#parts of his backstory to me

[cracklewink]

the light shines even though the star is gone ⭐

Bonus: just for fun, I made this into a fake IDW cover! I'm still catching up on the comics

[crumb-crumblet-s-crumbington]

"Why did I do that?"

close up

[tartppola]

very specific au thought, silver if he was the shield instead ( read the tags to see explanations )

[egophiliac]

(breathing into a paper bag) FRALIO....

can't believe they gave us another guy. oh my god. so I guess Kelka is more, uhhh, more OOO then, and Fralio is Ankh? not that it matters too much, although they do seem to be doing something with the connected Riders so. who knows. anything goes! or if I may, anything gOOOes! god. of course they're the Ambition parallel. of course they are. oh my god.

fortunately there's nothing else they can throw at me right now that could possibly --

AHHHHHHHHHHHHHHHHHHHHHHHHHHH

[demaparbat-hp]

“Zuko?” Ming searched for the Prince in his silence. He was staring intently out of the window, mouth blown wide open, eyes distant and awed and sincere. Oh. His whisper was a fragile, breathless thing.

“We're here.”

Ming’s doubts and concerns are hers alone, but that doesn't mean the rest of the Crew doesn't share them. This sudden mission, Zuko's change in attitude, his obsession with the Water Tribes...

Ming tries to discover the root of it all in For the Spirits Chapter VIII: Make You Stay, but will Zuko let her in?

[bonefall]

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

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

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

So, why?

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

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

Bumble, on the other hand...

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

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

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

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

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

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

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

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

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

Ask yourself; what about them does the cast miss?

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

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

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

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

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

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

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

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

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

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

[secriden]

*cracks knuckles* Okay lets talk about the elephant in the room: Style going to the support group for those who've suffered loss and telling what appears to be a fake story about losing his pet dog.

I'm going to point out a few things that I think provide a framework for Style's actions here. Not because I think it excuses what he did, but because I think a nuanced read is what the character deserves.

Point 1: An irresistible opportunity

The subs put the "Support Group for Loss" on the image in the notebook, but I'm not sure there's anything to suggest that Style would've known that was what this image represents until he showed up and saw the sign on top of the door.

In episode 2, Bison says, "He plans everything down from years, months, weeks to days" and then tells Kant:

So Style is literally just going to addresses/locations at given days and times, potentially not knowing what to expect. And as much as Fadel is certainly attending this meeting as a response to having that heartbreaking flashback (😭), this is also something he attends regularly and has planned to attend way in advance. So Style has no reason to think Fadel is attending this meeting because of a recent resurfacing of his pain.

What we, the audience, and what the characters know are very different things.

Now, should Style have turned his cute ass right around once he realised what this meeting was? Of course he should. But that wouldn't have been true to Style's character. We've been told by his best friend that he is "crazy" and been shown repeatedly that he lives right up to that description.

Style is impulsive. He's all base instinct and he acts on his desires without thought or contemplation. And by this point he is desperate for a deeper connection with Fadel. He's fascinated, captivated by the mystery that is Fadel and this is an excellent opportunity to finally see behind the wall Fadel so carefully maintains.

When Style sees the sign above the door, Style looks at the notebook (which, again, shows nothing but people sitting in a circle with the words RISE UP) like he's just realising what it means. He then gets this amused, almost rueful look on his face (like he's thinking "am I really going to do this?") before it shifts to determination and he walks through the door.

(My soul for the ability to once again gif something because FUCK Dunk is doing SO MUCH in this show!!)

To Style, this is just too good of an opportunity to give up.

Because let's be real, Fadel is so clearly lying and hiding something:

Fadel is shady as FUCK. He is simultaneously actually a really good cook (Style finally tries his burger so he knows, now), and also has the skills to work at a strip host club, and also can take on 3 guys in a fight, and also can break a man's arm with his thighs. Can you honestly blame Style for losing his mind just a little bit about wanting to get his hands on something, anything, to figure this man out?

Style is being absolutely consistent in his persistence to understand Fadel. This isn't about the car or about finally 'winning' the fight (thank you @airenyah for giving such a detailed framework to understand what Style's been doing until this point) anymore. This is about Style wanting to know Fadel himself.

