#multifaceted complex character in the show

[fishslappping]

Ugh all of these changes I just can’t get behind this woke adaption like in the books Louis was a white plantation owner (and obviously that’s so bad like racism sucks 😔✊) but now that he’s [whispers]black …he has like no blame and everyone hates Lestat - AND Nicki now!! There wasn’t any racism in France especially by the 1900’s and like I just don’t get why everything has to be about race I think I’m gonna stop watching i can’t believe they’ve done this

[earl-grey-love]

I love self inserting into a show so hard that my insert's presence changes the whole trajectory of the plot.

[imastoryteller]

How to Craft a Compelling Morally Grey Character: A Step-by-Step Guide

Step 1: Define the Character’s Core Traits

Identify Strengths and Virtues: List positive traits that make the character likable or admirable. These could include bravery, intelligence, loyalty, or compassion.

Identify Flaws and Vices: List negative traits that add complexity and realism. These could include arrogance, selfishness, impatience, or a propensity for violence.

Step 2: Establish Motivations and Backstory

Create a Detailed Backstory: Develop a background that explains why the character has their particular mix of virtues and flaws. Consider their upbringing, significant life events, and personal experiences.

Determine Core Motivations: Identify what drives the character. Is it revenge, love, ambition, survival, or something else? Motivations should be realistic and relatable.

Step 3: Develop Moral Ambiguity

Set Up Moral Dilemmas: Place your character in situations where they must make difficult choices with no clear right or wrong answer. These dilemmas should challenge their morals and reveal their complexity.

Showcase Contradictions: Allow the character to make decisions that might seem contradictory. For example, they might commit a crime to protect someone they love, revealing both a moral and an immoral side.

Step 4: Create Dynamic Relationships

Construct Meaningful Relationships: Develop relationships with other characters that highlight different aspects of your morally grey character. These relationships can help explore their multifaceted personality.

Use Relationships to Drive Conflict: Relationships can be a source of moral conflict and development. Conflicts with friends, family, or rivals can push your character to reveal their grey areas.

Step 5: Show Consequences and Growth

Illustrate the Impact of Actions: Show the real-world consequences of the character’s morally ambiguous decisions. This adds realism and stakes to the story.

Allow for Character Growth: Let your character evolve. They might become more virtuous or more corrupt over time. This evolution keeps the character dynamic and interesting.

Step 6: Balance Sympathetic and Unsympathetic Traits

Make Them Relatable: Ensure the character has traits or experiences that the audience can relate to or sympathize with, even if they do questionable things.

Maintain Complexity: Avoid making the character too sympathetic or too unsympathetic. The balance between good and bad traits should make the audience feel conflicted about the character.

Step 7: Use Subtlety and Nuance

Avoid Clear Labels: Do not overtly label the character as good or evil. Allow their actions and motivations to speak for themselves.

Employ Subtlety: Use nuanced behavior and dialogue to reveal the character’s moral complexity. Avoid heavy-handed exposition.

Step 8: Test and Refine

Seek Feedback: Share your character with others and seek feedback on their complexity and believability. Adjust based on constructive criticism.

Refine Motivations and Actions: Continuously refine the character’s motivations and actions to ensure they remain compelling and consistent throughout the story.

Example: Crafting a Morally Grey Character

Core Traits:

Strengths: Intelligent, determined, loyal.

Flaws: Arrogant, manipulative, vengeful.

Backstory:

Grew up in a tough neighborhood, witnessing crime and corruption.

Lost a loved one to a gang, fueling a desire for revenge.

Motivations:

Driven by a need to protect their remaining family and seek revenge.

Moral Dilemmas:

Joins a criminal organization to infiltrate it and bring it down from within.

Struggles with the ethical implications of committing crimes for a greater good.

Relationships:

Has a strained relationship with a sibling who disapproves of their methods.

Forms a complicated friendship with a morally upright police officer.

Consequences and Growth:

Faces the legal and emotional consequences of their actions.

Gradually questions their own morality and seeks redemption.

Balance:

Helps the community but uses unethical means.

Shows moments of kindness and ruthlessness.

Subtlety:

Reveals their inner conflict through small actions and dialogue.

Avoids overt explanations of their morality, letting the audience interpret.

By following these steps, you can create a compelling morally grey character that adds depth and intrigue to your story.

---

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[basketcat]

i should never trust anime fans. mushoku tensei actually just sucks. why were people all over this.

[nightcolorz]

whenever I post about Armand having a positive trait I get a flood of comments like😡 don’t u know he did this evil thing? Like yes I do CUNT I love that evil thing actually, and me pointing out Armand having a positive character trait doesn’t in anyway negate all of his negative character traits 😭😭 and vice versa. Believe it or not Armand can have flaws and strengths 🤯🤯 he can do bad things AND good things 🤯🤯. A character who’s lived for over 500 years doing a lot of different types of things? Crazy. wow it’s almost like a book series + tv show that’s central theme is finding humanity and things to love about monsters has complex monster characters that both have lovable good traits and crazy evil traits. A multifaceted character that’s messy and self conflicting and human and monstrous at the same time? Hmmm sounds fake, I have a below elementary school level understanding of writing so i believe some characters r good guys and some characters r bad guys and bad guys can’t have good traits and good guys can’t have bad traits 😁 just like real people

[asgardian--angels]

Izzy Discourse Masterpost

Hey all, given the amount of awful splintering and wank happening in ofmd fandom rn regarding Izzy's death, including the flat-out immature and unacceptable harassment of David Jenkins and Co, I wanted to just make this one all-encompassing post to address the various grievances and complaints I've seen (almost entirely on Twitter). If I've missed anything, please feel free to add on. I'm putting most of this under a read-more for length.

Please be aware, I say all of this as an Izzy fan. I've loved his character since season 1, and while I was sad to see him go, I completely understand and support David & Co's reasons for concluding his arc, and I think it was done respectfully in a way fitting to his character. So let's break down some of the takes I've seen. I am not referencing specific posts or people here, I just want to address the general themes that I keep seeing about why some people are upset.

Izzy's death served no narrative purpose.

Look, this is one that I'm sure fans will debate for the rest of the hiatus. It's completely within your right to disagree with this writing choice, but Izzy's death did serve a narrative purpose in the story that David Jenkins is telling - and he has spoken to this end in several interviews already. I can only summarize here, and fans may find other perspectives in time as well. What we need to remember is that Our Flag Means Death is, at the end of the day, Ed and Stede's love story. That has been made abundantly, explicitly clear. The show has been fantastic at fleshing out the other supporting characters, but that's what they are - supporting characters. They often have their own subplots but ultimately the narrative seeks to move Ed and Stede's story forward and they are tools to spur Ed and Stede's growth or mirror their struggles. Izzy has been a wonderfully complex, multifaceted character but we must remember that all characters are vessels through which stories are told, lessons are imparted, and metaphors are established. He's not a real person who 'deserves' any particular fate. David said he's always intended for Izzy to die at the end of his arc.

