#sometimes protagonists make mistakes

[sonik-kun]

I've seen a lot of people claim lately (mostly JC antis) that WWX performing the experimental core transplant on JC was emergency surgery, and I just have to stop them right there.

This was not emergency surgery by any means. Emergency surgery implies that it is something that NEEDS to be done, or else it would mean imminent death for the patient.

JC did not need that core to survive. He could have very much lived without it. He only needed it for revenge. To get back into joining the war effort to avenge his parents and his sect.

WWX didn't have to do it at all. Sure, JC was miserable, borderline suicidal. But I've seen and read aus where him coming to terms with his new disability is and can be very much possible. Hard, and a lot to work through mentally and physically, but not impossible.

JC did not force WWX to give up his core. It was very much implied that he would grow HIS OWN one via Baoshan Sanren. There was no way JC could have assumed that it was WWX's or anyone else's core for that matter when the concept of a core transplant did not exist at that moment in time. He was the first one to have survived and lived to tell the tale.

Plus, his mental state at that time was questionable. On the surface, he was willing to "consent" to anything if it meant getting his core back, regardless of how and why. But because of his vulnerability, that doesn't mean he consents to being treated like a guinea pig, nor should he have been treated like one for that matter. Although the intentions were good and pure, his vulnerability and naivety was still taken advantage of here. That cannot be disputed.

He also did not consent to having someone else's core (someone else who he cares for deeply, mind) being inserted in him. That possibility was obviously something that would have never crossed his mind in that moment. It is unfair and unreasonable to assume it would and claim he consented to something he didn't even know was possible.

He was led to believe that Baoshan Sanren could successfully give him a new core willy nilly, no questions asked because she was a fabled person with amazing abilities. It was that he consented to here alone, nothing else.

So yes, although WWX's intentions were pure and from the goodness of his heart, he did in fact mislead JC. The whole core reveal and the shock revelation behind it is proof of that. What would be the point in that scene otherwise if it was 100% consensual? And Jiang Cheng's famous "why didn't you tell me?" Break down?

It's okay to accept the moral greyness behind WWX's heroic actions, you know? It won't make him any less of a protagonist, nor does it undermine his HUGE sacrifice. You're still allowed to like him, warts and all. I know I certainly do!

[shackld]

its just like. chief does the absolute best she can in the circumstances shes in and no she's not perfect and fucks up a lot and doesn't always say or do the best thing but god she always tries to help!!! puts others before herself and maybe too much for that matter but she has a genuinely kind heart and you cannot dispute that she just makes me so rarasrargsgddfge

[literaryvein-reblogs]

Writing Notes: Plot Method

The Save the Cat! Beat Sheet was originally developed by Blake Snyder to help screenwriters plot movies, but it works just as well with novels.

It breaks down the 3-act structure into small, specific sections (sometimes just one scene long).

Each section pushes your story forward in its own way.

The exact word count/page count of each section depends on how long your novel is and what type of story you’re telling, but you can use the colored chart below and the percentages in the instructions as a guide. 

Context Note: This method is based on the concept of the Three Act Structure, which is an inherently Western approach to plot. It can be a useful way to tell a story, but it is by no means the only one.

ACT 1

Opening Image (0-1%)

Show a “before” snapshot of your protagonist and their world.

What is life like before the adventure begins?

It represents the struggle & tone of the story.

Set-up (1-10%)

Expand on the “before” snapshot.

Explore your protagonist’s life, including the internal flaws and external challenges they’ll have to overcome in order to change for the better by the end of the story.

Present the main character’s world as it is, and what is missing in their life.

Also introduce important supporting characters.

Theme Stated (happens during the Set-up)

What your story is about; the message, the truth.

Usually, it is spoken to the main character or in their presence, but they don’t understand the truth/lesson…not until later, when they have some personal experience and context to support it.

Thus, include a scene where a character says something that hints at what the protagonist’s big life lesson will be - how they’ll have to change and grow by the end of the story.

Catalyst (10%)

The moment where life as it is changes.

Examples: It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc.

There’s no going back to the “before” world from here… What is the inciting incident that pushes the protagonist into the next phase of the story?

Debate (11-20%)

But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take.

Show the protagonist questioning themselves and resisting the path ahead - wondering whether they have what it takes, or whether or they should just run home and hide under the bed.

“Should I just…?” “I really shouldn’t because…” “But what about…” Can I face this challenge? Do I have what it takes? Should I go at all?

It is the last chance for the hero to chicken out.

ACT 2

Break Into 2 (20%; Choosing Act Two)

The main character makes a choice and the journey begins.

We leave the “Thesis” world and enter the upside-down, opposite world of Act 2.

They make the choice to begin their adventure/transformation/journey/new thing.

Show your protagonist deciding to plunge into Act 2.

The Promise of the Premise (21-50%)

This is when the reader thinks “Ah, now we’re getting to the good stuff they hinted at on the back cover of this book!”

It’s also one of the longest sections in your book.

Show your protagonist getting used to their new world - loving it, hating it, making mistakes or doing well, meeting new people (see more below) and keeping the reader entertained.

This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

B Story (happens during The Promise of the Premise)

This is when there’s a discussion about the Theme – the nugget of truth.

Usually, this discussion is between the main character and the love interest.

So, the B Story is usually called the “love story”.

Introduce a new character or characters who will eventually help the protagonist learn their life lesson.

Friends? Mentors? Love interests? Nemeses (nemesi?)? Who are they? How will they help?

Midpoint (50%)

This moment is when everything seems “great” or everything seems “awful,” depending on your story.

The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”).

Either the Fun and Games section has lead to a false victory for your protagonist (they think they’ve been doing great so far) or a false defeat (they’ve been having a hard time so far).

What happens in this moment, halfway between beginning and end?

But not everything we think we want is what we actually need in the end.

Bad Guys Close In (51-75%)

Get ready for a bumpy ride. If your Midpoint was a false victory, now things start to go wrong for your protagonist.

If the Midpoint was a false defeat, well, things seem to be looking up, but the bad guys are getting closer and will have something to say.

Note: Bad guys can be actual physical enemies, but they can also be emotional enemies, like doubt or jealousy or fear.

Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

Show the protagonist’s newly-built world beginning to unravel.

This will also be one of the longer sections in your novel.

All is Lost (75%)

This is when something happens to make your character hit rock bottom.

