#no traits anchoring me in my past

[literaryvein-reblogs]

How to Write a Character

For creative writing to have as deep an impact as possible, you need to give the reader strong characters they can relate to on a personal level.

By borrowing from tried-and-true character archetypes and giving them your personal spin, you can create heroes, villains, and sidekicks that will affect your readers as if they were real people they knew.

Come up with a backstory

Crafting a backstory can help you flesh out an interesting character profile.

“When I’m dealing with characters,” says legal thriller author David Baldacci, “and I’m trying to explain somebody's situation and motivations, you have to look into their past, because [the] past always drives motivations.”

Ask what experiences your character had in elementary school or high school that shaped who they are today. Your character’s backstory can greatly inform your plot.

Develop a character arc

A character must evolve throughout a story.

“The character has to change,” insists crime fiction writer Walter Mosley. “The character doesn’t have to become better. The character doesn’t have to become good. It could be the opposite. He could start good and become bad. He could start off hopeful and end up a pessimist. But he has to be impacted by this world that we’re reading about.”

Plan out your storyline based on your character's goals and how achieving or not achieving them will change them as people. This sort of template can help anchor your narrative.

Do research

If you plan to set your story in a specific locale or period, do enough research to make your characters seem true to life and believable.

“What does it mean, for instance, in the Tudor era to be a male person?” asks Margaret Atwood, author of The Handmaid’s Tale. “What does it mean to be a female person? What do those things mean when they’re at different social levels?”

Empathize with your characters

No matter what the type of character you’re developing, try to find some reason you and your reader can relate to their internal conflict.

“You’re living with these people every single day for months at a time—in some cases, years at a time,” says acclaimed children’s author Judy Blume. “You had better feel for them. So, for me, yes, I have great empathy for them.”

When people can empathize with characters, they’re more likely to find them compelling.

Experiment with different approaches

If you usually write characters from a particular point of view (or POV), change things up to challenge yourself.

“Write about someone entirely through the eyes of their friends and family,” suggests journalist Malcolm Gladwell. “So do a profile of someone where you deliberately never talk to the person that you’re profiling.”

There are plenty of ways to craft compelling character descriptions—free yourself up to try new alternatives.

Give your characters flaws

To craft believable characters, you need to give them flaws.

“One, it makes the characters human, just by default, because everybody recognizes that we all have flaws and mistakes,” David says. “But two, it gives you plot elements and plot opportunities because somebody makes a mistake. Why? Because they’re flawed.”

Learn from real people

Pay attention to real people’s mannerisms, personality traits, body language, and physical appearances.

Do research, and be respectful, when you want to write characters with backgrounds that you are not familiar with. Become familiar with different people's cultures, sexual orientations etc.

Talking to people about their experiences will help form your character’s personality.

Let your characters surprise you

Character development can proceed down a host of different avenues.

“Spend a lot of time with your characters and getting to know them,” Judy suggests. “And the way that you get to know them can be different from the way I get to know them. But my way is: They don’t come alive until I write about them, until I put them down on paper.”

As you write, your character’s motivation or perspective might change from what you originally planned.

Play characters off each other

Ask yourself how a secondary character’s personality might thwart the main character’s motivation.

“One of the best ways, as I said, to develop a character is to put that character in relationship to another person,” Walter says. “So as they talk, as they fight, as they work together, we find out more about who they are and what they are.”

The character’s close friends, adversaries, and acquaintances might all have different effects on their behavior.

Take an organic approach

Over the course of the story, be ready for your characters to surprise you as much as the people you know in real life might, too.

Your characters may take on a life of their own.

Avoid static characters by letting yours have their own lives and personalities. Let their stories take you where they lead.

Writing Notes & References

[satureja13]

When the Boys just were about to finish their Yoga/Meditation/Tantra practise, Leander and Wesley arrived. That wasn't planned. The Boys were supposed to spend the day alone ö.ö Vlad sighed. Leander, his arch enemy... And Wesley, his first love...

Leander: "Hey Boys. Vlad. Ms Coombes asked Wes to prepare her next Defense against the Dark Arts lesson. So I thought I'd accompany him and hold my History of Magic lesson today. Meet me on the top floor after you showered." And even though Ji Ho knows how much Vlad despises Leander (and to a certain degree Wesley too), he can't help his feelings taking the downward path - again - into the blurry, red-hazed realm of jealousy, distrust and anger. And their Bond is still utterly quiet. Giving him no sense of Vlad's love for him - nor the slightest bit of reassurance. Over the last two years the Bond was Ji Ho's anchor. Whenever he felt unsure and helpless, the Bond was there, wrapping him in the utter security that Vlad will always love him. No matter what. Which carried him through all the hardships. And now he fears that this love was just a trick from the Council. Initiated by a Siren's Spell of his own grandfather... And all these overwhelming feelings he dug out only intesify these fears.

The History of Magic Classroom. Decorated with paintings and photographies of the members of the Resistance. One might think that History of Magic is a quite boring subject. But it wasn't. There's so much to learn and the Boys barely ever got any insights about how the Resistance was founded and by whom.

After a brief overview, Leander talked about the most famous accomplishments by other members of the Resistance. And the most devastating failures. Then he gave the Boys their homework. Each creature is different. Each has their own, very unique, abilities and traits. And each has their weak spots. There is no established method to succeed. So Leander asks them to collect their own abilities and weak spots - and the ones of their opponents. And after that - work out strategies. And lots of plan B's...

Meanwhile Ji Ho is in his own personal hell. Why do Leander and Vlad look at each other like this? Has something changed between them? He knows it is crucial to listen and pay attention and to do everything in his powers to find a way to detect and destroy that spell, but he just can't. He's fighting for every breath he takes and every beat of his heart right now. As if none of the things his body usually does on his own stopped working and he had to manage them all manually.

Jack doesn't do any better. The heat has its firm grip on him. But it's not his feelings. It's his body he can't control. His heart is racing, he can barely breathe, his intestines are intertwining... He tries to act as normal as possible to not upset Sai and Ji Ho any further. Only his good mate Kiyoshi seems to know what's going on with him and watches him worriedly.

After classes, they went down to the yard again. Vlad, Leander and Wesley are putting their heads together and talk quietly. And Ji Ho is watching them. What does that mean? Ji Ho is raging. First Jack is stirring Vlad up with his Omega pheromones and now Vlad is voluntarily hanging out with his exes! Is it possible they were finally able to cut the Bond? Because Ji Ho is a danger for Vlad?

Ji Ho ran away - crying. Adriano: "Oh no!" Kumo: "What are we supposed to do?" Little Goat: "I hope he isn't about to do something silly!"

Leander: "Don't worry. It will all be well in the end. We are going to take good care of you." Oh no! I've heard this before...

Jeb and Kiyoshi are in their own world. Jeb's talk with Sai lies ahead. And poor Jeb is losing it. Kiyoshi tries to reassure him. But of what help can he be after messing it all up with Jack and his relationship...

And the party goes on.

Skully dug out a matching song and sings along:

'I was dreaming of the past And my heart was beating fast I began to lose control I began to lose control

I was feeling insecure You might not love me anymore I was shivering inside I was shivering inside

I was trying to catch your eyes Thought that you was trying to hide I was swallowing my pain I was swallowing my pain'

Jealous Guy - John Lennon or, another great version by Roxy Music

From the Beginning 🔱 Underwater Love 🔱 Latest

Current Chapter: 'Here comes the Sun' from the beginning ▶️ here Last Chapter: 'Who killed Jack?' from the beginning ▶️ here

📚 Previous Chapters: Chapters: 1-6 ~ 7-12 ~ 13-16 ~ 23-28

[satirates]

Rise of the TMNT fans, I need your advice. I'm a huge TMNT fan from the early 2000. I've watched and loved every single movies, shows and comics in the franchise (yeah, even the strange one like the 90s TV show and the Bay movies. I just really love the turtle bros)

The only one I haven't watched in its entirety so far is ROTTMNT. I started watching it when it came out in 2018 and I thought it was so good! It is different from other iteration, as expected with every new TMNT shows. This is what I love with this franchise, and Rise follow up right in its predecessor's path. But three things kept me from going past the first 10 episodes:

1. This show is overwhelmingly fast to me. The brothers are trowing jokes and quips so fast and it never really stopped to breath for 10 seconds. The lack of clear storyline didn't help this feeling, since it didn't give me an anchor to focus on while the other stuff is being thrown on screen as fast as Sonic throw himself at a chilly dog. 2. I know it's more of a ''me problem'', but Leo is SO different, it's literally difficult for me to think of him as the same characters as his other iterations. I love when the writers change things with the turtle's personality since it keeps the franchise fresh, but it was never to THIS extend. Watching rottmnt felt like entering a room where everything has been shifted a little bit to the left, as expected, and then you realize that someone has replaced the couch by a huge ping sofa. I'm still not sure how to deal with the pink sofa. I've never had one before. Also the sofa has the same voice and personality as Dewey from my favourite 2010s show, which is probably 50% of the reasons why it's hard for me to love him now that I think of it.