Firstly, Izzy (now canonically, through his own dying words) represents part of Blackbeard. He enabled and encouraged Ed's darker side, they were mutually toxic forces to each other. Ed is attempting to cope with and move on from this phase of his life, and like Stede in season 1, set out a free man, unshackled by expectations and loose ends of those he's hurt and been hurt by (though we realize this is an ongoing process that takes time). This lovely gifset sums it up nicely, with Izzy being the Mary parallel, and making s2 mirror s1. Blackbeard is both Ed and Izzy; Ed cannot be free of Blackbeard while Izzy is in his life, and when Izzy is gone he will never truly be Blackbeard again. They are each other's rotting leg!! Yet, they love each other - and David has said that for Ed, this has developed into a mentor and father relationship, and where Ed has previously despised his father figures (his actual father, Hornigold) he does not want to lose Izzy. This time, Izzy brings out Ed, not Blackbeard - and that's where we get the callback to 'there he is', bringing their impact on each other full circle, freeing Ed, getting approval of sorts that he never had, to be soft, to be loved (and there are parallels to Zheng and Auntie here as well that others have made) from that force that drove him to stay in line all this time. David has said in multiple interviews now that he was going for the idea of the mentor/father figure dying and the hero living on and trying to do justice to them.

From Izzy's side, Izzy cannot be free while Edward remains either (Mary cannot find peace while Stede remains). The scar never truly healed, the leg will always be a reminder. At this point the argument becomes 'yes, but why did he have to die? Why not just sail off with the crew of the Revenge?' David has stated that he feels they've done everything they can with, and for, Izzy; he's come leagues from season 1, he's found community, he's found hope, he's found new parts of himself, and he's made good memories. He's found worth outside of what he can be to others. That's more than most pirates could hope for. Where would his character go from there, when the Golden Age of Piracy he belongs to has burned to the ground? Would he stay around and whittle on the Revenge? If he were a real person, yes, that would be lovely, and he'd deserve all the quiet peaceful happiness in the world. But as I explain several points below, he's not interested in being a captain. He's not up for the hard physical labor of regular crew, and he's extremely overqualified for that besides. He has served his narrative purpose, and symbolically, to enter a new age, everything must go. He's connected to the old age of piracy, to the Republic of Pirates, that is now demolished. To him, fighting for what he believes in, for the family he's found, bringing down an army of British twats in the process, is how he should go. It's a pirate's death, and as Izzy's said, he's a pirate - unlike Blackbeard who's succeeding in breaking away from piracy, Izzy never wanted to stop being a pirate, throughout his arc. To me, that's why Izzy remains trapped in the narrative, trapped in history, whereas Ed and Stede will escape history. They leave piracy, and canon, behind, while Izzy was content to remain a pirate and face a pirate's fate.

Burying him on land, right next to Ed and Stede's beach house, shows that his sacrifice was not in vain - they start this new life together, thanks to Izzy's mentorship, his role in their lives that sometimes for worse, sometimes for better, made their love what it was and made their breakaway possible. The new age is built on the foundations of the old age, and is stronger for it.

As we're well aware by now, David tweeted that there's no version of ofmd without Izzy. Whether that's literal or not, symbolically it's true. Izzy's arc of growth affected everyone on the Revenge. Jim fondly remembered fighting for a time when life meant something on that ship; the crew helped give Izzy new meaning in life, and he helped them in return. When he dies, they mourn and have a funeral; that wouldn't have happened under Blackbeard's watch in episode 2. His life meant something to them. He influenced Ed and Stede immensely, and they will take that with them. As David's said, they're all a family, and Izzy was a part of that family, and his loss unites them and brings them closer to continue to fight for that family they've built. It's a tragic, sudden death of someone they've all grown to care for, and that steels their reserve to keep the torch lit. They literally sail off into the sunset to hunt down Ricky to avenge Izzy; he will always be a part of this show. And, of course, with the brief appearance of seagull Buttons, the door is left open for anything.

If this was The Izzy Show, then sure, we'd be content to see him simply engaged in shenanigans every episode. But the plot, and therefore the characters, need to keep moving forward, and Izzy got his growth and development. He got what he needed for his character to have closure, and he served his symbolic narrative purpose in Ed's (and Stede's) story. You may have your own ideas and perspectives, and that's great - that's what fandom is for. But we cannot say his death was pointless when David Jenkins and the writers clearly had a well-defined motive for pushing the narrative in this direction. I actually think the narrative around Ed and Izzy is the most well-developed in the entire show. I for one am so happy we got such an interesting and complex character, and had the brilliant Con O'Neill to portray him.

Izzy's growth & healing arc was rendered pointless by his death.

As this post so eloquently puts it, it's pretty bleak to have the outlook that taking steps to heal and find meaning in life is worthless if it's later lost. Seeking happiness and self-actualization is worthwhile for its own sake; no one knows what's down the road, and we all die eventually. Find meaning in life now. Would you rather have had Izzy not miss with his bullet in ep2? He was given the chance to experience joy, freedom, and hope for the first time in potentially a long time, and when he died he did so with those happy memories. As mentioned, Izzy's death was decided long beforehand given the narrative, and the point of storytelling is to make you feel emotions. We were given impetus to connect and relate to Izzy's character through his process of healing, so when he did die, we felt it keenly. That's how stories work actually! We felt what Ed felt. It moved us. It's not a bad thing that Izzy's arc made him more likeable to fans before his death. It's not a bad thing to lose a beloved character - guess what, it happens constantly in stories - and it's not bad to grieve over it either, but to say that it made his journey pointless is just not true. People saying that Con must be upset that they snatched his character away from him after getting to develop him so much - again I say, would you rather him have died in ep 2 before he had the chance to grow? Or how about in s1, when the crew tried to mutiny? How'd you feel when Stede killed him in his dream, in the very first scene of the season? I think Con's probably glad for the opportunity to have explored this character so much in season 2. Ask him if he thinks it was pointless.

Killing off Izzy was bad for queer rep/burying your gays/"Izzy was the queer heart of the show"

I'm putting 'bury your gays' on the top shelf so people can't use it when it doesn't actually apply. Most of the main cast of characters in this show are queer, and it's a show about pirates with a good amount of violence. Ergo, chances are a queer character will die in the course of Things Happening In Stories. Izzy didn't die because he was queer, and he wasn't the token queer rep. Please turn your attention to the boatloads (literally) of queer characters that are happy and thriving (how about the LuPete wedding immediately afterwards??). As for Izzy being the "queer heart of the show," this is literally the Ed and Stede show. You know, the two queer leads whose queer love the show revolves around, per David Jenkins himself. I'm glad folks connected with and derived joy from Izzy's growth and especially his performance in Calypso's birthday, but he is not the main character of the show. The queer heart of the show is in fact, the entire show, all of their characters and the community & found family they create aboard the Revenge. Not to mention the fan community as well. Izzy was never carrying the show's representation on his back, and frankly that's an absurdly wild take to have (esp when he spent most of s1 actively working against the main queer relationships in the show, attempting to maintain the oppressive status quo of pirate society).

It was bad and irresponsible to have a suicidal character die

Are we forgetting the entire first half of the season where Ed, who was suicidal, kept trying to passively kill himself because he felt he was an unlovable monster, only to be shown that he is in fact loved unconditionally and it gives him the strength to fight for life and triumph against his own self-doubt? The show has spent quite a lot of effort telling viewers that despite feeling damaged or broken you are worthy of love and that you are loved even if it may be hard to see it when you're in a bad place. That you don't need to be fully healed to deserve love and care, and that love and support will help you along your journey. It's incredibly wild to disregard this major plot point and fundamental message of s2 to try and spin this the opposite way for Izzy's character.