It’s the absolute lowest part of your novel.

Maybe someone or something dies (either literally or figuratively).

The initial goal now looks even more impossible than before. And here, something or someone dies.

It can be physical or emotional, but the death of something old makes way for something new to be born.

What does this moment look like for your protagonist?

Dark Night of the Soul (76-80%)

Your protagonist now has time to react to their “All is lost” moment, to mourn what they lost and wallow in hopelessness.

They’re worse off than they were at the beginning of the novel.

Show how low things have gotten.

Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc.

But, you must fall completely before you can pick yourself back up and try again.

ACT 3

Break Into 3 (80%; Choosing Act Three)

The “aha!” moment; the “lift yourself up and try again” moment.

Show the protagonist realizing what they need to do in order to tackle their problems, both external and internal.

Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

Finale (81-99%)

The protagonist does what they decided to do in the Break Intro 3 beat, and (because of all the learning/growing they’ve done and the support or insight from the B Story), their plan works.

This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story.

The Bad Guys are defeated, the world is changed for the better.

What are the battles? How will the protagonist triumph (or not)?

This is another longer section, so you’ve got the space to make things dramatic and intense.

Act Three is about Synthesis.

Final Image (99-100%)

This is the opposite of the Opening Image, the “after” snapshot instead of the “before.”

Show the reader how the protagonist and their world have changed.

THE END

Sources: 1 2 ⚜ Writing Notes & References

[mindless-existence1]

Hiii!! I wanted to request a shadow x fem! reader who in the movie verse is a college student that found shadow and now partly takes care of him. Knowing shadow, he’d still be a loner but I’d like to think having an another younger female influence in his life could help him with Maria’s passing. I also think it’d be super cute if she taught him gen z/modern things. He’s just too precious in the movie omg☹️❤️

Authors note: I love Shadow he's my boy. Also I didn't come up with how they met so this is just them hanging out in readers apartment watching a movie together

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Your apartment in Green Hills wasn’t anything fancy—just a modest space with a small kitchen, a worn but comfortable couch, and a TV that sometimes acted up. But it was home, and apparently, Shadow thought so too.

The first time he came over, it had been an unexpected visit. You’d found him on your balcony, his crimson eyes scanning the street below like he was waiting for something to go wrong. You’d invited him in, unsure if he’d accept, but he had.

Since then, Shadow had started dropping by when he needed to escape the chaos of the world—or his own thoughts. Tonight was one of those nights.

He was sprawled on your couch, arms crossed, his usual stoic expression softened by the dim light of the TV. You had a movie playing, some action-packed thriller that you thought he’d enjoy. But Shadow seemed more interested in quietly existing in the moment.

“Popcorn?” you offered, holding out a bowl as you curled up on the other end of the couch.He glanced at it skeptically. “I don’t understand humans’ obsession with this.”

“You say that every time, and yet you always eat it,” you teased, shaking the bowl slightly. Shadow’s lips twitched, the barest hint of a smile, and he reached out to grab a handful.

As the movie played, you got caught up in the action. One scene showed the protagonists making a mistake that ended in a dramatic explosion. You couldn’t help but comment, “Oh man, those guys are cooked.”

Shadow’s ears twitched, and he turned his head slightly toward you, his brow furrowed. “Cooked? They’re not being prepared as food.”

You stifled a laugh at his literal interpretation. “No, it’s slang,” you explained. “It means they’re done for, like there’s no coming back from that.”

He frowned, clearly processing your words. “Why use a term that implies food preparation instead of saying what you mean?”

“Because slang is fun, and it makes language more expressive,” you said, grinning. “Besides, it’s just how people talk sometimes.” Shadow huffed, leaning back against the couch. “Humans are strange.”

“And yet, you keep coming here,” you shot back with a playful smile.Shadow didn’t respond immediately, his gaze fixed on the screen, but the corners of his mouth softened just slightly.

“Your apartment is… peaceful,” he said finally. Your chest warmed at his words. Shadow wasn’t exactly forthcoming with his feelings, so every little admission felt significant.

“Well, you’re always welcome here,” you said, nudging his leg lightly with your foot. “Even if you think popcorn and slang are weird.” He didn’t reply, but his crimson eyes flicked toward you for a moment, a quiet gratitude in his gaze.

By the time the credits rolled, you were explaining another piece of slang—this time, “vibe.” Shadow looked vaguely unimpressed.

“So, when someone says ‘good vibes,’ they mean a positive feeling or atmosphere?” he asked, his brow furrowed slightly.“Exactly!” you said, grinning. “See? You’re getting the hang of it.”

He shook his head, muttering something about “unnecessary complications,” but you just shook your head with a small smile. As the night wore on, you found yourself leaning against him, your head resting on his shoulder.

He didn’t move away, simply letting you stay there as the quiet hum of the TV filled the room.

In these moments, you knew Shadow found something he didn’t often allow himself: peace. And for as long as he needed it, you’d always make room for him in your little corner of Green Hills.

[picturejasper20]

Steven Universe as a character is someone who has been mischaracterized and flanderized over the years, to the point people who aren't into the fandom or haven't watched the show believe that mischaracterization to be a fact rather that a product that comes from memes and jokes

The truth is that Steven often fights in the series when it is needed, usually by fusing with someone else like Connie or Amethyst since he is still developing his powers in the original series. He doesn't cry when he has to fight back or defend himself, with exception if the person attacking is someone he considers a friend. Because, yes, for a 14-15 old teenager it isn't fun having to do something like that and it can be traumatic.

He also doesn't start to cry the moment someone refuses to change their mind or is being mean. He often isn't afraid to be sarcastic or call that person out. He didn't cry when Aquamarine mocked him in ¨Stuck Together¨ nor when Jasper didn't apologize for poofing Amethyst in ¨Crack the Whip¨

However, what we see is sometimes him blaming himself for not being able to help people that, more often than not, have been hurt by Rose Quartz, his mother, in some way. After Season 3, Steven fears a lot that he is going to become like Rose and he is going to hurt people the way like she did.

In general Steven deals with an Atlas complex in the show. He feels like he has to fix his mother mistakes and deal with ¨what she left behind¨ even when Rose wanted for him to be his own person as seen in the tape she left for him as it was revealed in the episode ¨Lion 4: The Alternate Ending¨.