3. Terrible interactions with people in the fandom that were quite mean (I've felt Now, here's my question to rottmnt fans: should I give this show another go? Will it get less overwhelming and more focused with time? Will Leo grow into the character he's supposed to be, while keeping the traits that make this version of him so unique? Is the fandom welcoming, or treat me like garbage because I like, praise and critique most of TMNT medias, including some that are really different from Rise?

I really want to like this show. I don't want it to be the only one I don't like. Maybe I need to watch it in French so I don't get thrown off by Ben Schwartz too much

[crimson-mage-02]

Thoughts on Kingdom of the Planet of The Apes!

It's been a while since I posted something on Tumblr. So here it is! I am so stoked to watch the new film! Which is coming soon in 2 months. Cannot wait.

First impressions, I love Noa so much. He is going to be a true and caring leader in the making. As far as we know he's going to have an coming of age ceremony, earning his place in the Eagle Clan. Which I love! I am also so curious to see where his journey may lead to. Which made me be so curious about his origins. I had theories that he might have come from another ape clan before joining the Eagle Clan. Hence why he doesn't know much about his past. I was also thinking and believing that Proximus Caesar knew that Noa was a direct descendant of Caesar. So maybe, Noa's old family protected him from the other bad apes and that was the reason why the Eagle Clan was distant from other apes.

Maybe that was the reason why the Elders didn't tell Noa everything until his coming-of-age ceremony with his friends. He started to doubt his existence. His place in the clan and in the world. Seems like a journey to the past. Heh get it, lol. Okay moving on.

Let's talk about Mae. At first glance, I thought she is going to be the character that stands out the most as she is a mysterious human who is smarter than most as Raka mentioned in the trailer.

I love how she's there to help Noa but also have an agenda of her own. There's not much known about Mae but im truly curious to see where her character lead to. I'm also so excited to see the friendship between Noa and Mae.

As it was shown in the trailer, Noa was seen shy and cautious around Mae. It was seen when he handed the blue shirt to keep her warm. And throughout the rest of the trailer, it looked like they have a created a way to trust each other by saving each other. As it was discussed in discord with @bookishdaze.

As their relationship with each other, I can't wait to see how it expands and develops through the trilogy. Noa and Mae are each others anchors and are the future of apes and humans co-existing.

I also got this ridiculous thought about Noa's 'birthmark', seems like he is depicted as the sun.

Well, it means it symbolizes his firmness, strength and power. Those traits alone depict Noa strongly. That's who he is. Though he might grow into a mighty leader to the apes by the end of the movie.

As for the moon, well, represents calmness, beauty, and nurturing. Those traits qualifies to Mae. Despite her being mute, she's still a woman with a mission and she's not going to stop at nothing. She also cares about others around her, especially Noa. Their relationship is one the most important key moments for the film.

Both balance out so well yet so distant. That might show Mae and Noa's relationship well in the beginning of the film, maybe.

That's my thoughts on the film and on Noa and Mae. Not saying I ship them or not. I just find their friendship really wholesome! 🙈🙈 I just can't wait to watch the film when it comes out.

[msnihilist]

ahh pleaseee share that essay about bevin and gwevin with us 🥲we won't be bored we love those kind of things we would love to read it !

This is mostly just going to be me vomiting up various thoughts, but here we go.

Ben and Gwen, I think, represent Kevin's past and future, respectively. Through UAF, Ben is consistently the one who calls Kevin out on his bullshit — most notably in "In Charm's Way," when Ben and Kevin talk on the beach at the end of the episode...

KEVIN: Where's Gwen?

BEN: Went home. You hurt her pretty bad.

KEVIN: I hurt her? I'm the one who looks like this, and she hasn't done a thing about it.

BEN: You are a giant, rock-faced jerk!

KEVIN: Yeah, whatever.

BEN: Not "whatever." She's spending every spare moment going through every magic book she can find to try and help you. She's been doing it since the accident.

KEVIN: She... She never told me.

BEN: Should she have had to?

...and again when (past) Ben snaps at Ultimate Kevin in "The Forge of Creation."

ULTIMATE KEVIN: I deserve that power. I'm the one who gets turned into a monster. I'm the one nobody ever trusts or cares about!

GWEN: That's not true!

ULTIMATE KEVIN: Face it, Gwen... Whatever I look like, I'm a freak!

YOUNG BEN: You're a jerk. You've always been a jerk. People try to be nice to you, but you can't ever see it. You're too busy feeling sorry for yourself.

Ben is consistently the only character to hold Kevin accountable like this. (Granted, Kevin doesn't have a wide circle of friends, but still.) Gwen and Kevin don't fight much (when they do, Gwen usually leaves the situation), and she tends to be the softer voice, encouraging Kevin and reassuring him. ("You know I don't care what you look like," etc.)

Ben has been calling Kevin out since they were kids, since the day that they met — quickly clocking Kevin as a bad person and saying as much. He continues to do this through the OG, like in "Grudge Match."

MUTATED KEVIN: It's payback time, for turning me into a freak!

BEN (as Diamondhead): You were always a freak, Kevin. It's just now the ugly's also on the outside.

And, later...

MUTATED KEVIN: This is all your fault!

BEN: How can this be my fault?

MUTATED KEVIN: I don't know... It just is!

In this episode, Kevin blames Ben for them getting stuck in the ship. He blames Ben for his mutation. He attacks Ben for going against him even though Ben literally saved both of their lives not a minute before.

Kevin isn't in his right mind, sure, but he continues to display this trait in UAF: refusing to accept accountability.

Nothing is ever his fault — it's always someone else's. Kevin is emotionally immature and he struggles with self-hatred. He lashes out and blames others because if he didn't, he would have to look inside of himself and recognize that maybe something is wrong with him.

And that's a hard thing to do. It's hard for most adults, let alone a child who's struggling with powers he doesn't understand — powers that alter his mental state.

If Kevin is a boat being tossed around in a wild ocean, then Ben is like an anchor. He forces Kevin to look inward and to reflect on his behavior.

... Which is where Gwen comes in.

(Admittedly, I have less to analyze here, since Gwen and Kevin are rather straightforward, comparatively.)

Without Ben around, Gwen and Kevin's relationship would not work. Gwen is reactionary. She was as a child, and she still is as a teenager. Her first instinct when she and Kevin argue isn't to problem-solve, it's to get defensive. Their relationship wouldn't go anywhere with both of their attitudes like that.

Ben gets Gwen away to destress and take her mind off of Kevin. Ben is honest with Kevin in a way that Gwen can't (or won't) be.

He's not a third wheel. He's their counterweight. Their balance.

What does this have to do with past/future?

Well, Kevin spells it out in "Perplexahedron."

KEVIN: I like the Kevin that Gwen sees when she looks at me. And I like that you gave me another chance, even after I messed up all those other ones. I guess I'm saying I owe you guys for changing my life.

He refers to "the Kevin that Gwen sees" — someone he could be. And he thanks Ben for giving him another chance, referencing his past mistakes.

Ben helps Kevin look back and learn from his mistakes. Gwen gives Kevin something to look forward to, and a goal to strive towards.

Gwen and Kevin wouldn't work without Ben, but Ben and Kevin would be shaky without Gwen, too. Gwen is motivation. She's an incentive. She's the light at the end of the tunnel.

Without her, I think Kevin would have a hard time knowing what, exactly, he's trying to work towards. He would have a harder time opening up to Ben.

Ben is the medicine, and Gwen is the spoonful of sugar.

Kevin needs both of them to be the person he's always wanted to be. And they need him, too.

After all, 'Ben and Gwen' by themselves don't look nearly as cool <3

[gothdaddyissues]

In The 20s

Prologue available on Ao3

or under the cut (~2000 words)

Thanks to @ramblingoak for the help and encouragement with this one!

SUMMARY: It's the mid-1920's and Prohibition is in full swing. The Emeritus family are the city's biggest gang headed by the aging godfather Papa Nihil. With a successful bootlegging business and a popular speakeasy known as The Church, Nihil's sons Primo, Secondo, and Terzo fight to maintain their spot at the top of the crime ladder. A rival gang has plans to put the old man out of business for good.

RATING: Mature for violence and language

TAGS: Copia, Terzo, Secondo, OC characters, violence, blood, swearing, illegal activities, Google Translate Italiano

⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧⛧

Copia took one last, long drag of his cigarette, the orange tip burning bright in the darkness. He savored the heat in his lungs before exhaling and flicking the butt into the river. It hit the water with a brief sizzle and disappeared into the murky waves below.

The sun would rise soon; the longer they stood here, the greater their chances of being seen. This was the worst part: the waiting. The uncertainty. Would their delivery arrive? Were they being watched? Would today be the day the police stopped them? It hadn’t happened yet, but there was always the chance. He wasn’t too worried - he knew they could handle any scenario. They were flexible. They had backup plans for their backup plans. That’s why they were kings in this town. But any fuck up meant they’d have to answer to Papa Nihil, and he’d rather spend the night in jail than deal with the miserable old bastard.