Secondly, where are people getting 'Izzy is suicidal' from? Are we going back all the way to episode 2, when he's at his lowest point and fails at his suicide attempt, only to be figuratively reborn after removing the metaphorical rotten leg? By the time of the finale he's shown to be in a good place, thanks to the arc of healing and growth he's gotten, through the support of the Revenge crew and his 'breakup' with Blackbeard allowing him to find his own way in life, realizing he doesn't need a purpose to have value and enjoying his time on the Revenge and the bonds he's made with Stede and the crew. He is, in the words of Ivan, "the most open and available I've ever seen him" by the finale. To take episode 2 as evidence he's suicidal is to erase his whole season of growth, which is an ironic thing to do in the context of these arguments. There's no canon evidence Izzy Hands was suicidal post-'Fun and Games'.

As for 'irresponsible,' once again I say, David Jenkins is not your therapist, he's not 'Dad,' and has no responsibility to tell his story any other way than he intended to tell it. Please find media that gives you what you want or need, and if the death of a fictional character causes you this much distress please seek help. I mean this kindly but seriously.

Killing off Izzy was ableist/bad for disability rep.

I point once again to the rest of the characters, several of which are disabled in varied ways. There are literally multiple other amputee characters specifically. It's not good storytelling to wholly avoid killing off any character that is disabled/queer/poc/female or [insert marginalized group here], especially when a) it makes sense narratively, and b) there's plenty of representation of these groups in the media in question. The answer isn't making such characters invincible and immortal, it's increasing the number of these characters in shows so it's not devastating when some do die in the course of natural storytelling.

OFMD was my comfort show/safe space show, now it's ruined for me

I am not trying to be insensitive here when I say that's a problem that is yours and nobody else's. David Jenkins created this show with a three-season vision and a story in mind, and he is telling that story to the best of his ability the way he wants to. It's already been said that he and the crew did not anticipate the fandom becoming as large and passionate as it has. The plot of the show was never intended to be 'fan service,' and it's ironic that there were people complaining this season that there's been too many fanservice tropes, up until David and the rest of the writers room made a narrative decision they did not like, then the complaints changed to not coddling the fans enough.

We as viewers can derive joy from this show, it can be a comfort to us, it can be important to us. But it was not designed specifically for that purpose, therefore it cannot fail in that respect. We do not have the right to harass writers for not steering the ship in the direction we want - it's their work of art, and we can choose to either come along for the ride or not. It's rare to see creators actually given the chance to tell their story the way they intend (budget cuts aside), so let him do that. He should not cater to fans, or cave and change the story to appease us. Respect his right to create his art, and remember you have the right to create your own. That's what fanfiction is for - write fix-its to your heart's content, but keep these realms separate. David Jenkins and Co hold zero, and I mean zero, responsibility to you. He could not please everyone no matter what he did, it would be fruitless to try, and it would certainly compromise the quality of the story he set out to tell.

You are absolutely allowed to dislike choices made in any show. Curate your media experience. If this show no longer brings you joy, stop watching. But it was never David's purpose nor responsibility to juggle the mental health of millions of fans. Trying to put that on him will only make him less enthusiastic about interacting with fans or continuing to make this show. This isn't rocket science. You're responsible for yourself, not this guy you call 'Dad' that you've developed a parasocial-therapist relationship with.

Izzy should have become captain of the Revenge.

Really?? Firstly, we did actually get that already in s1. He was tyrannical and the crew mutinied. But even if you think 'well after his character arc he'd be better suited to it,' it goes against the point of this arc. He's found value in not having a distinct role or purpose on the ship, decoupling his worth from the job he's expected to perform. He's found his place amongst the crew, not commanding it. There's no narrative reason to put him in charge when he's expressed no further interest in slotting himself back into a role full of pressure and expectations.

Con O'Neill was only told halfway through filming, it's cruel to just kill off the character he loves so much.

Guys, he's an actor. More than that, an actor with a theater background. I think he's used to characters dying. You don't need to look out for him. Con and David spoke one on one about it at length so they were on the same page, and David even said that Con took it well. I'm sure Con had input, just as other members of the cast have influenced their characters' stories, costumes, backstories, etc. Do you really think David Jenkins hurt Con's feelings or something? The writers (remember, it's not just David, it's a whole team of hard-working people coming up with these ideas) gave Con such a chance to shine this season, really developing Izzy beyond what he was given in s1 and letting Con show off his full acting range. Why are you only focusing on the destination rather than the journey? Sure, Con's probably sad to see Izzy go, but please do not project your distress onto him or try and accuse David & Co of being 'cruel' to their cast. That's really ridiculous. It's constantly evident how close they all are.

More importantly, do you actually, seriously think that Con O'Neill would want fans to harass each other or the writers over his character? The man who preaches being kind above all? There is no better way to make an actor uncomfortable about a show and its fanbase than to start treating fictional characters like they're more important than real people. He would not want you to bully people over Izzy Hands, and it's mind-boggling that some of you have convinced yourself otherwise.

Lastly, I just want to talk about the fact that some people are holding OFMD to absurdly high expectations.

Our Flag Means Death has been a pioneer series for its diverse representation, earnest storytelling, and themes of hope, community, and love. It's fine to discuss aspects of the show with a critical eye, but so much of the discourse has truly felt like folks are trying to find fault in a show that is leagues ahead of the average tv series that we still enjoy. How many fan favorites are killed off all the time? How many plotlines are scrapped, or drawn out without closure, or contradicted the very next season? How many shows are indifferent or actively hostile towards their fanbase? How many have any queer characters, or actually do bury them? The bar's so low, and OFMD has risen above to give us so much. Some are holding the show to astronomical expectations, waiting for it to fall from the pedestal it's been placed on. If something you don't like happens in the show, it's not suddenly ruined or demoted to being ~just as bad as those other shows~. Give them some breathing room, have some perspective on how progressive the show is, and that perfection is impossible, especially meeting every single viewer's idea of it. This is basically a repeat of the recent Good Omens drama, with an absurd number of people harassing Neil Gaiman for breaking up Aziraphale and Crowley and leaving the second of three acts on a very predictable cliffhanger. Let stories be told, let them unfold as they may, and you are free to leave anytime. It's so wonderful that more queer love stories are becoming popular and even mainstream, but let's not shoot ourselves in the foot by tearing them down when they don't go exactly the way you want it, which often seems to mean no drama, no character deaths, and therefore no conflict or even plot!

Just, please be civil human beings, and while this seems to be a difficult thing for so many fandoms to do, just keep your fan opinions in the fan space. Never bring your grievances to the writers, never bully them and persecute them for telling a story that you opted into viewing. That's something that goes entirely against everything this show, and this cast and crew, have imparted onto us - the importance of kindness, support, community, and love. I'll say it again because it bears repeating: the fate of a fictional character is never more important than how you treat real people. Just be kind in real life, which includes the internet. Thanks.