Steven also defines his identity a lot for being to help other people and fix their problems. He believes that he has to be ¨useful¨ for others. So when he believes that he failed to help someone, that may lead him to think that he isn't living up to his ¨purpose¨ or that he is a failure as a person.

In reality, he isn't that much different from other hero protagonists from other animated shows. Those who are kind and emphatic and willing to listen to other people and give them a second chance if the person changes their ways. You probably like an animated show that has a protagonist like this. (Who was probably taken inspiration from Steven if the series came out after SU).

The main difference, i think, is that Steven goes a bit more than those protagonists do when it comes to listening to other people, understand their motivations and give them another chance if they regret their actions. A lot has to do with how he is aware that his enemies (usually gems) act the way the do because of the system they were born into rather ¨they are evil just because¨. He gets that their motivations come from the system that hurt them or lead them to believe that their actions are justified.

Another common mischaracterization is that Steven becomes super buddies with every person he helps...when this isn't always the case. There are some occasions that Steven shows discomfort around people who he has given a second chance. Just because he gives them a second chance doesn't mean that he immediately considers them close friends, maybe allies at best.

A good example of this is the gif above of Steven's interactions with White Diamond in ¨Homeworld Bound¨. White Diamond touches Steven very close to where his gem is- which makes Steven distressed since in his battle again White, she ripped his gem out to prove that Pink was still ¨alive¨. In most of the episode Steven shows to be very uncomfortable around the Diamonds and Spinel, to some extent. They bring him bad memories, which is the main reason he has been doing everything to avoid going to them to ask for their help until this point in Steven Universe Future. He even almost accidentally hurts White's gem by smashing her head against a pillar when she lets him control her to talk to himself. This being result of a intrusive ¨vengeful¨ thought.

I wouldn't say that Steven hates the Diamonds,but- he doesn't want to be their friend neither and wants to avoid in general because he feels nervous and bad around them. It's something like ¨I'm glad that you are changing but i don't want to be associated with you. Please, i would appreciate if you kept your distance from me.¨ dynamic.

On last point, Steven is someone who usually pushes his feelings down in certain situations and buries them down, which has led him to have strong emotional outbursts in bad moments. He usually prefers to ignore his own problems and take priority on others. Again, this comes a lot from his desire to be useful and be needed, making him trying to ignore how he feels about certain people and pretend that he is doing fine.

This explains why we don't see him lash out that much to others in the original series, and, why he feels so frustrated and angry in Future, since all that anger and negative feelings can't no longer be ignored as they used to and they are having a negative impact in Steven's mental health. This, of course, isn't meant to be seen is a healthy coping mechanism. It is in fact potrayed as something pretty self-destructive for Steven, as a huge flaw of his, that over time he comes to learn that it isn't the best way for him to deal with his problems.

These are some of the most common misconceptions i have seen about Steven's character online. I could go in more depth with some of them but i think the points should be clear enough. This could be considered a general analysis of how Steven is as a character and how he operates, leaving aside more specific things that can be covered in other posts.

[fixyourwritinghabits]

No Such Thing As Filler

Okay, so yes, this is another post based on something I saw that irritated me, but it seems like this idea keeps coming up, so I need y'all to internalize this. There is no such thing as filler in good writing. None. Do not approach your work thinking you have to fill space in a story, I will beat you with this wiffle bat. Don't ask me where I got the wiffle bat. Don't even worry about it.

The idea of filler comes from a very particular place - when an anime or TV show has to fit in a certain number of episodes, but doesn't have enough content (hasn't caught up with the manga, the source material isn't long enough, etc) to cover those episodes. An episode has to be written, but the characters can't really progress, and so are given something else to do. Many a trope has come from these episodes, and they're sometimes necessary. Filler in this context is something that makes sense.

The dark side of filler is the idea that you need some space between Big Event 1 and Big Event 2 in your story, therefore you need throw anything in there to take up space and make your word count. This is a mistake I've made and I've seen plenty of other writers do it too, but it's a huge waste of your time. You do need something between those big action scenes, but you should always be writing to accomplish something.

Instead of thinking of that writing as filler, try to approach it with three things in mind:

Move Forward With Character Development and Backstory - Your characters barely survived a huge gunfight, and they won't encounter the big bad again for another few chapters. How do your characters decompress from that gunfight, and what does that say about them? Did a cocky character go in guns blazing, only to be deeply shaken by how a real fight works? Did that fight spark a moment of deep trauma for the main character that they have to reflect on afterwards?

Filling this space with meaningless scenes is a huge waste of opportunity. Think about how to dive deeper into your characters.

Move Forward With Plot and Subplot Development - The bad guy beat the heroes to the stolen gem, but they left behind a clue to why they want it. However that clue could reveal some painful truths about the protagonist's beloved great aunt... Carmen Sandiego???

A major goal following a big action scene is having the characters figure out what to do with what they've learned and what to do next. It's where romance subplots or secret relative subplots make progress, when truths are revealed and next steps are taken. You can absolutely do this in any setting - a flirty conversation while at the battling cages, a tense moment of feelings while hunting down a wayward chicken - but your main goal is making progress for both the characters and plot.

Move Forward With Worldbuilding - Worldbuilding has it challenges, believe me. You don't want to write a chapter on how an airship works only to have to cut it later. But you should still try to flesh out your world, and you should do so with the perspective of how to use that worldbuilding to your benefit. Maybe a critical scene hinges on the main characters knowing how that airship works, or that lake your main character often stares at is the setting of the big Act 3 Boat Battle. The weather can play into both perspective and emotions. Knowing what the main character's house and car looks like can reflect a lot on their personal character or backstory.

When you're struggling with a scene or a chapter, rather than writing filler, take a few steps back and think. What can you establish with your worldbuilding? What can you reveal about your characters through their dialogue and actions? What subplot could you explore or add in these between moments?

Filler from a fandom perspective - Now let me make this clear - if you're writing a fanfic just to have a cute moment between the characters you like, or you really want to force everyone to do that weird Twilight baseball scene, that's fine. You don't need a grand goal to achieve for every story, there's no need to justify your fanwork in any way other than you wanted to do it.

But I'd also argue fanwork doesn't fall under the filler label either - something you create, be it a character snapshot or a 'what if the gang meets Slenderman' parody, isn't taking up meaningless space. It's something fun you did that you and others enjoy, and there's nothing wasteful or pointless about that.