Point 2: The potential implications of the setting

Now, what might give us a bit of insight as to why Style is this way? I have a theory (albeit one that could prove to be very wrong, but hear me out). I think this whole entire show is set in what could potentially be quite a small town/suburb.

There's a few things that make this theory plausible:

(1) Fadel and Bison are in hiding after Bison blew their previous cover. They're probably on the run from some section of the authorities and so it makes sense to settle in a quiet/out of the way place.

(2) Style seems to be really familiar with the people in the area. Like he grew up there and its the kind of small town where everyone knows everyone and everyone is in everyone else's business.

(3) Style is clearly the darling of the market aunties and uncles.

Style just lost her a sale and potentially a loyal customer, and she's still rooting for him? In episode 2, when Style asks the uncle to let him borrow his cart, it takes nothing but his word for the uncle to give Style his entire cart of produce for his ridiculous scheme.

Style is so clearly someone they all know well and have great affection for, and a very plausible explanation for this is that they all watched him grow up and the entire market (town/village) is fond of him.

And honestly?? Yeah, we see the way Style is actually quite sweet in that careless, guileless, thoughtless way. He goes the extra mile to fix his mistake with Fadel by replacing his car parts for free in episode 1. He helps out by taking orders in episode 2 without being asked and takes it seriously. In episode 3, he tries to drive more business to Fadel's store (bless him, he so clearly does NOT understand how restaurants work, but he MEANS well!!), and can we all acknowledge that it works?? He understands how to appeal to potential customers in the area because he knows the people there. It's not (entirely) his fault that Fadel wasn't remotely prepared for an actual rush crowd and Bison was off getting kinky with Kant and not doing his (fake) job. He is so clear about not judging Fadel's host job and tries his hardest to help him (to absolutely NO effect, but still) when the 3 guys gang up on Fadel.

Style is so loved and more importantly so very loveable.

Point 3: What this could mean for Style's character

So, potentially, Style is someone who grew up in a small town, who has been well loved, potentially spoiled and coddled, but also very much kept within the confines of the narrow viewpoint that a quiet, country town places on you.

It's in the way his dad scolds him as if he was still a child when he's at least in his mid to late 20s. It's in the way Style was so mad at Fadel for scolding him ("thanks for the lecture, dad"), like that hit a sore point for Style. It's in the way no one in the market takes him seriously; they're fond, but he's still a kid in their eyes. It's in the way he has an abundance of free time like he doesn't REALLY need to work at his dad's shop. It's in the way he sees Fadel beat 3 guys up with ease, starts wondering if Fadel is an assassin or a hitman, and is completely unfazed like he doesn't quite have a handle on reality.

It's in the way his best friend is a man who has no qualms about lying to him and putting his life in danger, and how Style seems to have no other friends or people (aside from his dad) in his life.

@wuxian-vs-wangji made a comment to me about Style being desperate for a meaningful connection, and I think she hit the nail on the head. Because along comes Fadel, a mysterious stranger with a suspiciously versatile set of skills who is also very hot and keeps giving Style these wonderfully complex reactions? Who sometimes wants nothing to do with Style, but at other times seems to be at war within himself about desperately wanting him? Who treats Style with anything but apathy?

This is catnip to Style; he never had any hope of resisting this.

Breaking news: Style is a complex and imperfect character...

Here's the thing, though: he was never going to try. The show has been incredibly upfront about who Style is as a person. Regardless of whether I'm correct about why he is this way (ie. that he is very much the product of the environment that didn't know how to handle a kid with Style's personality), episode 3 shouldn't have surprised anyone about Style. He's been incredibly consistent and true to himself.

He wants Fadel and he's "crazy" enough to go all in, no holds barred about it, and the Support Group was the biggest doorway to finally discovering something REAL about Fadel.

And its not just about sex or to prove his superiority anymore. Because if it was just that, then Style would have reacted very differently to their first time.

In this scene, Style is pleased and evidently enjoying himself, but he isn't exuberant. He isn't overcome with joy. If anything, he was more happy and excited when Fadel let him help out in the diner (I mentioned this in the tags in this post too) than he was when Fadel is literally fucking him. He lets Fadel set the pace; barely moves to touch Fadel except to hold him close. Almost like he doesn't want to accidentally mess this up, like he's worried he'll take too much, so he'll take what Fadel gives him and no more (please appreciate @braceletofteeth's amazing tags on this post). For a character that has been so aggressively on the offensive, this is shocking until you realise that sleeping with Fadel - while it's a step in the right direction - isn't Style's end goal anymore.