Now please, let's work together to ensure we get a season 3. There's so much more story to be told, and if you want to see Izzy back, whether that's as flashbacks, as a ghost haunting the inn, or in the gravy basket, we'll need more episodes! #RenewAsACrew

[ellstronaut]

Going back to this debate

I know Ellle is a multifaceted individual that much is obvious she’s not one dimensional she has many elements to her personality. Additionally, it’s important to remember that even on the spectrum of masculine and feminine, Ellie isn’t completely one or the other. She exists in some sort of grey area between them, embodying both masculine and feminine traits. She’s not defined by one end of the spectrum, but rather by the interplay of these two extremes.

Yet at times the characterisation of Ellie is laced with internalised misogyny. And highlights the way “masc presenting” lesbians are treated in real life tied down to the “man” in the relationship why is Ellie mostly written as the dominant one especially when coupled with fem reader why do we head canon her as a top when it’s literally canon that she’s a switch? Why is there an infinite amount of “ellie taking care of the reader on her period” scenarios outnumber “Reader taking care of Ellie on her period” Ellie written as tall towering over fem reader and not like she’s literally 5’5

The fact is that there’s a heteronormative slant to the way people write her. Like I said almost never written as a switch, but a top. To some extent been portrayed as tall and dominating, never small or vulnerable. And Santa Barbara Ellie is often sexualized even though she is deeply traumatized and emotionally tormented. The problem is that people are viewing her through male-centric lenses, reducing her to an object of desire rather than a fully fleshed out woman with a complex, nuanced personality which includes many dimensions, some of which may be considered feminine.

There is no specific way to be a “masc lesbian” a woman nor feminine and express your femininity. Nor should that separate her from her womanhood/femininity. in a way it’s her way of showing how feminine she is. maybe not stereotypically through outward appearances, but her general identity. she’s a woman who experiences the same struggles that women do, Obviously she doesn’t waver just on the lines of black and white, she’s all rounded. In between. Grey area. The point I’m trying to make is that she’s all and above, you can be both masc and fem. I would add that Ellie's femininity is often overlooked or even belittled by people who only focus on traits that appeal to them. Not her emotional intelligence, her caring nature, her resilience, her dedication to her loved ones. Fuck she’s also a soft heart and a tender soul. These aspects of her are just as important to her character, she is a whole person ffs, exceptionally fleshed out

So fuck

“the hot wife and her hot boyfriend”

Why not

“The hot wife and her hot wife”

“She’s so boyfriend

Uh

“She’s so girlfriend”

Santa Barbara/Seattle is literally at her most vulnerable, disheveled state that girl is literally plagued with trauma, stuck in a limbo of “do I seek vengeance in the name of losing my family and absolutely everything or stay and suffer in silence (at who’s expense?? Hers) Yet we sexualise tf out of her, the most vulnerable pinnacle of existence—glorified and romanticised bc it’s “hot”

this is not a dig at anyone you’re free to write whatever tf you want bro it’s your platform but pls let’s not bs and pretend as of this doesn’t occur

[thewriteadviceforwriters]

any tips would be appreciated, thanks! :)

hi, i was wondering if u could help me with writing a specific type of character? i have a character who’s a man with insecurity issues and he ends up acting weird towards the women around him (basically, he’s internalized the idea of “getting the girl makes you more of a man” without really realizing it). i want him to realize what he’s doing during the story and go thru a kind of “redemption arc” but how do i:

1. make it believable that he doesn’t realize what he’s doing/the harm he’s causing bc he grew up learning that message of toxic masculinity

2. make the “redemption arc” realistic and feel earned?

Hey there, fellow writer! Thanks so much for reaching out with such a thoughtful and complex character question. It's fantastic that you're diving into the nuances of toxic masculinity and character growth. This is a challenging but incredibly important topic to explore in fiction. Let's break this down and dive deep into crafting this character arc.

Understanding Your Character's Background

Before we get into the specifics of your questions, it's crucial to fully understand your character's background. This man's insecurity and internalized toxic masculinity didn't develop overnight. Consider factors like:

Family dynamics: What messages did he receive from his parents or guardians about masculinity and relationships?

Peer influences: How did his friends and classmates reinforce or challenge these ideas?

Media consumption: What movies, TV shows, or books shaped his view of male-female relationships?

Cultural context: How does his broader cultural background influence his beliefs about masculinity?

The more you understand about where these beliefs came from, the more believable his initial lack of self-awareness will be.

Now, let's tackle your specific questions:

Making it believable that he doesn't realize what he's doing/the harm he's causing

The key here is to show how deeply ingrained these beliefs are. Here are some strategies:

a) Normalize it in his world: Show other characters, especially male friends or family members, exhibiting similar behaviors without consequence. This reinforces the idea that it's "normal" or even expected.

b) Internal justification: When he acts in problematic ways, give him internal monologue that justifies his actions. For example, if he makes an inappropriate comment, he might think, "She'll appreciate a confident guy who speaks his mind."

c) Misinterpretation of reactions: When women react negatively to his behavior, have him misinterpret their responses. He might see discomfort as shyness or rejection as playing hard to get.

d) Positive reinforcement: Occasionally, have his behavior "work" in superficial ways. Maybe he gets a phone number or a date, reinforcing the idea that his approach is effective.

e) Backstory reveals: Gradually reveal moments from his past where these beliefs were instilled or reinforced. This could be a father figure praising him for "manning up" or friends mocking him for not being "alpha" enough. (I hate that word.)

f) Contrast with "worse" behavior: Show other characters behaving even more egregiously, making his actions seem mild in comparison.

g) Good intentions: Highlight moments where he genuinely believes he's being helpful or chivalrous, even when his actions are problematic.

h) Cognitive dissonance: When confronted with the negative impacts of his behavior, show him struggling to reconcile this with his beliefs. He might dismiss criticism as overreaction or make excuses.

2. Making the "redemption arc" realistic and feel earned

This is where the real challenge lies. A believable redemption arc for this character needs to be gradual, challenging, and multifaceted. Here's how to approach it:

a) Incremental realization: Don't have him suddenly "see the light." Instead, show small moments of doubt or discomfort with his own behavior building up over time.

b) Consequences: Let him experience real, significant consequences for his actions. This could be losing a friendship, facing professional repercussions, or a moment of clear rejection that he can't misinterpret.

c) Mentor figure: Introduce a character (could be male or female) who challenges his views in a way he can't easily dismiss. This person should be someone he respects or admires.

d) Empathy building: Create situations where he's forced to see things from a woman's perspective. This could be through a role reversal, a close female friend sharing her experiences, or even him witnessing clear harassment of someone he cares about.

e) Internal conflict: Show him struggling with his changing views. He might backslide or have moments of defensiveness as he grapples with his ingrained beliefs.

f) Active learning: Have him actively seek out information and perspectives on toxic masculinity and healthy relationships. This could involve reading, attending workshops, or having difficult conversations.

g) Apologizing and making amends: Show him genuinely apologizing to people he's hurt and taking concrete actions to make amends. This shouldn't be easy or immediately accepted.

h) Ongoing process: Make it clear that this is an ongoing journey, not a destination. Even towards the end of the story, he should still be learning and growing.

i) Paying it forward: Have him start to challenge toxic behavior in others, showing that he's internalized the lessons he's learned.

j) Redefining masculinity: Show him developing a new, healthier concept of what it means to be a man. This might involve exploring traditionally "feminine" interests or expressing vulnerability.

k) Setbacks: Include moments where he falls back into old patterns, but now recognizes and corrects himself. This shows the ongoing nature of change.