[eelclaw]

the protagonists of the broken code. who's rootspring

i am tbc's number 1 hater! negative thoughts below

shadowsight: other characters sometimes acknowledge that he was manipulated by ashfur, but the narrative puts all of the blame for the ashfur situation on him, neglecting that (a) he did exactly what he was supposed to do as a healer (obey and take messages from a starclan cat), and (b) the codebreaker hysteria was far more a product of clan culture than the actions of a single apprentice. he isn't treated like the victim that he is, and it is frustrating and not cathartic.

bristlefrost: what the hell does she even do. what does her spy arc accomplish or contribute (like mother, like daughter). she finds out that bramblestar isn't bramblestar far too early. she's so perfect and she has no flaws and she's so empty. i want her to be worse. how much more interesting would she be if she was sneaky and selfish? if she was loyal to the imposter because she truly believed in what he was saying? not to mention how she reciprocates rootspring's feelings with literally zero warning, and ceases to have what little character she'd had to begin with. i genuinely don't care that she dies, they did nothing to make her an engaging character. miss bristlefrost, i'm sorry they did you so bad.

rootspring: first rootpaw thinks he's weird because of his father. i hate this because i hate tree. later, rootpaw thinks he's weird because he can see ghosts. so they give him this "i just want to be normal" deal, and the clans suddenly pretend that ghosts are silly and not real. sure, rootspring and tree are the first clan cats with this specific power. and i get that the clans have very rigid beliefs, and they are afraid of anything that contradicts those beliefs, and that's interesting! but ghosts have been appearing to clan cats all the way back to tpb. fireheart tries to kill clawface at one point and he senses spottedleaf's spirit beside him, there to avenge her death. so rootspring's issue is stupid and he's nothingburger to me.

bramblestar: the arc really depends on me giving a shit about what happens to him. which i don't.

i think bramblestar is unintentionally a bad person and a great character. he proves himself by rejecting tigerstar, but he's still deeply insecure. he makes mistake after mistake (conspiring with tigerstar; hesitating to save firestar from the fox trap; forsaking his children after finding out they're not biologically his; using his power over squirrelflight as a warrior, deputy, and leader to control her), and for none of these mistakes is he held accountable (no thunderclan cat except leafpool learns that he plotted with tigerstar; he is allowed to remain deputy; his children think he was the best father ever; in every situation, squirrelflight seems to bear the consequences of his actions).

in other words, bramblestar gets chance after chance to redeem himself, and he keeps fucking it up. again, that's interesting! there is a story here about how difficult childhoods affect adults, and how powerful men are not held responsible for hurting people. except that's not how he's written. he's written as a completely good person, a brave and noble leader, and all of the clans respect him and they need to get him back.

there's a crazy amount of bramblestar worship in this arc. even rootspring, a brand new skyclan apprentice, thinks about how important bramblestar, the thunderclan leader, is, and how all the clans wouldn't be the same without him. i can't take it seriously.

graystripe: graystripe also got a crazy amount of worship. i couldn't stand reading every few paragraphs about how great he is.

side note: shadowsight, bristlefrost, and rootspring all want the same thing. they advocate against killing bramblestar's body. wouldn't it be more interesting if the protagonists had different perspectives and opinions? if they wanted different things? for example, it makes sense that shadowsight wouldn't want bramblestar dead. he feels like the only way to make up for his mistake is to recover bramblestar alive. but bristlefrost could be in favor of killing bramblestar, because the only way to make up for her mistake (supporting the imposter) is to get rid of him. putting our protagonists at odds would generate some interesting conflict.

conclusion: i also have problems with ashfur (why does ashfur try to stir up trouble with codebreaking which will certainly get him caught when he could just take over bramblestar's body and live quietly with squirrelflight), tigerheartstar, mothwing, starclan, the dark forest insta-death water, firestar possessing rootspring, the pacing (oh my god! they were debating whether to kill bramblestar for like three books! and for three more books they were running in circles in the dark forest!), etc. but i've already written a lot and i'm out of steam lol.

let me finish by saying these are kids books, and i'm not expecting them to be the cream of the crop, but there are a lot of writing choices which are incredibly misogynistic and/or completely baffling from a narrative standpoint. i still have a soft spot for this series though. dammit. okay bye

[champion-of-love]

the writing choices in between the earlier specials (true hearts day, thronecoming) and the latter ones (dragon games, epic winter) kind of felt insulting to be honest. and i'm not talking about apple. her going back on her word on not making raven to follow her destiny is an example (to me) of regression and not an erasure of her character journey. people, teenagers especially, are not perfect creatures and sometimes we commit mistakes even though we swore not to make them again. growth isn't a linear line. what gets me are the character assassinations (daring) and heavily underdeveloped characters shoehorned into the spotlight (crystal). daring's story could've been fine in epic winter IF the last few seasons didn't just show us a more nuanced and believable portayal of his character. crystal's story could've been fine IF she was just a side character and not made to be the main protagonist of an entire movie that requires a well-written character which she wasn't. i know this show is aimed for kids but it's kind of demeaning to think that kids won't be able to spot bad writing.

[hustlerose]

as i slowly exit my "bethesda's writing and design are literally satan" era, i find myself less angry about their many missteps, and more melancholy about what might have been. fallout 3's pre-broken-steel ending, for example

everyone makes fun of that one moment. your super mutant buddy you just met tells you "we all have our own destinies, and yours culminates here. i would not rob you of that." like sorry player 1, you have to die here for no good reason because it's dramatically satisfying

i submit this ending pissed people off not because it's bad, but because it's the wrong ending for fallout 3. fallout 1 and 2 had endings and they felt just fine, but fallout 3 is not a narrative-driven game like those ones. it's a big fun sandbox that you play in to your heart's content. a bittersweet ending with hints of destiny is unwelcome here. even ending the game at the climax is a mistake. the only sensible ending to a bethesda game is "play til you stop having fun." so they did that ending instead, as dlc

what pisses ME off about the ending is that it's so inspiring. i can't help but wish i'd played the game that matched that ending. imagine a version of fallout 3 where all the characters talked like that. imagine the chosen one narrative was dialed up to 11, where every moment of narrative was suffused with tragedy and inevitability. imagine if more characters talked metatextually, musing on your role as player and protagonist. think about all the cool foreshadowing that could have been done to set up a tragic ending where you make the ultimate sacrifice for the greater good. you could wring so much moral complexity out of this moment, as it could force you to reflect on your charcter's choices. you are the most important character in this world. fate bends around your story. what if the other characters could tell, and had opinions on that fact?

i want to read that story god dammit! sometimes i think it's up to me. maybe i have to rip that great ending right out of fallout 3 and stitch up a whole new story around it. one that actually supports fawkes' dialog as its central theme

[threepandas]

Bad End: Chosen

I used to love Otome games.