And he makes that abundantly clear in this episode:

Does Style even fully realise the weight of this desire? I doubt it. But I do believe that Style is in earnest. He doesn't fully understand his own feelings, but he also doesn't really care to either. All he knows is that he wants Fadel, wants his attention and his passion and his focus and his heart.

...but Style is also kind of, sort of, perfect.

Because he's exactly, precisely, breathtakingly exactly what Fadel needs.

Because Fadel is hurt and broken and bleeding inside. Because Fadel is barely holding it all together for Bison's sake, but has already given up hope for any true happiness for himself. Because Fadel can't trust anyone or anything in his life, when he's been used and used and used by the family who should've loved and cared and protected him.

Because it's going to take nothing short of this kind of unwavering, unshakable, uncomplicated determination to give Fadel even a chance of healing and opening his heart to love again.

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[bonkalore]

It feels utterly criminal that I've waited over a year since first drawing/coming up with her before even posting anything of her and now I'm dumping it all at once! 😭

This is Jayce's drider ex, Leticia, an aerial dancer, who he first met going to a club with his tracker buddies to celebrate his big untrackable find. Wanting to look cool with them, but immediately falls in love instead lmao. She was not convinced his feelings were genuine for a while at first, due to either fetishized or teased for being half spider (even with being an empath herself), but he was adamant about having his feelings known and she eventually caved to his affections and they were together for several years...

Eventually she was wanting to settle down and didn't like how dangerous his job was as a tracker and things got a bit rough towards the end. He didn't want to stop tracking, but he promised her one last mission where he might not need to anymore if he could find and open the coffer and release ancient magic for the world again, something that would benefit everyone! She thought he had ideals of grandeur too high to achieve and she went to stay with her folks for a bit, and then...

Jayce went missing for 5 years... She assumed eventually that he had passed and had to move on herself. She met someone else and started a family and has her second child on the way when Jayce finally returns again, far too late to try and fix things. She still cares for him a lot, but has moved on, while it's still fairly fresh in Jayce's mind as he was in stasis most of that time missing. They both wish each other happiness, but it still hurts...

[epickiya722]

It's still something to me that Sukuna knew Yuji was his nephew for like a month and didn't tell Yuji that.

Why he didn't, I don't know. But I guess it's because he didn't care to, at the end of the day. There would have been no point to it.

Even still, Sukuna wanted to so badly break Yuji's spirit and he didn't figure that may have done it, revealing they're technically family? Because had Yuji known, I'm sure it would have upset him.

Then again, maybe Sukuna figured "the brat wouldn't believe me anyways". In 248, he mentions no matter what he did, Yuji isn't breaking.

A part of me also feels like Sukuna just didn't want to be reminded that he still had family. The more you don't think and mention something and ignore it, the more nonexistent it becomes.

Maybe he acted dismissive while revealing that information to Uraume, who was more surprised and curious, to kind of cut off that connection. Extinguish that feeling of what it's like to have family that could care for you.

He was there to witness how Yuji's relationship with Choso changed and maybe it reminded him of what could have been had he and his twin survived in the womb. (I still think Sukuna just had it out for Choso and maybe part of the reason could be because Choso was so devoted to be being a big brother while Sukuna didn't get to experience having a sibling.)

We see how he acts just from Yuji showing any bit of sympathy and pity for him.

Maybe he is disgusted by the idea of human connections and emotions genuinely. That his own "me, myself and I" mentality is so strong that he convinced himself that even having family is absurd to him? And what if a part of him, deep, deep down just feels he doesn't deserve that love?

I'm just rambling and pondering right now.