Tips for Writing This Arc Effectively:

Show, don't tell: Rather than having your character explicitly state his growth, show it through changed behavior and reactions.

Avoid the "savior" trope: Be cautious about having a woman "fix" him. While female characters can play a role in his growth, the work should ultimately come from him.

Balance sympathy and accountability: While we want readers to sympathize with your character's journey, be careful not to excuse his harmful behavior.

Use multiple perspectives: If possible, show how other characters perceive his behavior and his changes. This can provide valuable context and contrast.

Intersectionality: Consider how other aspects of his identity (race, class, sexuality, etc.) might intersect with his views on masculinity.

Research, research, research: Dive into academic and personal accounts of toxic masculinity, its impacts, and paths to change. The more you understand, the more nuanced your portrayal will be.

Sensitivity readers: Consider using sensitivity readers to ensure you're handling this delicate topic respectfully and accurately.

Micro-changes: Focus on small, specific changes in behavior and thought patterns rather than broad, sweeping transformations.

Realistic timeline: Give this arc the time it needs. Real change doesn't happen overnight, so don't rush the process.

Internal and external changes: Show both how his thoughts and his actions evolve throughout the story.

Example Arc Outline:

Introduction: Establish character's problematic behavior and beliefs.

Inciting incident: An event that first makes him question his actions, even if he dismisses it.

Rising action: Accumulation of experiences that challenge his worldview.

Turning point: A major event that forces him to confront the harm he's causing.

Crisis: Internal struggle as he grapples with changing his deeply held beliefs.

Climax: A moment where he must choose between his old ways and his evolving understanding.

Falling action: Actively working to change and make amends.

Resolution: Showing his ongoing growth and new perspective, while acknowledging the journey isn't over.

Remember, writing a character like this is a delicate balance. You want to show the reality of toxic masculinity and its impacts while also offering a path to growth and change. It's challenging, but when done well, it can be incredibly powerful and thought-provoking.

Throughout this process, it's important to treat your character with empathy while not excusing his behavior. The goal is to show that change is possible, but it requires genuine effort, self-reflection, and a willingness to challenge deeply held beliefs.

Lastly, don't forget to take care of yourself while writing this arc. Exploring topics like toxic masculinity can be emotionally taxing. Take breaks when needed, engage in self-care, and remember that by thoughtfully addressing these issues in your writing, you're contributing to important conversations about gender, relationships, and personal growth.

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. 

[vanrougenui]

the mischaracterization of idia shroud should be NO must be studied under the microscope because its absolutely crazy

these so called 'idia fans' have such unbelieveable takes about the poor boy i feel disgusted

the issue with a big portion of the twst fandom is that you guys are illiterate obvious things about the characters just goes over the heads of some of you

most people dont reach book 6 to read it and they dont read card stories properly OR at all idk and just base their views and opinions of the character they like from things they have seen on internet from like one glance and thats it

twisted wonderland characters are so multifaceted, so well written. they have so many things about them, complex backstories and personalities that people just choose to ignore and base their perception of them on outdated tropes and clichés

this not only affects idia but every character in the game but i noticed it the most with idia which baffles me because book 6 does such a good job at developing him as a character. we see how he is, his relationship with ortho, how he is ready to give up everything for something he loves so dearly, yet the fandom just reduces him to some 'perverted otaku creep' thats is just bewildering i am so perplexed with this

idia is someone who has a big heart. yes, he is a shut in loser who cant get close to people and struggles with human connections but can you blame him? he knows his fate, he knows he will have to deal with something that was not up to him to decide. in his childhood he lost the very person that he loved the most and made him happy, yet he blamed himself for it, while he was just a curious child who grew up in a secluded environment. he wanted to be the hero to his younger brother but he lost him and was never able to get over the guilt of that. and you guys call this guy a pervert? okay, when in the story does he act like a pervert then? HE DOESNT YEAH.

these weird fetishes people like to have really harm the characters. by just reading the vignettes you can learn so much about the characters, while most of you guys just come up with most insincere phony claims about them. okay you might not have the card to read it (which is a lame excuse everything is on the internet if you want to you can find it and read it) and yes going through the main story can be hard (which is also a lame ass excuse if you level up cards and can pass everything very easily) BUT LIKE THE EVENTS EXIST they dont require shit all you have to do is prettily sit and read and do lessons which is the bare minimum.

i think many of you just forget that twisted wonderland is a visual novel where you have to read dialouges yeah? and not just look at the character and say 'OH YOU I KNOW YOU ARE AN IDIOT AND YOU YOU WILL BE THE CREEPY YANDERE' stop that because of you guys people who get into this game just develop wrong opinions on characters.

dont get me started on fanfiction that mischaracterizes everyone...

i will not say no more this already ended up way too long and for your own good dont mischaractrize the twst characters or i might show up in your at 3am god knows

[azuretl]

Random Tsubakino rambling here…

A lot of people have been talking about Tsubakino and his pronouns since my last post. Thank you for loving him and respecting what he wants to be called!

But I think I need to clarify something…

His pronouns in the English translation are he/him. That’s what we were told by the manga editorial team. Editorial does not always reach out to tell the localization team HOW to address a character, and we’re incredibly lucky we got an answer. Just an FYI, I asked the project manager to talk to editorial literally months before we got an answer—it’s really rare that they get involved with things like this. I also asked the project manager if there were any additional notes or memos so I could get more insight on why Tsubakino uses he/him, and the answer I got was: no. The comment we got back was just “he/him.” Which I assume means the rest about this character is up to interpretation.

That might be why other language translations didn’t get the same memo. Localization and publishing might have also been done under a different umbrella and editorial couldn’t reach out to them? I wouldn’t know. So the localizers did their best and used their best judgement to address the characters(is what I think happened).

Tsubakino is a multifaceted character. He’s very complex and I wouldn’t blame ANYONE for thinking his pronouns may be she/her, he/him or they/them. And although editorial told us to use he/him, I honestly think, as a fan of the series, that Tsubakino wouldn’t have minded if someone else addressed him with a different pronoun as long as it’s not out of malice. He loves without borders or labels and that’s why we should treat him with the same respect.

That being said, there is definitely a part in the manga where Shizuka says that she sees Tsubakino as a sister. That can be taken in all kinds of different ways, like how a tomboy girl can be treated like a “bro” with the boys, or how I call my gay friend my sister. It’s an open-ended, boundless potential of what Tsubakino is as a person and proof of just how close and loving the two characters are for each other.

In my mind, Tsubakino is a symbol for everyone and anyone who just wants to love what they love. He can be anything you view him as because what’s important aren’t his labels but his boundless love. It’s important to keep in mind what he represents and not just what’s on the surface. Wasn’t that the lesson he was teaching us from the very beginning?

After thought: I have no idea who is translating the anime and I wouldn’t be surprised if they use a different pronoun for Tsubakino if/when he appears. I don’t know if they got the same memo or got any memos at all, so please be kind when he shows up in the anime. Everyone’s interpretation of him is different and I don’t think that’s really a bad thing when represents so much for so many people.

[writing-with-sophia]

How to write a good Anti-Hero? How to find the perfect balence, lay out a good personality + backstory?