It was silent on the dock, the only sounds were the water lapping against the shore and the ‘tip-tap-tip-tap’ of Terzo’s shoes as he paced back and forth. Secondo lit another cigarette and sighed. Copia twirled his cane through his fingers in boredom. Their henchmen - their Ghouls - kept back next to the vehicles, Tommy guns at the ready. 

“They’re late,” Terzo grumbled. 

“They’ll be here,” Secondo replied calmly, “Just relax.”

“Are you sure? They’ve never been late before.” Terzo’s patience was wearing thin. He was the most anxious and hot-headed of the three Emeritus brothers, traits that were less than ideal as the heir apparent to his father’s empire. 

“Give them until first light,” Copia suggested. “We’ll be too exposed if we stay past then.”

“Says the guy in the conspicuous white suit,” Terzo scoffed.

Copia rolled his eyes. “And who’s fault is that? You’re the one that dragged me right off stage the second the show ended and didn’t even give me a chance to change.”

“Shut up,” Secondo said, “Both of you.” He put his hand up to his ear. “Listen. They’re coming.”

The faint sound of a boat motor was drifting across the water, slowly getting louder as it steered closer. The engine misfired, chugging and struggling under the weight of its load. A light bobbed along the surface - a flashlight signaling morse code: short-long-long-short, long-short-long, long-long-short. PKG. Their cargo was arriving.

Secondo took out his pocket lamp and signaled back: long-short-long-short, short-short-long. CU. Message received. He laid the torch on the dock as an impromptu guidelight to help the boat across the choppy river water to the meeting spot.

The first rays of morning light we just breaking over the horizon when the tiny fishing boat finally arrived at the dock. One of the two men tossed the tie rope to Secondo so he could anchor them down.

“Sorry about the wait gents,” the other man said, “I think we overloaded ‘er and it slowed us down.”

“Worry not, my friends,” Terzo assured them, a stark contrast to his earlier annoyance. “As long as you’ve got the goods, everything’s peachy.” He motioned behind him for the Ghouls to come forward and help unload.

“We sure do!” the man said. With a crowbar in his hand, he began prying the lids of the wooden crates to show proof of their contents. “Three cases of the finest Canadian Club whisky, as requested. Two cases of English gin, and…” He saved the best for last. “A full case of French Champagne. I should have more of that in a week or two.”

Terzo beamed with delight. “Champagne! At last! I will take as much of it as you can get. You have outdone yourselves this time. Molto apprezzato!” He turned to Copia and held up two fingers. “Fetch the men their payment, won’t you? I think they deserve a little bonus.”

The boatmen lifted the crates up to the Ghouls waiting on the dock, who then carried each one to the truck parked nearby, while Copia went to the car and returned with two plain cloth bags filled with cash. Terzo took one bag and tossed it to the captain of the boat.

“Your fee, as agreed,” he said. “And…” He tossed the second bag to him as well. “Buy yourself a bigger boat. You’ve earned it.”

The man opened the bags and looked at the racks of bills within, stunned. “Jeepers! Thank you… thank you, sir!”

Terzo nonchalantly waved his hand, “Non è niente,” he smiled, “There’s more where that came from if you keep up the good work.”

“You got it, boss!”

The boat was quickly unloaded and Secondo unhooked the rope from its anchor post. “Now get gone, fellas. The sun’s coming up.”

“Yes sir, thank you, sir,” the man said as he started up the little boat’s motor, “See you next week.” He puttered away from the shoreline to start his journey back across the river to Canada.

With delivery complete and the truck loaded with bootleg liquor, Secondo told the Ghouls to head out. “Get this back to the Church. Quick, si?” The Ghoul in the driver’s seat nodded and the rest piled in for the ride.

Terzo watched the truck pull away, rubbing his hands together in anticipation as he turned to his companions. “Champagne, Copia! I can’t wait! I’m going to treat Evie to a bottle when we get back.” He sighed, blissful at the thought. “A good haul tonight. Papa will be happy.” 

“Yes,” Copia said sarcastically, “So happy that you’re drinking his product and fucking his girl.”

“What he doesn’t know won’t hurt him, eh?” 

“The two of you will be in a world of hurt if he ever finds out,” Copia warned. 

Terzo clapped Copia on the shoulder good-naturedly. “You worry too much, compagno. I have that senile old fart wrapped around my little finger. I can do no wrong. I’m his Golden Boy, his Chosen One…”

“You are a stronzo,” Secondo sneered, “C’mon, we need to get out of here. Andiamo.”

“Don’t be jealous, fratello,” Terzo laughed as the three men moved to make their way back to the car parked at the end of the dock. But they stopped in their tracks.

There, in front of their car, was a young police officer - very young - standing alone, his arm outstretched with a gun in his trembling hand. “S… St-st-stop, in the.. name of the law,” he stuttered.

All three men reached inside their coats, hands on the guns they wore concealed beneath.

“STOP!” the officer yelled. “I mean it!”

Terzo slowly pulled his hand out of his jacket and raised both of his hands in the air above him. “Oh no, fratellos! He means it! We’d best give ourselves up,” he mocked, before dissolving into laughter.

“Put the gun down, child,” Secondo said sternly, “You’re shaking like a leaf - you shoot that thing and you’ll hurt yourself more than you’d hurt one of us.”

“You’re just a fledgling, aren’t you? Lost here all by yourself,” Terzo observed, composing himself. He could see the sweat trickling down the young man’s forehead, his chest heaving with panting breath. “Do you even know who we are?”

“You’re… you’re the Emeritus Brothers,” the officer said, swallowing hard, “And I’m arresting you for illegal… um… importation! The illegal importation of alcohol.”

Terzo looked around him. “I don’t see any alcohol here. Do you?” he asked.

“I saw you bring it in on a boat and load it onto a truck.”

“What truck? There’s no truck here. You have no proof of anything. And no fellow officers with you to back you up. I’m afraid there’s not much you can do, pollo.” Terzo was just taunting him now. He slowly approached the officer, unafraid. “I’ll tell you what,” Terzo began softly, “You put your gun down, get back in your car, and drive away from this place. You never saw a thing, right? Here,” Terzo reached into his pocket and pulled out a $50 bill, which he tucked between the buttons of the officer’s coat, “Something for your trouble, yes? Go on… Take it.”

“I suggest you do what he says, boy,” Copia warned. “Leave while you can.”

The young man was shaking violently, almost sobbing. “You are in… violation of… of… The Volstead Act, and I’m… I’m…”

Secondo sighed and rolled his eyes. “Fuck this,” he muttered. He stomped forward and grabbed the officer’s gun hand, his gloved palm covering it completely. In one swift move, Secondo swept in behind him, bringing his other arm around the young man’s neck in a chokehold. The man gasped and whined as he was forced out onto the dock, closer and closer to the water, his toes dangling over the edge of the wooden boards. The only thing keeping him from falling in face first was Secondo’s grip.

“I told you, kid,” Copia said sadly, “Look what happens when you try to be a hero.”

Secondo took the man’s hand, the one holding the gun, and brought the barrel up against the man’s temple. “How did you find this place, huh? This is private property. Emphasis on private.”

“I… I was just driving by…” the officer wheezed, “And I saw…”

“Bullshit!” Secondo tightened his grip on the gun, placing his finger on the trigger. “You don’t just stumble on this place. Who told you? Who sent you?”

The young man squeezed his eyes shut, tears rolling down his cheeks. He shook his head but did not speak.

“Come on, bambino,” Terzo snarled, “Speak up!”

No response.

“How old are you, boy?” Secondo asked.

“Twen… Twenty-two,” the officer choked out.

“You’re just a baby, so much life ahead of you. Is this really how you want to go out? Hmmm? Protecting someone who sent you straight into the lion’s den?”

The officer would not relent. “It’s my duty… my duty to serve and protect. I’m arresting you…”

The two brothers exchanged looks. Terzo nodded tersely and stepped back. Copia knew what was coming - he felt pity for the young man, but there was nothing he could do now. 

“Sorry about your luck, boy,” Secondo said, cold as ice. He pulled the trigger and the sound of the gunshot rang out in the crisp morning air. 

Terzo stepped forward and pulled the bloody $50 bill out of the officer’s coat before Secondo let go of the lifeless body, sending it into the river with a sploosh. He tossed the gun in after it. The three men stood in the pale light, watching as the body sank toward the bottom in a perverse show of respect for the fallen.

“So,” Terzo said, handing a black handkerchief to his brother, “We’re either being spied on, or we have a rat. No way was he just passing by.”

Secondo wiped at the blood splattered across his face, nodding. “Either way, our whole operation is in jeopardy now.” 

“Imperator’s gang?” Copia assumed.

“Has to be,” Terzo agreed. He looked out over the water at the sunrise, his rage simmering. “Papa does not hear about this until we figure out our next move, si? Let’s get the fuck outta here.”