[flowerakatsuka]

smoke break & a familiar customer

more fanart of @brofightiscancelled & @awittlebabbyboy's postgrad plan au! no matter what, i'll always be obsessed with kara and had to draw his au design. he's so cutes and weighed down by so much regret, i'm absolutely captivated by him.

also, since a certain someone rides a moped, i hope it's alright if they stop by his mechanic shop. 👉👈

[brofightiscancelled]

okay ill bite why do u hate kaoru sakuraba sidem aside from the fact that they went from hokuto as a main blue to downgrade to kaoru. to make it less awkward that I’m asking abt sidem on ur osomatsu side blog, what sidem idols would u assign to each matsu ?

i think sideM should collab w osomatsu-san and put them all in Beit so they can all get JOBS!!!!!!

anyways i hate kaoru from idolmaster sideM. i need all my osomatsu-san side blog followers to know that i hate this man. "i need a lot of money fast to pursue an extremely niche medical research track, which is why i quit my stable and high paying job as a surgeon to become an idol while having no soft skills, physical strength or stamina, or interest in getting along with people" are you Stupid??

he's not even using his idol clout to spread awareness of the rare disease he's trying to cure (like SEM does) so it can secure funding, he sees it 100% as a job and refuses to have fun, he is actively unpleasant and uncooperative in every interaction with his coworkers because he's trying to "rise to the top". it seems like the only thing he has going for him are his looks and that he kind of liked to sing when he was a kid. why not become a model at that point when you have the personality of a wet tree trunk. or better yet why not STAY A FUCKING DOCTOR!!!!!

also, i don't like meganes, so write that down.

[simptasia]

LOST: Season One

[egophiliac]

some more episode 7 stuff! Mal's UM poster is being uncooperative, so here's some dumb shit in the meantime.

I have been genuinely trying to draw his OB better, but it's hard. :( why does he hate me.

[luna-the-cretar]

Anyone remember the Frostbek series I was working on? Before it kinda stopped? Yeah, I’m still writing it, just very slowly lol. (Actually, at this rate, the next fic might not get posted until ouaw itself picks back up)

Anyway, out of all the fics I have planned for this series (and there’s a lot of ‘em), there’s only one I’m really excited for and know exactly how I’m gonna have it play out. Actually it’s technically 3 separate fics, but they’re connected with this plotline.

CW: Abusive relationship (it’s regarding The Other, so…yeah)

So Frost wakes up in the middle of the night, and all he can see is the glow from Torbek’s canisters, and his eyes. This is not abnormal—I imagine Torbek is more of a night owl like Frost is, but has to be up during the day bc responsibilities and traveling—what IS abnormal, however, is the bright pink hue to his boyfriend’s eyes. “Torbek” sees that Frosty is awake, and immediately crawls closer, smiling.

They have a conversation, that essentially boils down to The Other telling Frost that He’ll be taking over for a while, but to not be alarmed because He has grown rather fond of Frost, partially because of how much Torbek cares for the Tabaxi. The Other does threaten Frost, however, and tells him that if he’d like to keep his head on his shoulders, he wouldn’t tell the others about what’s going on. And that he knows if/when Frost is communicating with someone mentally (idk if The Other actually has mind powers, but shhh). So, Frost keeps quiet about this. For 2 months.

The Other isn’t physically harming Frost, other than a small cut on his cheek from the initial conversation. But the others (Gricko especially) notice how odd both Frost and “Torbek” are acting. Frost seems uncomfortable, if not outright scared, of “Torbek”, and is significantly quieter than he normally is. He won’t even talk to them mentally. And “Torbek” won’t leave Frost’s side. At all. Whereas beforehand, while Torbek was much more comfortable with Frost around, they both also had their own responsibilities on the reformed Carnival, and would spend much of the day apart.

Now, though? Wherever Frost is, “Torbek” is. The bugbear won’t even leave the poor man alone to use the bathroom. And he’s also INCREDIBLY jealous, glaring daggers at whoever decides to talk to Frost for any reason (if looks could kill, Gricko would be dead 10 times over)

Eventually, Gricko realizes that this isn’t Torbek, and must be The Other, and manages to pry Frost away from Him for a short while. He tells Frost there must be some way to bring Torbek back, and that he should try and use his psychic abilities, and see if that works. Frost agrees, and that night, he does so.

This leads to Frost learning just how deep Torbek’s affections go, and Torbek makes a deal with his Other, who agrees and lets Torbek take control again. Happily ever after. For the time being, anyway. ;)

[venti-death-watch]

my current favorite thing to think about is lyney thinking he knows freminet better than vice versa but freminet knowing that he knows lyney better than lyney knows him