I love your blog so much! Your suggestions are so helpful💕

Writing a good Anti-Hero

I'm glad that my blog can be of assistance to you! Here's a step-by-step guide to help you create a well-rounded anti-hero:

Identify Their Key Traits: Start by identifying the key traits and characteristics of your anti-hero. Consider what makes them different from a traditional hero and how those traits contribute to their complex nature. Are they cynical, charismatic, or morally ambiguous? List these traits to have a clear picture of who they are.

Develop a Compelling Backstory: Create a backstory that justifies the anti-hero's behavior and motivations. Their backstory should provide insight into their past experiences, traumas, or circumstances that shaped their worldview. Consider how their backstory influences their choices and drives their actions.

Establish Their Moral Code: Define the anti-hero's moral code and ethical boundaries. Anti-heroes often operate in shades of gray, so their moral code may be different from society's expectations. Determine what principles guide their actions and explore the conflicts that arise when their code clashes with societal norms.

Flaws and Vulnerabilities: Give your anti-hero flaws and vulnerabilities that make them relatable to readers. Flaws could include arrogance, a short temper, or a tendency to push people away. Vulnerabilities humanize the anti-hero and create opportunities for character growth and development.

Motivations and Goals: Clearly define the anti-hero's motivations and goals, which may be complex and multifaceted. Determine what drives them and what they seek to achieve. Their motivations can evolve throughout the story as they confront challenges and face personal revelations.

Create Conflicting Relationships: Develop relationships for your anti-hero that challenge their beliefs and motivations. These relationships can include allies, enemies, or ambiguous connections. Interactions with other characters can push the anti-hero to question their choices and evolve as a character.

Internal Conflict and Dilemmas: Explore the internal conflict your anti-hero experiences as they navigate their choices and actions. They may struggle with the consequences of their morally ambiguous behavior or question the validity of their goals. Internal conflict adds depth and complexity to their journey.

Moments of Empathy and Redemption: Provide moments of empathy and potential redemption for your anti-hero. Show glimpses of their capacity for goodness or selflessness, even if it's buried beneath their rough exterior. These moments can create emotional connections with readers and open the possibility for redemption arcs.

Growth and Change: Allow your anti-hero to experience growth and change throughout the story. This can involve challenging their beliefs, confronting their flaws, or reevaluating their moral code. Their journey should be transformative, leading to personal development and self-reflection. Remember to demonstrate your anti-hero's growth and transformation through their actions and choices. Instead of relying solely on internal monologues or self-reflection, emphasize how their behavior and decisions shift over time.

Avoid Excessive Villainy: While anti-heroes may engage in morally ambiguous actions, be cautious not to make them excessively villainous or unsympathetic. Give them redeeming qualities or justifications for their behavior to maintain reader interest and empathy.

Consistency and Complexity: Ensure consistency and complexity in your anti-hero's personality. They should feel like fully fleshed-out individuals with nuanced emotions, motivations, and reactions. Avoid one-dimensional portrayals and explore the various facets of their character.

Reader Engagement: Keep readers engaged by providing them with a window into the anti-hero's thoughts, emotions, and motivations. This can be achieved through introspection, dialogue, or interactions with other characters.

There are some questions to help you develop a well-rounded anti-hero with a balanced personality and backstory:

Personality:

What are the defining traits and characteristics of your anti-hero? How do these traits set them apart from traditional heroes?

How does your anti-hero interact with others? Are they charismatic, aloof, or manipulative?

What flaws does your anti-hero possess? How do these flaws contribute to their complexity and relatability?

What vulnerabilities does your anti-hero have? How do these vulnerabilities influence their behavior and choices?

How does your anti-hero handle conflict and adversity? Are they hot-headed, strategic, or unpredictable?

What defense mechanisms or coping mechanisms does your anti-hero employ to protect themselves emotionally?

How does your anti-hero's personality influence their relationships with other characters in the story?

Backstory:

What significant events or traumas from their past have shaped your anti-hero's worldview and motivations?

How do these past experiences contribute to their moral code and ethical boundaries?

Are there any formative relationships or connections in your anti-hero's backstory that have influenced their behavior?

What led your anti-hero to adopt their morally ambiguous or unconventional methods?

How does your anti-hero's backstory justify their motivations and goals?

Are there any unresolved conflicts or unfinished business from their past that drive their actions in the present?

How does your anti-hero's backstory create internal conflicts and dilemmas for them throughout the story?

Balancing the character:

How do you strike a balance between your anti-hero's morally ambiguous actions and their redeeming qualities?

What moments of empathy or vulnerability can you include to make your anti-hero relatable and sympathetic to readers?

How does the anti-hero's moral code and personal motivations create conflicts and challenges for them?

In what ways can you show the growth and evolution of your anti-hero's personality and beliefs over the course of the story?

How do the relationships and interactions with other characters challenge or influence your anti-hero's personality and choices?

What internal conflicts or dilemmas does your anti-hero face as they navigate their morally gray path?

How can you create opportunities for your anti-hero to question their actions, reflect on their choices, and potentially pursue redemption?

Remember, crafting a compelling anti-hero requires careful consideration of their traits, backstory, and journey. Aim for complexity, relatability, and a balance between their morally ambiguous actions and redeeming qualities. With thoughtfulness and depth, you can create an anti-hero that captivates readers and challenges traditional notions of heroism.

Additionally, if you need, you can find the post on villain redemption here.

If you want to read more posts about writing, please click here and give me a follow!

[elcucurucho]

cellbit’s rp experience is so so on display right now, like he’s got a clear idea where he wants to go with the character and he’s doing it in a way that opens up a million potential character conflicts and plot hooks and also in a way that gives the game masters material to work with in the larger narrative. he cares so much about keeping his cubito a complex multifaceted character and it SHOWS

[mariailoveyou-guerin]

In a show where only the female characters get to be big complex and flawed and out of the box to see Colin  being the only complex (+farmer George) not clear cut male character is so great bc I love amazingly written characters an especially if its male character bc usually

in period dramas its not the case for male characters and it’s always the female characters and especially in bridgerton almost al the female characters are insanely complex Marina Portia QCharlotte Lady Danbury Violet Edwina Mary Pen even Dap I dont like her but she was and then there’s literally only Colin and George that are the complex male characters in the whole universe that aren’t easy to understand aren’t your 1D picture perfect character but amazingly complex well written nuanced multifaceted and multidimensional characters which I absolutely love that for me for Polin as ship and LukeN as actor that’s something all actors deserve in project with their characters thats if the actor can handle it an have the range and versatility which we got lucky with Luke thank god because Colin such a hard challenging character role to play he goes through so much and so many obstacles emotionally its just rollcoster with him

"Story of Colin Brigderton” the man that you are Colin!

[maxitrash]

I WANT TO LOCK SOME PEOPLE IN A ROOM AND FORCE THEM TO WATCH DARK AND 1899 BECAUSE THOSE ARE THE TWO BEST SHOWS ON NETFLIX AT THE MOMENT BUT PEOPLE SLEEP ON THEM CAUSE ONE IS ENTIRELY IN GERMAN AND THE OTHER IS A MIX OF MULTIPLE LANGUAGES. BUT THE CINEMATOGRAPHY IS JUST INCREDIBLE. THE STORIES ARE SO COMPLEX AND INTRICATE BUT IT ALL MAKES SENSE AT THE END WITHOUT LOOPHOLES (AS FAR AS I AM AWARE). CHARACTERS ARE MULTIFACETED. AND IT'S THE RIGHT AMOUNT OF DRAMA - THRILLER - SCI FI - HORROR.