Copia and Terzo began to head back to their waiting vehicle, but Secondo did not move. He stood silently on the dock for a few moments, his eyes closed. He reached up to the band of his hat and pulled out a folded piece of paper he kept there, a small lined sheet that had been torn out of a notebook. He produced a pencil from his inner coat pocket and added another tally mark to the dozens that were already there. One for each life he had taken in service of his father. He counted up the new total, even though he already knew the number. He always knew the number.

Secondo re-folded the paper and placed it back in his hat band as he walked to join the others. He gave Copia the once over as he passed him: “Looks like you’ve got a bit of a mess on you,” he pointed out.

Copia looked down and saw flecks of blood spattered over the front of his white suit jacket. “Ah, shit,” he swore.

Terzo chucked and handed the blood-stained $50 bill to Copia: “This should cover your cleaning bill, Piano Man.” 

[beevean]

(1/2)yo, uh, hi. i've never actually interacted with you before but i think you have pretty cool sonic takes in general and are a cool individual in general. i wanted to say smth about an ask response you made a bit back about how sonic's game foils are stoic and serious while his western media foils are loudmouthed braggarts and like. jet the hawk exists. the babylon rogues are an in-universe parody of team sonic where jet is a braggart jackass, wave is snooty and prideful, and storm is stupid.

(2/2) just because a character intended as a foil to another, takes an unsavory trait of them and exaggerates it, doesn't mean they're always an accurate reflection of who they're foiling is. batman has joker and riddler as foils, completely different characters taking certain aspects of batman and shifting them to contrast him. chaos sonic takes sonic's taunts and verbal jabs and turns into a parody of what sonic is, and that's kind of like, his point. he's not sonic he's how the C.C view sonic

Lmao! My bad, I did forget about Jet 😂 the way you described them is precisely why I don't like the Babylon Rogues - sick designs and cute interactions with each other, but I don't like them as foils to the main trio.

Even then, Jet is one of many characters that work as foils to Sonic: he's his cockiness turned up to eleven, he's Sonic if he cared about winning more than anything else. But then you have Knuckles, who is the mountain to Sonic's wind: brash, aggressive, anchored to a place. Then you have Shadow: artificial, shackled to his past until his own game, introverted, cordial but aloof, more ruthless. Then you have Blaze, the fire to Sonic's wind: also introverted, straight up refusing to open up to others, burdened by responsibilities. And Metal, who is in short Sonic's power in Eggman's hands, completely chained to him.

I see more variety to explore Sonic's characters and give him different rivalries, and he has different relationships with all of these characters, from being genuine friends to being friendly rivals. On the other hand, Scourge and Surge are more or less the same archetype of "obnoxious edgy violent braggart" - Surge has a fairly interesting Shadow-esque backstory, but so far the story hasn't taken advantage of it, putting more focus on how "cool" she supposedly is (can't speak about Scourge in detail because I refuse to read Archie lol). And Chaos Sonic, well...

First of all, the problem with characters who are meant to be annoying is that they still are annoying lol. So uhhh good job I suppose? But I don't know how much I can praise you for getting on my nerves lol.

Second, Sonic here keeps making the same joke - "oh wow am I this annoying? stop talking!". He's the one who puts the focus on Chaos Sonic's singular trait: being unable to shut up. And, well... kind of? This Sonic is way more energetic and childish than Game Sonic. The joke falls flat for me because Chaos Sonic is not that exaggerated, he's just meaner.

Funnily enough, one can also see Surge and Kit as incarnations of how Starline saw Sonic and Tails: the former as a stupid (according to her) arrogant braggart, and the latter as a mindless sycopant. Get it, because he was all about being meta, blah blah blah sonic cycle :P in that case, I can accuse the writing at attempting to seem deeper than it actually was. Ah, don't let me start on the absolute mess that are S&K and how they came to be...

Anyway. The root of the problem is that generally speaking Western Sonic, from SatAM to Prime, has differed from game Sonic in having his cockiness amped up for cool points. That's his appeal here. Now, don't get me wrong, Sonic is cool in general, but he's more... effortlessly cool, I say. He's natural in his coolness, he doesn't try, he just is. That trait of his got flanderized in the '90s because of cultural differences, and writers nowadays are still playing under this misconception, from Flynn who writes a supremely arrogant Sonic (not even talking about his preaching attempts, even small things like basking in the praise of the crowd, or using his fame status to intimidate a waiter in Archie), to Prime Sonic being pitched as having to learn not to take his friends for granted, implying that he was too egotistical to care before.

And I see this reflected in the kind of rivals they create for Western media, which can be boiled down as "Sonic but meaner and all taunts, with zero redeeming qualities".

But hey, this is my opinion. Thank you for your nice words ^^

[wttcsms]

23! 👀

23. fics you wanted to write but didn't

"every dead end street led you straight to me" is a pro!oikawa x olympic silver medalist figure skater!reader; both are dealing with serious, career-ending injuries and have the same physical therapist. they get off on the wrong foot, and their personalities constantly clash, and they think they're so Different from each other, but they're honestly very serious people. i think oikawa needs someone who is just as goal-oriented as him to anchor him to reality because it's one thing for him to self destruct in an attempt to achieve his goals, but it's another thing entirely when it's someone he cares about doing the same toxic shit, so you two are "begrudgingly" looking out for each other. it would also be a character study on oikawa's relationship w volleyball; when the sport has taken up so much of his life, has practically become his life's purpose, who does he become when he can no longer do it? when it's no longer his defining trait anymore?? so, it's fun being given a chance to explore oikawa's character more while also giving him a chance at romance with someone who might be even more batshit than him.

"brace for impact" self destructive rich girl going through it x akaashi. this has been permanently stuck at 7k words for the past two years LOL, but i love the concept and reread the draft all the time. it needs some tweaking but none of my followers seem interested so it's always been on the back burner.

"to the victor belong the spoils" which was the naoya fic i discussed a while back + will contain elements from the ORIGINAL naoya concept i had on bleedinqhearts LMAO. it's definitely dark, so shifting from my daylight fic (and other projects) to this will definitely be interesting. i can't wait for him to be animated though, so that might motivate me to at least finish up the outline

[bharv]

Out of all your characters (from games or otherwise), which one do you think is the most like you? In what ways? Was it intentional, or was it an accident you only noticed after the fact?

(Feel free to delete if it feels too personal 🙈)

Sunny this is one of the greatest asks I've ever got lmao! Thank you!

(Imagine if I just said Manva, ha)

The serious answer is I find it really hard to choose the one most like me because I tend to build my characters with a central flaw that I relate to so they all have something of me in them. It gives me an emotional anchor point that really helps me to understand them and be empathetic towards them when writing. Even Manva, whose pre-tadpole self has a trait of not knowing how to accept or give affection which is... relatable lol. I had to teach myself that skill as an adult and had some VERY messed up relationships before that.

I'd say the two that come to mind as particularly important in how they were built were Rhein Aeducan from DAO and Meroia from PoE.

Rhein Aeducan had a LOT of similarities to me - I was in my early twenties when DAO came out, like she is in game. I was definitely a little selfish, a little too self-assured, a bit impulsive and VERY stuck in the past. I used to chase exes like she does with Gorim, not see what's under my nose for the nostalgia. I'm not really so like her now I've aged, but I look back at her with fondness because she really did have a lot of my worst flaws! I've probably exaggerated them too, the older I've got. I definitely didn't notice at the time, I just played it as I wanted, she was the closest I've had to a self-insert in that way.

And Meroia is an important one because she was the first OC I made that's just kind of... good, actually? She's a bit prone to jealousy, can be too trusting sometimes and can be a little uptight (in a different way to me, but I have that streak sometimes) but she also always chooses to be benevolent, to try and be diplomatic, to put others before herself. I think she was the first time I allowed myself to think that maybe I can hold up the things I like about myself, as well as the things I don't? If that makes sense? Without Meroia, there'd definitely be no Glim, as she allowed me to be a bit more kind.

[mithrilhearts]

Just another little update about me (and some about writing yay!) but after two weeks of being sick as a dog, I went to the doctor, got diagnosed, proper meds, and then ended up in the ER some hours later - this was last night/this morning. Sounds fun, right?

That being said, I am so happy to have made some great writing progress at the beginning of the month before my health took a really shitty turn.

I've finished my next chapter for "Where The Shadows Lie", which I am hoping to release next week! It's a big one (lots of words).

Never had the sitting room been so crowded than when the vampire brood of Thorin Oakenshield had first arrived. Gathered together was each individual that had called this bed and breakfast home for the past few months, and of course, the head of the household. Not a word to be spoken after a letter had been read aloud, and every facial expression seemed to hold one trait in common. Concern.

I've edited a good handful of pieces this past week. Mostly event things, but I will have a lot to post before the end of the year.

I am planning for 2024 - what fics I will focus on, start, and end! It is going to be a good year.

Even more outlines are getting fleshed out.

Hopefully I can start feeling alive and well again in a few days, and really hit the ground running again for writing. I feel like I've done so good this month, and taking a little step back from updating has given me a chance to breathe some.

As always, thanks everyone for the asks, tags, dms, and I apologize for not getting to them. On top of my self-made-task to relax away from social media, being sick has just anchored me away from everything.