Used to love the genre, predictable as it could sometimes be. It was bright. Fun. A colorful bit of escapism built on love and power fantasies. I read the books. Watched the animes. Engaged with the fandoms freely and with an enthusiasm I can barely remember now.

It was a lifetime ago.

Before I... before, like a monkey's paw wish, I got granted every OI fan's DREAM. I somehow, someway, died and was reborn. A genuine isekai all of my own. I laugh now... I really do... I was so fucking EXCITED.

I was a FOOL.

The world is not a story. PEOPLE are not characters. You can not push the "right" social imput buttons and have a happy ending pop out. Time moves as it always has and always will. Day by day. And? Just because you are HERE? Does not mean you are SPECIAL.

I was old enough to know that, thank the Gods. Or I would have made a likely terrible mistake. Probably a fatal one, by now.

How, you may ask? Surely if you are reborn, you are special! Important to the "plot"! HA. Ah yes, the all forsaken PLOT. That damnable thing, chaining out fates and making us dance, like toys, for the Gods amusement. No, I was merely a replacement part for one worn out and broken down. A soul that gave up.

This dance repeats, you know.

They aren't done with us yet. Not bored of us, all the twists and turns we might take. She could not keep fighting. Keep raging. And so she was replaced. Now I live... a changeling in her place. Knowing my role yet careful to defy it. But... oh...

Oh, how almost IMPOSSIBLE it is to defy it.

I am supposed to HATE her. The Protagonist. The Chosen One. Saintess and beloved. The God's special little thing. Showered in adoration and silks, pampering and protection. While we all DIE. In this, their STUPID fucking Holy War, that we CAN NOT WIN, against "The Dark".

How HELPFUL, my liege. How incredibly SPECIFIC. Is "The Dark" the demons that tore apart my squadron a fortnight ago or the undead that rose and devored an entire village of terrified innocents? How do we STOP them? END this infinite string of atrocities?

Oh? "Only the SAINTESS can push back The Dark"? Well then! It's a good thing she safely tucked away in the CAPITAL THEN, isn't it!? Far from the front lines where we NEED her! Thank the GODS she's getting her chance to play "fuck, fuck, marry!" with the nation's finest while we all DIE!

I remind myself again, desperately, I am not allowed to hate her.

If I hate her, I become an antagonist in this little play. Doomed to die a gruesome and needless death. My men need me. The people need me. The live and breathe and fear for their lives. At the mercy of cruel God's who do not care.

I almost... It is enough that I almost wish my Master was here. But no, HE stayed back at the Magic Tower. Lost interest in me the second the merest HINT that his beloved pet prophecy might be about to be fulfilled. I was his student for most of my life. Chased up and down that mind-bending hellhole for years, giving my everything to meet his every standard.

Does he even remember my name?

Ha ha... gods, as I stare down at the battle map, one of so SO many... I feel brittle. How long will we fight? How many of my men must DIE, before that God coddled BITCH gets off her ass and comes to do her JOB?! We've lost Redwell. Lakehill is covered in ghouls. And no one we sent near the forests of Mirth ever reports back.

But at least the crown prince is getting his fucking birthday party while his people starve. While they run for their lives. Cower from demons and the damned. Because his Twue Woooove~ can't be allowed to put her dainty little self in DANGER now CAN she?!

I'm seething. Furious. Nails digging into the wood on the table before me. I know I should be planning... but I just... gods, I just so ANGRY. So tired. How long can this continue? Am I going to die here, just so those fuckers can DRAMATICALLY "save the day" at the last second? As though they had not let thousands die? Only for it all to begin again? What am I supposed to d-?

Like a roll of thunder and an earthquake combined, the non-physical world SHAKES.

Weight. POWER. Like a mountain appearing from no where, to drop down upon us all. It is CRUSHING. And every bit as dark as being buried beneath tons on soil and stone. My legs nearly give out. My grip on the table before me the only thing keeping me up and alarm bells start clanging outside my tent.

This is it.

I don't know what's about to happen, but I can FEEL it. I... I can not possibly hope to win. It's over. I know, in my heart, I will go out there and fight. Die. Because I refuse to die cowering. Because maybe it'll make a difference for my friends, for the others, for those that yet live. Every monster I slay is one less they fight.

But... this is it.

It's over.

I wish I felt braver. Glorious and filled with light. A beacon of hope, perhaps. But all I can offer is fear and anger and SPITE. Locking my knees so I can stand. Blinking away the tears so I can grit my teeth and bare them. Grabbing my staff so can go a die with the others. Today I shall burn the world. I promised myself.

Take them with you.

Take every last one of those fuckers WITH YOU.

The battle is ugly. It always is and always will be. I heal where I can but kill faster the most can blink. Waves of fire. Blood turned to ice turn to shrapnel bombs turned to flying storms of blood ice shards. Wind attacks and void pockets. Puppets made of mud and rock and bits of armor. The blood of the fallen only making it all that much stronger, that much more terrible.

Magic in war hold no beauty.

I wish I never had to see it again.

"Grandlearner, you've been practicing." A rich voice observed from behind me, sounding pleased. "Good~"

Between one instance and the next, the crushing ocean of power moves between the far side of the battle field to right behind me. I move, spin. Fire my strongest short-range piercing in the desperate hope to gut the man now far too close. I... am effortlessly countered.

He didn't even have to move his hands.

There, standing in the heart of an open battle field, is a man in impeccable fomal clothes. Spotless, dispite the ash and dust, the blood and gore. Almost inhuman in his otherness, compared to the death and suffering surrounding him. He looks like a proper well-to-do gentleman ready for a stroll. The sort of ambiguously ageless bachelor that had haunted the royal university's halls every time I was sent there, to collect something for the Tower.

Too old to be some boyish flirt, too young to be a rougish mistake. It feels false. Mocking. Like a mask held up by some grinning beast. Something older then it seems, effortlessly blending in with the Power of the current age, all the better to play them like fools.