[astrojulia]

I don't know if you're taking asks rn I saw ur post about the asteroid Fan I was wondering if you could do the same about the asteroid actor (12238) it'd be really cool to know more about this asteroid thank you😊

Asteroid Actor (12238): Understanding Its Signs and Houses

Navigation:   ੈ♡˳Masterlist    >

       ੈ♡˳Askbox    ੈ♡˳Sources

₊· ͟͟͞͞➳❥ About the Asteroid: The Asteroid Actor is more complex than it initially appears. Simply relying on the name and mythology of a celestial body is not sufficient. If that were the case, Uranus would have a completely different meaning. Based on my research, Actor does not represent what you, anon, might expect. The name Actor was not chosen because of a profession. “Asteroid 12238 Actor, a Jupiter Trojan, was discovered on December 17, 1987, by Eric W. Elst and Guido Pizarro at La Silla Observatory near Pedernales, Coquimbo, Chile”. It was named Actor to represent a person called Actor, a common name in ancient Greece. However, Actor is a COMMON NAME , and there are different theories regarding its origin. Some say it was named after the king of Phthia, while others think it was named after the father of Cteatos and Eurytos. Therefore, its meaning is not definitive. Combining the available data and my own observations, I have come to the conclusion that the Asteroid Actor is not solely about performance in TV or theater. In my conclusion it shows ability to adapt, assume different roles, and navigate different situations in life, to see with persona you normally need to be (sign) in an specific place (house), or else.. you break.

₊· ͟͟͞͞➳❥ Sources and Inspirations:As I mentioned in "About the Asteroid," I used the post by @a-d-nox and Mark as my sources. These two individuals have different perspectives and employ distinct methods to derive meaning. I believe this is what astrology is all about—diverse viewpoints and interpretations. Remember, the discovery of Ceres predates that of Pluto, and when Pluto was discovered, it required discussion and analysis, until today we don't have so much data about Pluto and even less about Ceres. Similarly, we need to engage in these processes with the asteroids and astrology in general. Even if there are mistakes, it serves as a starting point. Also, the image template in from minikyuns on deviantart.

Asteroid Actor in Signs

₊˚ପ⊹┊ Aries: individuals possess an innate ability to adapt and assume various roles with confidence and enthusiasm. They excel at portraying bold, assertive,passionate, audacious personas and are natural leaders on the stage of life.

₊˚ପ⊹┊ Taurus: they embody a grounded and practical approach in their persona. They excel at portraying characters with sensuality, determination, and a steadfast commitment to their craft.

₊˚ପ⊹┊ Gemini: they possess versatile and adaptable persona. They excel at portraying multifaceted characters, effortlessly transitioning between different personas and communication styles. They normally will change the way they communicate, their expressions, language.

₊˚ପ⊹┊ Cancer: they bring deep emotional sensitivity and empathy to their persona. They excel at portraying with profound emotional depth and familial connections.

₊˚ପ⊹┊ Leo: individuals shine brightly on the stage of life. They possess a natural flair for the dramatic, commanding attention and portraying a persona with charisma and passion.

₊˚ପ⊹┊ Virgo: they bring meticulous attention to detail and a perfectionistic approach to their persona. They excel at portraying with precision, subtlety, and an analytical mindset.

₊˚ପ⊹┊ Libra: they possess a natural talent for bringing harmony and balance to their persona. They excel at portraying with grace, charm, and a keen understanding of relationships.

₊˚ପ⊹┊ Scorpio: they delve into the depths of human emotions, bringing intensity and passion to their persona. They excel at portraying complex, mysterious and are skilled at expressing the darker aspects of the human psyche.

₊˚ପ⊹┊ Sagittarius: they embrace a spirit of adventure and exploration in their persona. They excel at portraying with a zest for life, wanderlust, and a philosophical perspective.

₊˚ପ⊹┊ Capricorn: they approach their persona with discipline, ambition, and a strong work ethic. They excel at portraying with authority, responsibility, and a drive for success.

₊˚ପ⊹┊ Aquarius: they bring a unique and unconventional approach to their persona. They possess a keen intellect, originality, and a progressive mindset. Their persona are characterized by their ability to portray eccentric and visionary characters.

₊˚ପ⊹┊ Pisces: they possess a deeply empathetic and intuitive approach to their persona. They have a natural ability to tap into the emotional depths and portray them with sensitivity and compassion. Their persona are marked by their dreamy, ethereal quality, and their ability to evoke powerful emotions others.

Asteroid Actor in Houses

₊˚ପ⊹┊ 1st house

Life situations: Personal identity, self-expression, self-discovery, self-confidence, personal appearance, overall well-being.

Physical places: Your own personal space, your immediate environment, places where you showcase your individuality and identity (e.g., your home, your workspace, your favorite hangout spots).

₊˚ପ⊹┊ 2nd house

Life situations: Finances, material possessions, values, self-worth, earning capacity, financial stability.

Physical places: Banks, financial institutions, places where money is exchanged or invested, places where you engage in activities related to your possessions or wealth (e.g., shopping malls, real estate agencies, investment firms).

₊˚ପ⊹┊ 3rd house

Life situations: Communication, learning, siblings, short-distance travel, intellectual pursuits.

Physical places: Schools, libraries, educational institutions, bookstores, places of learning or teaching, places where you engage in conversations or communicate with others (e.g., cafes, community centers, neighborhood gathering spots).

₊˚ପ⊹┊ 4th house

Life situations: Home, family, emotional well-being, ancestral heritage, roots.

Physical places: Your home, places where you feel emotionally connected and secure, places of family gatherings or events, places that hold personal significance (e.g., family homes, ancestral lands, heritage sites).

₊˚ପ⊹┊ 5th house

Life situations: Creativity, self-expression, romance, entertainment, hobbies, children.

Physical places: Art studios, theaters, concert venues, places of artistic expression, places where you engage in recreational activities or hobbies, places associated with romance or dating (e.g., parks, amusement parks, theaters).

₊˚ପ⊹┊ 6th house

Life situations: Work, health, daily routines, service, responsibilities.

Physical places: Workplaces, offices, hospitals, clinics, gyms, places where you engage in daily routines or self-care practices, places where you provide service or engage in service-oriented activities.

₊˚ପ⊹┊ 7th house

Life situations: Relationships, partnerships, marriage, contracts, collaborations.

Physical places: Places where you meet others, social events, cafes, restaurants, courthouses, places of legal matters or contract signing, wedding venues.

₊˚ପ⊹┊ 8th house

Life situations: Transformation, shared resources, intimacy, inheritances, occult studies.

Physical places: Banks, financial institutions, places associated with shared resources or investments, places of research or investigation, places where occult or metaphysical studies take place.

₊˚ପ⊹┊ 9th house

Life situations: Higher education, philosophy, spirituality, long-distance travel, exploration.