I'm going to tackle a few of my latest mentions, because why not!

@wanderingjedihistorian @fishing4stars and @cilil all tagged me in a "share the last line you wrote" style game. So here we are! Without context, but for a fic that will be revealed in December!

"I pulled the pain from his mind, and sometimes that pain takes something else with it when stripped." [Gandalf]

[fromxgrace]

candle 👺

@divinelght👂

send me 🕯️to hear my character's inner thoughts about your character. ⟶still accepting!

'She's my twin.' Ever since before they left the womb, Daemon and Aurora have been built-in companions. Though, one inner thought deals with just that—their parents. The firm belief held by his sibling, that their long-lost parents might still be alive stirs so many feelings of anger within him. He can't fathom holding onto such hope, knowing that they had abandoned them to rot in the forest. The years and years of her anticipation makes him resent her optimism. 'Why does she persist in bowing before gods who turn a blind eye to our struggles?'

The cleric's faith in Lathander aggravates him in ways he struggles to articulate. The god, a large part of their upbringing, is something he has grown to be indifferent about. Always questioning the ways of any of the Gods, he does not understand how she puts so much trust into something everyday. He sees it as a waste. He feels that her prayers and pleas to the Morning Lord could be put use toward something useful.

'These white flowers smell like her.' The scent of incense and gardenias will forever remind him of her, which often helps when he feels the darkness seeping into his soul. Despite their ups and their downs, his twin's positive traits—compassion, warmth, and optimism—remain constants that anchor him, even when he tries to push them away every chance he gets. And he will never admit it willingly. 'On such a numbingly quiet night like this, I wish Aurora was here to play something.'

Daemon is all too aware of his sister's more gullible and self-sacrificing tendencies, yet, he somehow respects her belief in redemption, friendship, and destiny. Her hobbies, like painting and playing the lyre are some of his favorites aspects he's protective of, and has always looked to for comfort on the hardest of days.

'I can't stand her boyfriend.'

The relationship between Aurora and Astarion adds a whole other layer to his thoughts. While his protective instincts might make him wary of anyone getting close to his sister, he observes their connection with a cautious acceptance. He knows his sister well enough to know that her determination is strong. Astarion's presence brings constant tension between the three because the fallen aasimar is convinced he will leave her just as their parents had once he's free.

'I know she can feel me slipping away.'

Aurora remains a guiding light, a piece of his past and present that he can't fully escape, no matter how much the darkness threatens to consume him. She may very well be the only light that can save him. Despite it all, Daemon will always be fiercely protective of his twin, even if he struggles to understand her choices.

[rotisseries]

the next cut is . after hours of walking. "these tunnels go on forever and we've been down here for hours." <- theo. "no real news from the  last time you said it 20 minutes ago." "i wasnt doubting thr plan 20 minutes ago." "if you're so concerned just go. i mean no ones forcing you to stay here." "yeah and leave you and our 'army' in charge of my survival? dont think so." "whatever it takes just to save your own ass, and just nobody elses." which is objectively not true. saved liam. saved scott. "im Here arent i? .. maybe i wanna be in the pack." he sounds so hopeful and . well. after he says that mason slows down and theo doesnt realize at first and looks back at him bc he walked past and mason js like "yeah Right. you-you expect me to believe that? " and hes breathinf HARD. he feels strongly about this "a pack js about trust.  i mean the first thing youd do is figure out a way to kill all of us. and and it doesnt matter who forgets. i wont." his hand is shaking on his bat in anger and fear and also because his leg got shot and its killing him and mason says "i saw scotts mom. i saw what you did. and as much as im terrified of whats down here, i am way more terrified of turning my back on you." excuse me while i wipe a tear. theo looks so hurt when he says that and his hands start shaking and he hadn't really shown any physical signs of fear until then. and then he shifts and tackles mason to the ground and its NOT what you think. HE WAS SCARED BC THE ANUK ITE WAS NEAR AND HE KNEW IT. HE SENSED IT. AS SOON AS HE TACKLED MASON , AARON SHOWED UP BESIDE THEM AND SWUNG A PIPE OR SUM WHERE MASONS FACE WAS SUPPOSED TO BE. he probably noticed his fear along with masons because of what he was saying and how hard he was shaking and sweating and . his voice cracking and . yeah. say what u want about theo but never say he's not perceptive. idk why i said that thats like one of the first things u learn ab the guy. core character trait. 

i need to talk about mason saying "and and it doesnt matter who forgets. i wont." because i know hes talking about liam. mason knows theo and liam are close now. in a way. liam is his best friend he knows why he was okay with mason leaving and being alone with theo. yeah sure he can handle himself but he knows liam sees theo's different now. masons not saying hes not. hes saying he's not going to let it go. that its something he cant erase no matter who he gets to trust him. BECAUSE HE KNOWS LIAM IS STARTING TO TRUST HIM AGAIN. (MAYBE EVEN REALIZES THAT THEO IS IS LIAMS ANCHOR) AND THIS IS WHY MASON HAVING THIS DEEP ROOTED FEAR AND HATRED FOR THEO IS SO BAD. theo knows thats his best friend!!!!!!!!! that no matter how theo acts now for years and years no matter how much he helps and sticks by liam, mason will never approve. because its him!!!!! and that fucking sucks. the CLOSEST PERSON TO LIAM besides scott!!!! literally like your boyfriends best friend telling you you'll never be good enough for them. that you will never be good. basically what happened. i can get worse tho. just a little bit.

shovel talk!!

[rayetherna]

Halloween-inspired newcomers among my Mekiyan creatures ^^  Full version of the “introduction drabble” below "The creatures seem to be physical apparitions, inhabiting late Mr. Conrad's pumpkin patch. May vary greatly in appearance, however, two traits seem common for all of them: pumpkin with "carved" eyes and mouth for a head, and exaggerated body proportions. It's either massive front with tiny rear or massive hind part with smaller torso. According to the neighbours, the patch constantly bears fruit. The beasts all start off in the form of a common pumpkin, but soon enough turn into so called "patchlings" — tiny and less formed versions of the "adult" beasts. While growing, they seem to be prone to sporadic changes in appearance: aside from their basic body type almost any detail of their form may be altered. For some reason, there has never been more than 9 patchlings existing at one time, while "adult" beasts would always come in threes. While observing the creatures during my stay here I noticed that, unlike "adult" beasts, patchlings can, indeed, unravel. Some of them remain in their "nascent" forms throughout their entire existence, then eventually wither, without turning into a full-fledged beast. Others simply disappear without a trace. Rarest few will mature into a new trio of Patch beasts by the moment their predecessors "die". The most unusual detail in all this — at least for me — is the fact that they hold for such a long time without disintegrating, like a common apparition wou-" Joran set the pen aside for a moment and rubbed his temples. Headaches have been really getting unbearable these past few days. He tried squeezing his eyes shut but it seemed to only make things worse and turn "dull throbbing" into a "sharp bursts" kind of experience. — I wonder what makes these creatures so well anchored here, — he mused quietly, sending a careful gaze towards his companion. He felt like even moving his eyeballs too quickly would further unsettle the pestilent ache. Desmond was turning the former creature's head this way and that, seemingly lost in thought. Yet he answered almost immediately. — Mr. Conrad's wife was deeply involved in the occult. Perhaps her practices have influenced this place in mysterious ways, — he paused. — What in the world does a pumpkin patch have to do with it is beyond me. Akieva, who was just silently... there this whole time, suddenly shared, — It feels... like an unfamiliar tradition, from a place unknown to me. The two men exchanged confused glances above the lungaroux's head. But alas, hierophant never elaborated. And asking for more details, as they have already learned, was a lost cause completely...

[acourtofthought]

Ikr! The only solace in it getting colder again is the buggies disappearing ❤️ and yes, my mother has a HUGE green thumb. Flowers, vegetables, plants—she grows it all. Although I don’t think zucchini is on her menu? She gets so annoyed every year with the dears and rabbits who try to eat her things. And as for me? Well, let’s just say it is not a trait I have inherited, so I understand your want for the fake ones 😂

Aelin is interesting to me. She’s not my favorite, but I don’t dislike her. I just don’t think I ever got attached to her the way I did Bryce and Feyre. I didn’t really identify with her I guess. Not that there weren’t moments where I did or that I wasn’t rooting for her, but she was never the anchor for me to that story which is so absurd considering ToG is my fav of the maasverse lol.

I also never got over Rowan punching her in the face. I know Rhys has done shitty things to Feyre, but for whatever reason I was able to move past them easier than I was for Rowan and this punch. Maybe because the series was less about romance and more so fantasy adventure. BUT that’s all to say I’m eagerly anticipating what sparks you come up with/parallels you see as you re read!!