Then the words register and my blood runs cold.

"Learner". It's what a Master calls their personal magical students at the Tower. There are lineage, of a sort. Like bloodlines, almost. Since most never leave. A way to pass on your teachings. Your name and traditions. It's not like we often have the chance to have biological kids. Too busy with our studies. So it's considered effectively the same.

My Master's Master. Who was said to be one of, if not THE, greatest Mages of the last thousand years, possibly longer. Said to have simply vanished one day. Rumored to have "lost his mind" and left the Tower for places unknown after some great argument. Foremost expert on The Dark.

Now standing h...here. Right... Right here. With the enemy army. Of dark and terrible things. The very abominations he once studied "academically". Oh gods. It doesn't take much to put two and two together.

"I've come to collect you, my dear." He says, the very picture of charm as my men scream and suffer around him. As they fight for their lives against his monstrosities. As... as they LOSE. "It has come to my attention, that my unfortunate disappointment of a student has been neglecting his duties to you."

He sweeps his hat gallantly from his head, holding it against his heart at just the right angle, as though offering to merely take me for a stroll. Picture perfect etiquette. As though this were high society and not a warzone. The disconnect stuns me for long moments. "Collect" me?

He strolls forward. Expensive shoe leather somehow unstained by the terrible muck of the battlefield. The blood and mud, the spell water and ash. Amusement rolling off every line of his form, as I try to keep the distance between us. As I struggle against the sucking filth to keep my feet under me.

"I would like to say I am surprised... but honestly? I am not. He always WAS easily distracted by shiny trinkets of little worth. The shinier the better. Like an empty headed little magpie. Disgusting really, how little he values loyalty. I DID try to instill some values. Hard work. Good, honest, study. Some modicum of rationality..."

"It did not work." He sighs, stepping over the fallen body of my Cordelia, my reserve healer. Gods, please no, I told her to RUN... "Unlike myself of course. I, my dear, know EXACTLY what your worth. How you have been WASTED on that little ingrate. It truely has been a theme with him, hasn't it?"

"Tossing aside anything who doesn't fit his perfect little vision. His Master, his Learner, nothing is sacred to him. All he shall ever care for is his little divine tart, won't he?"

The grin that spills across his mouth is like poison through veins, it terrifies me. His face is arranged in a mask of pleasantry. But the look in his eye... that look was coldly covetous. The sort of hunger that would sooner kill than release its hold. It wasn't lustful, I was a child too him. An infant. But I was, perhaps, all that remained. The last piece of his lineage he could possibly still steal away. Corrupt.

I refused.

It... it did not matter much, in the end.

Every spell, he counters. Every attack, he matchs with effortless neutralization. The well of his magic is like the sea. Deep, dark, and crushing. I rage against it, even knowing I stand no chance. I... I have to TRY. I can do no less. Even as I slowly collapse.

Water and ice, electricity and transformation, wind and fire. I try to EXPLODE HIS ORGANS for the Gods sake. In the end, with nothing left, the well of my magic nearly bone dry... I swing at him. Put my back in to it. A staff is a staff after all. It even has a pretty hefty rock in it. It'd probably take out a few teeth.

He, of course, catches it.

Bastard.

He looks CHARMED. Utterly delighted. As though my defiance and struggle are some cute little game. The tantrum of an adorable child that does not wish to submit to their nap. The world swayed as my body begs me to just pass out. To escape within myself. Recover. My legs can no longer hold me. I glare. At last, long last, I let myself HATE.

If that BITCH had just DONE HER JOB. I would not be here, at the mercy of a mad man. While she frolics about, in her happy little tale of love and misunderstandings? I have suffered. People have died! The world has fallen to slow and crumbling RUIN.

Gloved hands cupped my cheeks.

"That's it, little one~ My precious child. Get angry. RAGE for me. Let Master see your fire~" thumbs stroked my cheeks. Looming and entirely too close. There is a glee in that eye, a madness. "We are going to set this world FREE. You? Oh dearest you are utterly PERFECT. Master will take care of everything, understand? All you have to do?"

"Is give in."

Next -->

[egoitsharu]

Cheng Xiaoshi is a good protagonist

Cheng Xiaoshi's development is one of Link Click's strongest points. At first, we meet him as someone impulsive, emotional, and even a little immature, which contrasts with Lu Guang's calculating personality. However, those initial characteristics not only make him very human, but also lay the foundation for his evolution.

Past and motivations

The loss of his parents during his childhood deeply marked his character. This turned him into someone who struggles with feelings of abandonment and guilt, which often leads him to get too involved in missions. However, that same vulnerability is what makes him connect so well with the stories of the people he helps.

Constant Evolution

A good protagonist doesn't stay stagnant, and Cheng Xiaoshi continually evolves. He learns from his mistakes, faces his fears, and strives to grow, making his journey interesting and meaningful.

Relationships and emotional growth

Cheng Xiaoshi learns a lot from his relationship with Lu Guang and Qiao Ling. Although at first he depends a lot on them to make decisions, the experiences he goes through, especially the most painful ones, push him to mature. The way he begins to recognize the consequences of his actions, such as when he puts his life at risk for others, shows evident growth.

The Weight of Choices

One of the recurring themes in his development is his difficulty accepting that he cannot change the past without consequences. Throughout the series, we see how he faces that harsh reality, which leads him to be more thoughtful. Even in his moments of greatest pain, he remains someone with a huge heart, willing to sacrifice everything for those he loves.

Strength and Hope

Despite the traumas, Cheng Xiaoshi never loses that spark that characterizes him. He is a person who always seeks to protect others, even at the cost of himself, but over time he learns to balance his desire to help with a greater awareness of the risks.

He represents the internal struggle

The constant dilemma of wanting to help others, even if it sometimes destroys him inside, makes him a very real character. His struggle between doing the right thing and accepting the inevitable is a universal conflict that many can relate to.

Sacrifice and bravery

Cheng Xiaoshi is not a hero who acts out of ego or to gain something. His actions are always driven by a genuine desire to protect others, even if this puts him in danger. That makes him admirable.