Physical places: Universities, places of higher learning, places of worship, sacred sites, places associated with spirituality or philosophical teachings, places of long-distance travel or exploration.

₊˚ପ⊹┊ 10th house

Life situations: Career, public image, authority, achievements, recognition.

Physical places: Offices, workplaces, government buildings, places associated with authority or leadership, places of professional gatherings or events, places of public recognition or achievement.

₊˚ପ⊹┊ 11th house

Life situations: Friendships, social networks, goals, aspirations, community involvement.

Physical places: Community centers, social clubs, networking events, places of group activities or gatherings, places where you engage in social causes or community service.

₊˚ପ⊹┊ 12th house

Life situations: Solitude, spirituality, subconscious, hidden matters, retreat.

Physical places: Retreat centers, monasteries, spiritual sanctuaries, hospitals, prisons, places of seclusion or isolation, places associated with healing or therapy.

(CC) AstroJulia Some Rights Reserved

[juju-or-anya]

I ship Zutara and I don't believe Aang is the Antichrist, despicable, misogynistic, depraved, or an abuser, as many paint him to be.

Let's dive deeper into the vast ocean of analysis regarding Zutara shipping and the complexities of the Avatar characters!

Exploring the Reasons Behind My Preference for Zutara and Zuko as the Best Option for Katara:

If you ask me why I choose Zutara and Zuko for Katara, it's a tale of dense and multifaceted layers. While I respect the idea that Katara could have progressed as a character while single, the reality is, if I must choose a partner for her, my heart leans toward Zuko.

From a young age, Katara is forced to assume adult and maternal roles due to circumstances. At 14, 15, and 16, she becomes the mother figure of the group, a dynamic that exposes her to something called parentification. This phenomenon, where a child assumes adult and motherly roles, deeply concerns me, especially when imposed on racialized girls (but that's a topic for another post). However, she's not alone in this journey. Sokka also carries this burden, assuming the role of tribe leader, protector of his sister, and head of the tribe in a world torn by war.

However, while Katara is drawn into the premature motherhood of the group, Zuko emerges as a figure of redemption. Although initially presented as an antagonist, his evolution throughout the series reveals layers of complexity and redemption. The friendship and relationship he develops with Katara represent an opportunity for both to escape predefined roles and find equality in their companionship.

Aang's Pedestal and Katara's Complexity: A Profound Reflection

Katara, like any human being, is not perfect. She has a series of flaws and weaknesses that are part of her nature. However, Aang seemed to ignore these imperfections, focusing on an idealized vision of her. What happens when Katara doesn't fit this pedestal? Aang tries to mold her according to his own beliefs and perspectives.

Take, for example, the advice about forgiveness that Aang offered Katara, specifically regarding Yon Rha. It's commendable that Aang advocates for forgiveness, but when Katara expressed her decision not to forgive, Aang didn't simply accept that choice. Instead of respecting her unique perspective on forgiveness, Aang insisted on changing her viewpoint.

This behavior is also evident in moments like the non-consensual kiss in the play episode or the lack of space for Katara to express her own feelings in "The Day of Black Sun." These are uncomfortable situations that should not be overlooked and shed light on the complexity of the relationship between Aang and Katara.

Katara: More than "The Avatar's Girl"

Another aspect I want to address is the concept of "The Avatar's Girl." I detest how this term has influenced perceptions of Katara. Despite being a formidable waterbending master and a powerful warrior, she is reduced to this stereotype that does not do justice to her true identity.

It is crucial to remember that this is the result of decisions made by writers and does not reflect the richness and depth of Katara's personality. She should not be defined by her relationship with Aang or her role as "The Avatar's Girl." She is more than that, with unique abilities and complexity beyond simple labels.

Conclusion: Exploring the Complexity of Relationships in Avatar

In conclusion, the relationship between Aang and Katara is multifaceted. Recognizing the imperfections and complexities is essential to appreciate the depth of these characters. Aang, although inherently good, also shows problematic aspects that deserve discussion.

The concept of "The Avatar's Girl" underscores the importance of challenging stereotypes and allowing characters like Katara to develop more fully and authentically.

Now, let's delve into the second topic:

Do I really believe that Aang is the most despicable being, worthy of hatred and condemnation? A misogynist, abuser, harasser, who deserves eternal punishment just because he obstructs my favorite ship and is the antichrist?

The answer is a resounding NO!

Look Aang in the eye and tell me he is pure evil, DARE YOU!

Throughout the story, Aang emerges as a pure being, whose character development evolves as he trains to become a great Avatar. Despite facing the darkness of the world, his losses, and the wounds he suffers, Aang continues to maintain unwavering faith that everything will be okay and that the world can be a better place. His beautiful and innocent glow, that childlike animation, sets him apart in a context where young characters are growing up amid war.

I observe the young characters in the show, like Sokka, Katara, Suki, Toph, Azula, among others; they are all children of war, forged by the conflict surrounding them. The emotions, decisions, and thoughts of these characters are inevitably influenced by war. Sokka is shaped by the war-torn context in which he grew up, just like Katara, Toph, Zuko, and Azula. The war determines their identities, regardless of which side they are on.

However, Aang is an exception to this rule. His first 12 years pass in peace, living without the shadow of a war that could affect his life, his personality, his beliefs, his innocence, and his morals. If Aang had been born amid war, his being would probably have evolved differently, perhaps leading him to more extreme actions like killing Ozai. But no, Aang refuses to kill Ozai because it goes against his moral principles.

It is true that Aang has his moments of tantrum and questionable behaviors, which are completely understandable given that he is a 12-year-old child. Unlike other characters like Sokka, Toph, Katara, and Zuko, Aang's destiny is practically set in stone. He is supposed to stop the war, defeat the Fire Nation, or perish in the attempt, having to wait for the next Avatar cycle. This weight on his shoulders is overwhelming for a child.

Aang also experiences moments of "micro-machismo," something we all possess to some extent, even the most deconstructed feminists. This is due to his upbringing in a society that, due to the era and other factors, influenced his perspective. But we see how Aang grows, progresses as a character and person. Although it is not right for Aang to get angry when Katara does not understand his feelings or to kiss her without her consent, I do not consider him an abuser, as some Zutara fans suggest.

I believe that if they had allowed both Aang and Katara to truly grow, giving them real time to develop as independent and adult individuals, I would have liked them much more.

So, let's clarify, I don't dislike them; I don't ship them, but I don't dislike them either. If you like them, that's fine. I firmly believe that everyone is free to ship what they want, without the need to discredit or diminish the ship they don't support. And this goes for fans of Kataang, Zutara,

Zukka, or any other ship from different books, movies, or TV shows. Freedom and respect for all shippers!

I edit and add:

They won't convince me easily. Korra is not canon. Aang would never be a bad father, and Katara wouldn't allow it either. Katara tears off his testicles and makes him swallow them before allowing Aang to be a bad father to all of his children. I understand that Aang has a special relationship with Tenzin, since he inherited his mastery of air, but don't try to fool me. Aang is an amazing father, and nothing will change my opinion on that, not even Korra.

Add something else that I forgot:

If Zuko and Katara were to have a romantic relationship, of course it would hurt Aang, because he is in love with Katara, but he would never ever get angry with either of them, because both Katara and Zuko are his family. and Aang loves his family. Stop calling the baby evil