🧼💖

I have to agree. I realize Aelin and Rowan are both warriors but that part seems highly unnecessary. She might have been mouthing off but hitting her in the face is on a completely different level. Though I guess when you have a heroine who assassinates people, it's the least of I wonder if SJM would have left that out if she were to write the books today. I think the older one becomes, the more aware they tend to be about the message they're sending. Saying Rhys was being held captive and attempting to save his people by playing a dangerous game that (unfortunately) involved Feyre as a pawn of sorts sounds better than Rowan couldn't handle a little name calling from Aelin so he sucker punched her.

[poindexterjames]

It was uncomfortable sleeping in my bed.

The bed is supposed to be a place to rest and seek comfort after a long day's work. It was for me. Until it isn't. This year, because of stress and anxiety, the cushion that I most looking forward to retire to turned to a slab of stone.

The bed is supposed to be the place to dream. It was, until it isn't. It became extremely uncomfortable sleeping on that when I wake up, my body hurts and more fatigued than I was the day before.

And so, I did not sleep.

Only then that I realized that my dreams stopped coming even before I stopped sleeping.

It was uncomfortable in my bed.

The fear of waking up in more pain made me force myself to stay awake at night, thinking that I cannot be in more pain the next day if my previous day hasn't ended yet. I am in a constant loop.

But that is probably another mistake that I have made. In sleeping, at least one can have a couple of hours of rest from paranoia.

I cannot shut my brain down. I lie awake in an already uncomfortable bed, overthinking about basically all things in my life. Work. Money. Family. Friends. Romance (or a lack thereof.) My future. It suffocated me. This year, I had anxiety attack me several times, and they all sneak in at night.

And that's when the nightmare began.

It was uncomfortable.

This year, my self-pity reached its peak. At home, at work, with my friends, with family, I feel inadequate. It is like I have this marquee hanging above my head with the words "nobody" written on it dancing in neon lights.

Because that is who I am. A nobody. Always forcing a smile and pretending to be happy on the outside.

All of me has been exhausted in the past months and I have nothing left. Money. Tears. Pride. Hope. Dreams. Inspiration. Add to that the personal problems that are continuously drowning me.

Every time I lie awake at night, I think of these things, and I pity the person I have become. It is so uncomfortable to be me.

If only I can crawl out of my skin and inhabit a shell that I can be proud of.

It was.

When the sun rises and the new day begins, 2022 will already belong in the realm of was. I am going to look back on it as one of the most emotionally significant years in my life. Although I am grateful for the lessons this year has brought me, I would not like to live it again, especially the first half of it. I am grateful that I have discovered some traits that I previously did not know I have had in me. But 2022, good riddance.

2023 will be the year of letting go of all the dreams I have that are probably improbable for me to achieve at this moment in my life. First and foremost, me studying law.

Me in law school already feels like it should have happened a lifetime ago. Maybe some time in the past five years I could have, but right now I don't know if I can carry the pressure and the stress that comes with it. I'm not sure if it is even for me anymore. And honestly, it is going to be such a struggle financially. It is now time to prioritize other things. Being a lawyer was a childhood dream, but like my childhood, I need to let that dream go.

In another universe, I am all the things I have dreamt of, and I am okay with that. In this one, though, it is already time to let go of them as they only serve as anchors that hinder my ship to really set sail.

And the coming year is me finding new winds to power me through.

2022 was an uncomfortable bed. I never want to sleep on it again.

In 2023, my dream is to just dream again (and less bed sore, literally and figuratively.)

[ironunderstands]

Oh my god this is amazing and it honestly reminds me so much of that one post I made on Childe way back in the day, which is not to make it about me, but rather point out that hoyo has done this before, making a male character’s anchors and people he turns to rely on typically women

And thank you oh my god thank you for pointing out that Acheron is also the one who saved him, I love Aventio with all my heart but I genuinely start tweaking when people give all the credit to Ratio when she’s right there,

Moreover, I find it really interesting that like the 2 male characters we see interact positively with Aventurine (minus the trailblazer) are Argenti and Dr. Ratio, both of whom are purposefully feminine, I don’t think I have to explain Argenti but the developers have Ratio that outfit and made him wear makeup for a reason. Even the men Aventurine has trusted in his life share traits with the women he puts his faith in.

Also, within his character stories, I find it very interesting that the stoneheart who seems to dislike him the most is Opal, who is a) a man, and b) seemingly far more masculine than Aventurine is, as he positions himself as more competent and more efficient (due to how violent he is) than Aventurine, which are traits typically associated with masculinity. Perhaps it’s even more rewarding then that Aventurine won not because of how Opal would do things (in a more masculine manner by likely brute forcing it and absolutely wrecking Penacony), but his own version, relying on his intelligence and the relationships he forms with the people; especially women around him, which can be interpreted as feminine due to peacefulness (even if his plan was batshit insane), the ability to negotiate, and well, fine prominence of women being associated with femininity, at least hoyo’s version of it, as female characters more often then not are made into people the audience desires to look up to.

This also calls into question the relationship with his father, which Aventurine unfortunately never got the privilege of knowing. He says he still has his father’s shirt, even today, which makes me think the tattered one we see him wearing IS that shirt. Metaphorically and literally, Aventurine is slotting himself into the role of his father, as the man who is destined to not only take care of his family (which he failed at), but save his clan (which he seemingly also failed at).

It’s no wonder that with that and everything else you’ve stated, Aventurine turns to women, because at least I think some part of him thinks he failed as a man. However, Aventurine is extremely resilient, and the Mother Goddess didn’t bless no bitch so he’s gonna pick himself back up again and fight for his future, aided by both women (literally everyone), and men (Dr. Ratio + Argenti) as he tears off the roles that have haunted him his entire life, both in terms of power dynamics AND gender, ultimately becoming the man, becoming the person he deserved to be by forgoing the ways in which he was forced to look and behave in the past.

He’ll still put on that helpless facade, and he will still put his faith in women time and time again because Aventurine knows he can, but he isn’t going to limit himself to that alone anymore. Aventurine has learned the merits of humanity, all of humanity, including his own and those who he has lost his faith in. And I find it to be such an uplifting message for Aventurine’s story to not conclude with him being disconnected from half the population, from a significant portion of humanity. His journey in Penacony wasn’t just one of self discovery and reflection, but of learning about the world as well, and witnessing the good and evil of others that he hadn’t prior.

And what really gets me is that Aventurine didn’t believe he would change, that he could change. Again I know this is a post centered on women but god you can’t just have Aventurine without mentioning his relationship with Ratio.

He EXPECTS Ratio to betray him, to use him, to complete his task and leave the other to rot like every other man he has met before has done. But Ratio doesn’t, he adamantly refuses to and even if Aventurine doubts that Ratio cares for him, time and time again will Ratio demonstrate that he does. Moreover it’s not because he has anything to prove to him, like all the women in his life, Ratio just, well, Cares, and that ability to possess a trait that Aventurine has so far only ever seen in women shakes him a lot.

He doesn’t believe it, he can’t believe it, how could one ever expect him to believe it?

Until his conversation with Acheron. Until she saves him, can he accept that a man would too. Because Aventurine cannot trust men easily, but he can trust the judgement of women. And if the emanator of Nihility, the woman who has spent her entire life guiding others and attempting to create meaning in their lives, tells you that That Man you have been on the fence about is Your FRIEND and will help provide you the answers as to why you should continue to live on in the first place, you fucking listen to her.

Now, Aventurine is truly no longer shackled to his past, because he has put his (incredibly reasonable) biases behind him, and will now be able to get his well deserved retribution.

Fitting how he will also do that with a man, because it was never men that were the problem, but the system itself which caused them to be that way, and Boothill and Aventurine are going to be the ones to dismantle it.

So yeah, I love this post. Do I think what I have to say is what the developers intended? No, probably not. Is it how I think the story should be read? Yes, and thank you OP for drawing this out of my brain as I never would have noticed in the first place

Female Guidance in Aventurine's Life

One thing I haven't seen discussed in much depth yet, but which I think is especially interesting, is the consistency of female guidance in Aventurine's life: Every single person who we have seen on screen offering Aventurine assistance or making a positive difference in his life is female (with one exception, yes, I'll get there).

Under the read more cause it's longggg:

Before even diving into his family, let's just get the obvious out of the way: Aventurine is, at least supposedly, blessed by a goddess. The very origin of his good fortune--be it actual blessing or curse--comes from the literal "mother goddess" who watches over him. This is one of the only instances in Star Rail where a god character is specifically given a gender, and Gaiathra is not ever ambiguous. She is the classic female fertility goddess with all the trappings of other famous triple goddess figures of the real world. Aventurine's personal belief in the goddess may be shaky, but he nevertheless continues to treasure his people's faith. Thus, at the core, we can say Aventurine is a character who is guarded by the most quintessential mother figure possible.

Now, with the most obvious out of the way:

We know that Aventurine's father died before Aventurine was even born, and therefore he would not have any memories of his father, leaving him to be raised by his mother and sister.

Both women clearly made an enormous and lasting impression on Aventurine; they haunt every single one of his memories of Sigonia and are the key elements of the family Aventurine longs to return to. While he flirts with the concept of death as a way to see his family members again, it was also his mother and sister who instilled in him any sense of self-worth and meaning to his existence, the only things keeping him from giving up on living. His mother believed him to be blessed; his sister insisted to his face that not even the only remaining remnant of their mother had any value in comparison to his life.

