flies, Michael Dickman / A Brother Named Gethsemane, Natalie Diaz / Antigonick, Anne Carson v Oats We Sow, Gregory and the Hawk

[hellspawn-enjoyer]

Will always adore this line between them if you don't fix Karlach's engine. It shows such and important growth in their relationship even though they still can't touch. Plus it's cute how much Astarion wants to be closer to his fiery girlfriend of his own choosing without them having ever touched.

But also damn Astarion you are NOT helping, my poor girl is frustrated enough😭

[donelywell]

February 29- March 2 2024

The first time Sonic went Super in Road Trip wasn't exactly as stunning to Tails as other au's and stories.

Tails is like maybe 5 here (I'm not actually that organized on the timeline for this au yet, I'm getting there though, things are getting in order.) and he wasn't forced to grow up and be a hero in this au. So he's a bit more childish than canon Tails because he doesn't feel as pressured to mature and grow up fast. Plus, he genuinely thinks Sonic is going to die and this is the last time he see's him, so tears are bound to come down.

Part 1

[roomba-mangga]

Curry pt. i // Curry pt. ii

yeah alright okay. fine. cool. alright. yeah

[bonefall]

Hey, what makes a character a 'plot device but not a character'? And how do you not do that? I'm trying to do it on purpose but also I need to still make them interesting because it's on purpose, yknow?

A good skill to pick up is to learn to criticise criticism itself. A "plot device" is simply a thing that moves the plot along, it's a neutral literary analysis term! Usually, when people are angry that "a character has been used as a plot device," it doesn't mean they hate plot devices. It means they're gesturing at something deeper.

Runningwind and Bumble are equally plot devices in their deaths. They are both killed by the antagonist to escalate political tension. Runningwind is rarely "accused" of just being a plot device, and yet, we're talking about Bumble for the same thing.

So, why?

Well, Runningwind is just a background character, but in life, he was a part of the community. He was characterized as impatient but responsible. Yet, he wasn't SO important that he died with a bunch of unresolved plot threads.

He is mostly an extension of the entity of ThunderClan. His killing by Tigerstar, and the fear and paranoia that settles on the group after this, feel like a progression of the story insteas of something forced.

Bumble, on the other hand...

Is hated immediately by Gray Wing, when she's established as Turtle Tail's friend. Bumble's abuse at Tom the Wifebeater's hands invites even MORE investment. The rejection is shocking and upsetting. There's a story there about our main characters being imperfect; jealous, bigoted, and judgemental.

But, she is simply killed off. Everything they set up for this character is gone with little personalized fanfare. It's not a tragedy with a lesson about cruelty, or something anyone regrets.

It's just... plot. Gray Wing whinging that no one will like his shitty brother now that his body count is 2.

More than that, in the discussion of women in particular, "Fridging" was coined to give a name to the way women characters often don't get their stories told at all. There is a CULTURAL trend of female characters facing disproportionate violence, for the sake of advancing male plots.

Bumble has a lot going for her. Petal had a lot going for her. Turtle Tail had a lot going for her. Bright Stream had a lot going for her. When they died, they took their potential with them.

It's not always wrong to kill off a character of high potential, mind you. In Gurren Lagann, Kamina's death is sudden and shocking, leaving a massive hole in the hearts of the cast that never heals. Grappling with that loss, but also letting his memory fuel them, is a major theme of that story.

All that to say... there's no formula for avoiding it. You've gotta identify what the deeper issue is, in your specific narrative.

I can't say for certain what that will look like for your story, but here's some things I keep in mind;

When you make characters who exist to die, make sure they're people before you axe them.

Ask yourself; what about them does the cast miss?

If they just miss them because they were (pre-existing relationship), go back to the drawing board.

Fluttering Bird as an example. Who was she? Dead sister. Why do they miss her? Dead sister. No traits until after her death.

Runningwind was short-tempered and helpful. Kamina was a valuable leader who made people believe in a brighter future. Swiftpaw was fiesty and desperate to prove himself. The better characterized, the more profound the loss usually is.

If this is a female character who is dying just to serve the plot, be aware of cultural bias and tropes. How is the gender ratio looking in your cast? Is this happening disproportionately with your girls?

Note how Quiet Rain's litter had both a boy and a girl, but the girl was chosen to be "weaker" and wither away.

And how most of the time in DOTC, whenever a man had to be upset, a girl would get killed for it.

If you ever feel like the character on the chopping block is NOT a full character, ask yourself why it needs to be a character at all. You don't need to spend narrative time building out someone when a literal object of high value might suffice.

"My sister died when I swore to protect her and I can't face my family" = Old. Tired. Ive seen this.

"I lost my heirloom sword when I swore to protect it and I can't face my family." = Fascinating. Why was the sword so valuable? Will they really not take you back? How did you lose it?

When you do kill off "high value" characters, try to make sure you're not leaving too many plot threads hanging. Or at least make a point of how they will never get closure.

[caluupin]

I am so normal about act 5

[elfcollector]

I feel ill. All the fools and villains who ever fell for my ploys, they're — they're here!

[retrofps]

hey wait a minute

[heydragonfly]

alright i know lots of folks don’t love the chaos redesign and some folks are saying they look like meg which like i get, esp with the singular wing but to me? they look like Nyx. they look like they molded their new appearance in the image of their daughter, who they’ve recently reconnected with after aeons of separation. like they have not just emotionally become more the parent of Nyx, but physically mirrored this parenthood, this embodied connection, by choice

(this relationship which they’ve now lost, leaving them alone, again)

(until a certain princess of the dead arrives)

[cinematicnomad]

9-1-1 ▸ 2.12 chimney begins

[galedekarios]

Gale's Hidden Dialogue, Epilogues (And Bugs) Explained by SlimX

[buwheal]

In all seriousness though, did you pull something? It'd definitely be easy enough, especially with all the hardware you have to move between locations. Eugh