In short, Cheng Xiaoshi is not just a great protagonist because he is brave or has interesting skills, but because his emotional and moral journey resonates deeply 💕✨

[jymwahuwu]

I love and think about Emperor Jing Yuan a lot. Like a servant girl getting called in to be the emperor Jing Yuan's Concubine 😋

I love ancient China like the history, art and clothing. when I think about Chinese Emperor Jing Yuan I think of Cinderella Chef (animated version) it's so cute and romantic. I also think about the fic series I used to read in 2020 or 2019 when the reader is the selected tailor for the emperor and the emperor falls in love.

It was such a good story, with many good different story elements to it even though it's was an yandere x reader 😭 and I'm not even exaggerating how good it is. It was slow burn yandere yet sooo good and worth it

I have to read it again cause it's sooo good.

There's sooo many good art of Jing Yuan in ancient Chinese clothing and I love and appreciate it sm 🤤

Jing Yuan kept a servant girl as his concubine, wanting her by his side every moment. As emperor, he faced countless threats and worried constantly for her safety. Yet, he couldn’t resist making her his bride, even though the public and his family disapproved. How could a servant girl from a humble background become empress alongside the emperor? But he paid no attention to their criticisms, choosing instead to live in his Fantasies with her. She was the only woman he’d ever met who cared for him beyond his wealth and title, and he was determined to keep her close forever. 😇

Wow, I also like Chinese palace stories actually!! What you said made me imagine a lot. It turns out that Jing Yuan is so suitable for the palace AU🥰✊

Have you watched "Story of Yanxi Palace"? It was a popular palace drama in 2018, and social media was all about it at that time. The historical prototype of the female protagonist is Empress Xiaoyichun (孝儀純皇后). She first started as a concubine. During her lifetime, she was the "Imperial Noble Consort" (皇貴妃), which was the highest position among the concubines after Empress. The core of its story is about a confident servant woman who starts from the bottom and moves up through the ranks with wisdom and courage.

A negative example is "Ruyi's royal love in the palace". The show still gets a lot of negative criticism in China today (yes, that's happening in 2024) - for its slut-shaming and superiority theories. The lower class people must be loyal to the noble people, otherwise they will be severely punished. There are a lot of torture scenes of women, never criticizing the mistakes of the misogynistic system, vilifying all historical figures just to beautify the female protagonists, advocating that women must be loyal to one man throughout their lives or else they are sluts, vilifying and torturing ambitious women, etc.

Oh, I'm sorry I really hate that TV show so I'm talking too much about it, but to get back to the point, it occurred to me that if Jing Yuan were the emperor, he would be very - very infatuated and dedicated. There was an emperor in Chinese history called "Emperor Xiaozong of Ming"(明孝宗) who insisted on living a monogamous life with only one empress. The same is true for Jing Yuan! Jing Yuan has only married you from beginning to end! You are one of his servants. No matter what your personality is, witty and lively/shy and kind, or even arrogant, Jing Yuan finds you really cute🥰💖He is very happy that you entered the palace and were assigned to serve him. He will sometimes sleep on your lap and ask you to feed him. He was like a big sleeping lion. But no one in politics dares to underestimate Jing Yuan because he always predicts everything.

Jing Yuan built a fruit garden in the palace, as well as a place to raise cats and birds. He got to pet cute cats and birds every day. The kittens purred around him. Maybe you were the servant who took care of the cats here. And he discovered you💖You are so suitable to be the mother of cats. And maybe he's hiding his identity and you care about his health and happiness before his status.

Politics and the harem are closely related. Those ministers petitioned Jing Yuan to marry a girl who matched his status, but he would not marry any girl except you. This is his own business! There was an emperor named "Emperor Gaozong of Tang"(唐高宗) in Chinese history. Despite the objections of his ministers, he insisted on marrying his father's concubine (named "Wuzhao"- 武曌) as his queen and sharing power with her. This is a very real love among emperors! After her husband's death, the queen became the only female emperor of China. The expression of the emperor's love for someone is to give them the best at all costs, including power, fame, wealth, and status. Jing Yuan wants to give it to you. He married you. Based on your status as a maid, you start as a concubine but work your way up. And he will also give birth to kitty babies with you. Those little princesses and princes running happily are all of your blood and his.

And he also decided to discuss politics and decide national affairs with you, collectively called "two saints" (based on Wuzhao's history haha), and share power with you. Because he knows how smart and cute you are, able to sharpen your claws and handle government affairs💖He is also ready to build a royal mausoleum, where only the two of you are buried together (it may be a bit scary, but this is how the Chinese emperors express their love haha). Even after Wuzhao became the empress, she didn’t build a mausoleum independently because she loved her husband. No matter what, you are always together, with sweetness and honor forever💖

[literaryvein-reblogs]

Writing Notes: Flat & Round Characters

Flat Characters - Consist of only a few features (usually based on clichés). They’re generally static characters meant to serve the story.

Round Characters - Have depth. They have weaknesses, strengths, flaws, fears, tastes, and dreams. They are well characterized in order to seem real. They're dynamic and change over time. They feel affected by the story’s events because they suffer their consequences and learn from them which makes them more realistic and believable.

The use of flat characters

Flat characters are often used in TV comedies (30-minute sitcoms with canned laughter) because comedic stories usually focus on the anecdote and the joke.

Thanks to their commonplace situations and characters, sitcoms are able to transmit a sense of familiarity to the spectator.

Flat characters also have a supporting role in stories with round main characters in order to achieve one of these effects:

Fast recognition: You need your readers/audience to easily recognize the type of characters you are presenting.

Contrast: Flat and/or static characters can highlight the internal or external evolution of round characters.

When to avoid flat characters

Unless you’re specifically looking for one of the previous effects listed for flat characters, it’s best that your characters (especially the protagonists) are round in order for your readers to identify with them.

Creating round and deep characters

Consider the following:

1. Internal Changes

Do your characters undergo any internal changes throughout the story?

Think about their situation at the beginning of the story.

Is it the same as it is at the end? It shouldn’t be.

They can be worse or better, but the story’s events should have affected them in some way.

2. External Changes

Do the external circumstances surrounding your characters change throughout the story?

Just as their personalities suffer variations, their external conditions should as well.

For example, one of your characters could be a farmer at the beginning of the story and then become a warrior by the end.

3. Goals

What do your characters want?

They should have a conscious desire – something that moves them into action.

4. Wishes

What do your characters need?

Regardless of what they think they want, there’s something they need at an unconscious level – something different from what they consciously desire.

That contradiction will bring depth to your fictional heroes.

5. Achievements

What do your characters attain?