It is for his sister that Aventurine first begins expressing a self-sacrificial nature, and from his sister that this self-sacrifice is reinforced when she uses herself as a shield to help him escape massacre at the hands of the Katicans.

It is also from his sister that Aventurine learns many of the deeply meaningful actions he holds onto to the present day, despite having been so far removed from his own culture.

Conversely, every one of Aventurine's early negative experiences on screen appear to have been driven (at least primarily) by men.

Although the Katican tribe of course would have both men and women, the tribal societies on Sigonia appear to be on the fairly traditional side, with Aventurine's mother staying at the camp with her child while his father was the one to go out and hunt for offerings for Gaiathra. This is also supported by Aventurine asking Jade to take him to her "chief" later on. Therefore, it is likely (although of course not guaranteed) that a majority of the Katicans' army was male, and that Aventurine's early experiences with outsiders consisted almost entirely of indiscriminate pillaging and massacre at the hands of what the Avgin viewed as savage, invading warriors. In separate instances, Aventurine was traumatized by these warrior figures three times--first with the loss of his father, then his mother, and then finally his sister.

And even their hope, supposed to come in the form of the "men in black" from the IPC, completely abandoned them, leaving Aventurine once again betrayed by masculine figures that were supposed to be there to protect him. Led by Oswaldo Schneider, another cruel male authority figure, the Marketing Department of the IPC permitted the wholesale slaughter of Aventurine's people--something which we know Aventurine is now aware of.

Then, of course, the next piece of Aventurine's backstory we're given is his male slave master. I don't really need to say anything about this, do I? This man violated Aventurine's human dignity and bodily autonomy, and forced Aventurine's hand in a life or death battle for which Aventurine still punishes himself mentally, even years in the future.

In part to escape the difficulty of his situation and rise to a position where he would have enough resources to--he thought--help his people, Aventurine joins up with the IPC. But when he attempts to make contact with a powerful man in the organization, Diamond, he is instead met by a woman, Jade, who against Aventurine's own expectations determines that she will raise Aventurine up (or use him as a tool, depending on how you currently choose to interpret Jade's motivations), granting him wealth and status beyond his imagination.

(And this line in particular is interesting, because you can take it one of two ways: 1) Aventurine comes from a patriarchal planet that traditionally put men into positions of power [thereby making his own slavery an emasculating act, aligning him further with disenfranchised women]; thus, he is making the assumption that to get anywhere in this organization, he will need to work with a man; or 2) He actually was counting on Jade taking his bet and helping him right from the beginning, because Aventurine perceives women as inherently more likely to protect and aid him than men would be.)

In the end, Jade does exactly as she claims she will, launching Aventurine into a position of power while also closing golden handcuffs around his wrists. She positions herself not only as his supervisor, but as his advocate and ally. She entrusts him with her Cornerstone, a sign of significant faith in his abilities. She even seems to be keenly aware of his bias towards the mother figure, referring to him as "child" in their conversations.

Whether this is genuine or a manipulation tactic can certainly be debated (and I'm not inclined to think at this point that Jade is a genuinely good role model or selflessly supportive person in Aventurine's life), but whatever the case, women are the only people Aventurine even remotely considers to be "in his corner."

We see this even earlier, in Aventurine's call to Topaz. Like with the example of his mother and sister, Aventurine trusts in Topaz's ability implicitly, and considers her above anyone else when it comes to completing the mission in Penacony.

Although of course we don't know if Aventurine has any other friends or allies among the Strategic Investment Department, it seems very likely that Topaz, yet another woman, is the one he is closest with. At the very least, she is the only IPC character (so far) that Aventurine has a complimentary voice line for, one that shows his respect for her talent:

Over and over again, the story aligns Aventurine with female figures in positions of authority, and demonstrates that he is comfortable (although maybe not too comfortable, in the case of Jade) with relying on them and trusting their judgment, just as he did with his mother and sister.

And this pretty much goes off the charts in Penacony, where Aventurine has more involvement with the female cast than virtually any other non-female character (even the Trailblazer!). We set the pattern off right away, with Aventurine immediately being placed into a negotiation situation with Himeko, respecting her role as the Express's leader and working to get himself aligned with the Express by acquiescing to her request for support.

Then there's the fact that Aventurine is the one who finds Robin's body, an event which, although he didn't let it show too much, was almost certainly traumatic for him, given the violent death of his own sister.

Next, twice in Penacony's story, we see Aventurine seek out Sparkle for information. He may not personally like her and her comments may be both racist and dehumanizing, but Aventurine does rely on her--being the only character explicitly seeking her aid, which no one else in Penacony seems to want.

In 2.0...

And in 2.1.

Now, say it with me, guys: Aventurine built an entire portion of his grand plan around the idea that if he looked pathetic enough, a female character would absolutely come and help him. And sure enough, the women come through for him, always! Sparkle gives him the exact last clue he needs to confirm his belief that he could use "Death" to reach the true Penacony, sealing the deal for the rest of his plan.

His plan which also hinged significantly on Black Swan's involvement too, another woman that he views as, if not trustworthy, then at least intelligent and hyper-competent.

Contrast all this, of course, with the treatment Aventurine receives at the hands of Sunday, the lone opposing male character he faces in Penacony.

Sparkle implies that Sunday would humiliate Aventurine in an unmistakably sexual and degrading way, and Sunday himself professes this same desire to see Aventurine humiliated.

Then we're "treated" to the moment in which Sunday uses the Harmony's (or perhaps actually the Order's?) power against Aventurine, in a scene which is supposed to reflect an interrogation but is also, very clearly, another nonconsensual violation of Aventurine's bodily autonomy and dignity by a man. While ostensibly seeking confirmation of the Cornerstone ruse, Sunday instead subjects Aventurine to unnecessary questions about his past on Sigonia, which recall and force Aventurine to re-endure memories of his trauma.

Even if this is what Aventurine prepared himself for and planned to have happen, the pain he experiences is very real, and he suffers both the physical and emotional consequences of Sunday's assault all the way up to his "Death" and possibly even beyond.

(Also, Sunday fans please don't get too up in arms with me for this; I also like Sunday! It's okay for characters to be morally grey!)

I think there's one other interesting example I would bring up here too, and that's Aventurine's conscious decision to weaponize his own masculinity against the Trailblazer. Through the 2.0 and 2.1 Trailblaze missions, Aventurine deliberately acts in an off-putting manner to the Astral Express crew, particularly the Trailblazer, in order to build up to the 2.1 climax where the Trailblazer is supposed to view him as an unrepentant villain and attack him without hesitation.

In order to achieve this uncomfortable, villainous effect, what does Aventurine do? Exactly what other men have done to him.

This is especially apparent if you're playing Stelle because of the ingrained societal taboo of a man entering a woman's personal space without consent, but even as Caelus, it is very clear that Aventurine is leveraging behaviors typically used to show dominance: In a complete 180 to all Aventurine's other body language in the game (normally quite withdrawn, frequently in defensive postures with his arms crossed or hand behind his back, almost always standing several feet away from other people), Aventurine violates the Trailblazer's personal bubble, looming over them (Caelus was sitting in this cutscene, lol), forcing eye contact, and commanding the space while informing them that they will have no choice.

For someone who was hunted, enslaved, had his movements restricted with chains, and due to his own slight stature has very likely been towered over by others who were intentionally asserting their power over him all his life, it is clear that Aventurine associates dominant, typically more masculine-coded physically-imposing behaviors with discomfort and even villainy.

Any girl who has ever had a man loom over her like this will realize very quickly: Aventurine wanted to make himself scary so he made himself act more like a bad man.

(Yes of course I know "not all men." I'm not saying every man behaves in this domineering way or that women cannot be domineering too, obviously, just that Aventurine had a very specific image in mind when constructing a "villainous persona," and the physically controlling tactics most typically used by aggressive men toward women was his immediate go-to.)

But where does that leave Dr. Ratio, the one male character actually on Aventurine's side?

Frankly, I don't want to derail my post about how intensely Hoyo chose to hammer on the message of "Women will protect you" in Aventurine's story with a discussion about a mlm ship, but the take-away here is going to lead in that direction anyway--so yes, Dr. Ratio is the exception.

What is interesting is that he does not come across as an exception at first, and in fact initially appears as another male character being rude and dismissive to Aventurine. Like, there are still people out there calling Ratio an unrepentant racist for this one.

Of course, it's later clarified that this is an act--likely even these insults were scripted specifically to give Sunday's spying ears the "insight" he needed to exploit Aventurine during the interrogation.

But even though it is an act, Aventurine still has noticeable trouble putting his faith in Ratio. He does genuinely doubt him a few times, despite knowing that they are working together to fool the Family.

Even his voice line about Ratio confirms that he doesn't think Ratio particularly cares for him; rather, he thinks Ratio simply tolerates him because he's slightly less unintelligent than those around them.

Ultimately, the entire act with Ratio ends up being a mirror of the real scenarios Aventurine has been experiencing with men his whole life (at least as far as we are shown his life). Men abandon him to fend for himself (unwillingly, like his father, or willingly, like Diamond leaving Aventurine to deal with Penacony alone on the inside). Ratio keeps leaving Aventurine completely alone. Men attempt to humiliate him and violate his boundaries (like Sunday and his slave master). Ratio insults Aventurine's appearance and intelligence repeatedly. Men betray him (like Oswaldo Schneider and his men leaving the Avgin to die). Ratio "betrays" him.

I'm not saying when Aventurine devised the plan for their act, he consciously drew up a list of all the ways men had hurt him in the past and had Ratio re-enact them one by one, but like... that's what happened, whether or not Aventurine intended it.

And okay, the shrinking scene in Dewlight Pavilion was just for fun and probably only slightly fetishy, the devs promise; yes, it was supposed to be a joke! ...But it's also not a mistake that this is yet another instance of a male character in a glaringly metaphorical position of power over Aventurine. Aventurine's tiny in this scene! He's completely vulnerable! He's in a dangerous position and the male character could very much hurt him in this moment.

But Ratio doesn't. (In fact, his line here is supposed to be sarcastic, very ha ha--but also, what is Ratio really saying? "I won't do anything to you without your express consent." What a good guy.)

Virtually everything negative that we see in 2.1 is Ratio doing these things as an act at Aventurine's own request. He doesn't actually disdain Aventurine; his own voiceline about Aventurine reinforces that he sees Aventurine as talented and intelligent.

Whatever you think he was apologizing for in their early scene, he's the only person we're ever shown in-game apologizing to Aventurine at all.

He worked hard to "betray" Aventurine but only as he was instructed to do, and immediately checks in on Aventurine's well-being afterward, even urging him to give up the plan if it becomes too much to handle.

And then, of course, there's the note: "Do stay alive. I wish you the best of luck."

After this point, it cannot be denied that Ratio is unequivocally on Aventurine's side, wants to help him, and is not doing so out of any sense of self-gain but largely because he is a good person who simply cares about Aventurine's fate. By the end of 2.1, it can no longer be doubted that Ratio is the exception to the "gender rule" of Aventurine's life, which--the story shows us again and again--was that guidance, protection, and care for Aventurine come from women, while men repeatedly represent dismissal, betrayal, or pain.

Ratio is, at least as far as Aventurine's story shows us, the proof that men can be good, that things are not as black and white in Aventurine's life as they might appear, and that--if you do choose to ship him with or see Aventurine as attracted to men--his attraction could be validated (and potentially reciprocated) by a male figure who would not bring additional harm to Aventurine's life. Aventurine makes the final decision to live after seeing Ratio's note--the exception to the rule ultimately proves to be the last piece needed to keep him alive.

But I promised I wasn't going to derail my own post about w o m e n, so let me get to the final point, and the one I really wanted to talk about: Although Ratio gets virtually all the credit for "saving" Aventurine in the fandom, Aventurine was actually saved by, you guessed it, another woman.

Not going to lie, the reason I started this post was specifically because I wanted to talk about how Acheron and Aventurine's dynamic was completely unexpected but actually fits flawlessly with the theme of feminine guidance in Aventurine's story.

Despite the fact that Aventurine made Acheron's life much harder and actively used her as a chip in his grand gamble, she doesn't blame or chastise him for those actions. Although she expresses some incredulity that Aventurine is actually that lucky, she then turns around and congratulations him for his ingenuity, immediately supporting him despite the fact that they don't even truly know each other.

Then it gets even more interesting. Acheron, who frequently hits her companions with deep and sometimes very emotionally fraught questions, asks Aventurine: "Have you never wavered?"

We as players know for a fact that Aventurine is constantly wavering, constantly doubting himself, his luck, and whether he'll even live--or even wants to live--to see tomorrow. But we also know that Aventurine is not forthcoming about those truths, refusing to express them to anyone, even himself. The only way we hear those dark truths is through his "future" self (who by the way, is once again another male figure cutting Aventurine down--of course it's himself but it's also, from the player's perspective, once again reinforcing the message that he isn't going to find safety or kindness in an adult male presence). Aventurine almost constantly deflects and diverts when his emotions or struggles are brought to the fore (unless he's divulging them for the specific purpose of allowing someone else to weaponize them). "I'm fine," he says, like a lying liar who lies.

But he doesn't lie to Acheron.

He chooses to be completely candid with her, to lance open the deepest wound of his life--that he can win and win and win and still have lost everything. The glitz and the glamour has all been stripped away here, at the end of everything, and Aventurine finally feels safe enough to admit that he fears he has absolutely nothing in his life worth living for.

And then, we get this direct parallel: Aventurine looks to Acheron, the woman now before him, for guidance, for explanation, exactly as he looked to his sister in the past.

He needs help, he needs answers, and he is continually seeking that help from the female figures in his life, whose support and kindness echo the lost care of his mother and sister.

"Go where you should be," Acheron tells Aventurine, guiding him across the river of death just as his sister insisted that he flee through the rain toward life.

Look guys, Acheron's even the one who reminds Aventurine to look at Ratio's note in the first place because apparently being an emanator of Nihility gives you x-ray vision, but my girl just gets no credit at all for being Aventurine's real savior, come on now!! Yes, Ratio's note was the final reminder Aventurine needed that someone would be waiting for him on the other side, but Aventurine would never have even gotten to the point of being willing to read that note if Acheron hadn't stepped in and provided him an answer to his question.

She feeds him back his own answer: "Why does life slumber? To rehearse the death for which we are not currently prepared." It is Acheron who reminds Aventurine that giving into the Nihility is pointless, and that rather than simply embracing a meaningless death, it is up to humanity itself to find and make meaning by living. It's this, not Ratio's note, that Aventurine gives as his reason for choosing to go on when asked by his own younger self. It's Acheron's words that finally give Aventurine an answer--why do we live just to die? Because there are people we can still make proud. Because when we go into death, we should do so with our heads held high, having achieved our own sense of purpose in this life.

Ratio gave Aventurine a promise: Someone is waiting for you to come back.

But Acheron gave Aventurine a reason: If life is inherently meaningless, doesn't that just mean you are free to give it meaning yourself?

She saved him, as women have been saving him all his life.

Anyway, this has already been horrendously long, but really what I wanted to say is that I think it is absolutely fascinating how consistent Aventurine's writing is when it comes to portraying where his support comes from and who he seeks guidance from. (Psst, just in case you still haven't figured it out, it's women!) In virtually every instance we are shown, we see the message reinforced that women are Aventurine's greatest allies and role models, while male figures are continually positioned to intentionally or unintentionally let him down and cause him distress.

"But women playing the supporting role to a male character is nothing new, Star, why are you so excited by this?"

Because the role women are playing in Aventurine's life is not the subservient supporter and emotional crutch role that female characters all too often play to male counterparts. None of the women in Penacony or Aventurine's past were there to do the emotional labor for him, to be a trophy or prize, or to cater to his needs. They don't exist solely to help him fulfill his character motivations; they aren't following him around waiting for his next request as their only role in the plot.

Instead, with Aventurine's story, we almost have an inversion of gender roles, where the male character eschews the stereotypical "men are leaders, fighters, and stoic heroes" archetype. Instead, no matter how hard he tries to hide it and keep a stiff upper lip, it is clear from 2.0-2.1's story that Aventurine is a deeply insecure, lonely, and explicitly traumatized survivor of genocide, slavery, and exploitation. Unlike most male characters, who are very rarely portrayed as genuine victims--because come on, shouldn't men be strong enough to fight back? Shouldn't men be able to shrug it off when they are hurt, emotionally or physically? (Of course I'm rolling my eyes here!)--Aventurine is belittled, humiliated, emasculated, and victimized on-screen, roles almost exclusively reserved for women, for whom surviving victimization in fiction is seen as noble.

Meanwhile, the women in Aventurine's life take on the roles traditionally given to male characters. They're both emotionally and physically his protectors. Aventurine's sister gave her life to guard his safety; Acheron ensured he could safely pass beyond the river of Nihility into the Primordial Dreamscape. They give him the tools necessary to succeed where he could not succeed on his own. His plan could never have gotten off the ground without Topaz and Jade entrusting their Cornerstones to him. The knowledge and capabilities of the women around him--not their "feminine charms"--are what allow them to help keep Aventurine on the right path even though he does waver. Even women who disrespect him, like Sparkle, still play a positive role in his life, able to provide him insight gained with their own intellect and talents.

When he has no one to rely on and doesn't know what to do, Aventurine is able to continually turn to the women around him, asking for and receiving not servitude or fawning, but their genuine wisdom and guidance.

tl;dr: If nobody else has him, Aventurine knows this random woman he met two minutes ago on the street will have him, because the women in his life literally never let him down.

(It's just so, so good, and ultimately, it should be very clear why Aventurine's story is as popular with women as it is! A+, Hoyo!)