Do they achieve any of their goals?

How does that affect them?

If you have the answer to the last question, you’ll have a clearer idea of how the story’s events have changed their way of facing life.

For instance, if they achieve what they wanted at the beginning of the tale but that’s not what they really need, they can learn from their mistakes and try to correct them.

However, they might also give into frustration.

6. Weaknesses

What are their weaknesses?

Everybody makes mistakes and has fears and flaws, so if you want your characters to be more believable, they’d better have weak points and see themselves in need of facing them if possible.

Your characters overcoming these weaknesses or not depends on the story you want to tell and on the type of evolution you want them to experience.

Some overcome them and progress while others don’t and fail. The contrast between them is what makes the story more believable.

7. Strengths

What are their strengths?

Apart from weaknesses, your characters can have strong points they may or may not know about.

Sometimes, they discover them and learn how to make the most of them.

Other times, they do not know, and it leads them to failure.

You, as a writer, should be clear about those strengths and so should your readers be in order to better understand your characters.

8. Conflicts

What’s your characters’ inner conflicts?

Once you’ve answered the previous seven areas of question, you’ll find this one easier to answer.

Every good character must deal with an inner conflict throughout the story such as a mental debate between what they need and what they want or a moral struggle between what they’re trying to attain and what they consider correct.

This type of dilemma makes your characters interesting, and their experiences can turn into life lessons for your readers.

Source ⚜ More: Writing Notes & References ⚜ Goals & Motivations "Well-Rounded Character" Worksheet ⚜ Conflict ⚜ 170 Quirks ⚜ Flaws

[victoriadallonfan]

Having re-watched Alien (1979) and Aliens (1985), I think I've realized what went wrong with the further expanded film universe on a thematic level (this is not accounting for AVP films, which seem to exist within their own continuity atm).

The main issue is that these films made 2 intertwining mistakes:

Making the Xenomorph too animalistic

Removing the mystery of space

For the first part, Alien and Aliens are quite vague about the Xenomorph mind. Alien treats it almost like a serial killer at times, including a particularly interesting moment where it disregards Jones the Cat entirely, despite making a very easy target, and how it will sometimes meander up to the crew as if it knows it's inflicting terror upon them. This Xenomorph even seems to only flee when Parker goes to kill it with a knife and hides within the evac shuttle when it realizes that Ripley was going there as well.

Aliens forgoes this in favor of showing how terrifying their numbers are even in the face of superior (if greatly mislead) fire power, but then pulls the rug under our protagonists by (seemingly) cutting the power and testing the endurance of the auto-turrets. While the drones are not individually as intelligent as the original xenomorph from the first film, this is instead given to the Queen, who understands not only the danger Ripley poses to her Hive but hostage negotiations of the most blunt variety. And, of course, incredible spite and vengeance when Ripley burns her eggs.

Basically, the two films do a good job of making you wonder... how sapient and sentient are the Xenomorphs? Do we take Ash's word and think of them as simply Hostile Weapons or do we see them for the adaptable and complex - if instinct guided - parasites just trying to protect their hive? This is further food for thought when we learn that one of the cut endings would have had the Xenomorph kill Ripley, tentatively use the shuttles control panel, and speak into the intercom with Dallas voice (ala Predator).

Imo, that goes too far into making them human, but we'll circle back to that later. The point is that the Xenomorph is never clearly one thing or another, but rather, something that constantly foils our attempts to understand them completely.

Aliens 3, Alien: Resurrection, Prometheus, and Alien: Covenant fail in that regard, because they take the firm stance that the Xenomorph is... an animal. A very, very, dangerous and hostile animal but an animal nonetheless. It's not some vague horror that we struggle to comprehend and reason with, because all the facts (as they are for now) are laid out: the Xenomorphs are weaponized animals that just kill, reproduce, and kill etc etc.

Nothing is entirely new about the Xenomorphs in these movies (beyond the forms and one part of Covenant, but we'll circle back to that as well), but rather trying to recapture the formula of Alien and Aliens. And even when the film isn't necessarily about the Xenomorphs like Prometheus, it still goes out of its way to copy the play by play of Alien to an almost hilarious degree (except, somehow, having a cast entirely of stupid scientists).

The Xenomorph is used as a toll for the films to talk more about the human threats who would use them, which is fine, except the same message of "Weyland-Yutani wants Xenomorphs, They Failed" over and over again (except I guess for Alien: Resurrection, but that had Walmart as a plot point so...) gets tedious. It's not longer about the folley of mankind, but rather this one company led by a man (or Android?) who keeps fucking up.

Ditto goes for the second part: removing the mystery from space. Alien and Aliens treat the Space Jockey and other (non-Xenomorph) alien life at an arms distance. They are large, grand, ominous, and vaguely defined. We don't know much about WY in either movie, nor how much is them knowing versus independent people within the company (Burke mentions cutting out his own bosses for profit for example, and Bishop the company Android is heroic and horrified at the situation they are all in, a big difference to Ash). The Xenomorphs having a Queen was a huge reveal, because we literally had no idea until then if those were actual eggs or simply pods artificially created.

Aliens 3 tries to add some mystery with the prison colony, but it's also hamfisted and given a lot of exposition to explain the situation they are in, but I will give it kudos for making Weyland (???) look like Bishop as a twist. Aliens: Resurrection... yeah, no.

Prometheus and Alien Covenant gave us a plethora of seeming mysteries, but also gives us really super simple answers. Basically, Space Jockeys are just super humans seeding life across the planets and they wanted to bomb Earth into oblivion because we killed Jesus Christ (who was a Space Jockey). And one of our androids then - possibly - goes to their home planet and bombs them to oblivion thus wiping out the human race. And they made Xenomorphs yadda yadda.

Prometheus in particular seems to despise the idea of space being a mystery, with the conversation David has with a scientist being plainly spelled out as the theme of the film: "Sometimes, humans/space jockeys just build shit, and it goes wrong I guess. No gods or mysteries here, just hubris."

Which, if handled well, is still a fascinating idea (I think it's a pretty interesting 'take-that' against the stupidity of Ancient Alien Conspiracy Theorists)... but it's not handled well. At all. And certainly doesn't work well when trying to write Xeno-Horror.

So, what COULD work?

Well, I think we need to look at how Alien and Aliens made the Xenomorphs, Space Jockey's, and Space itself all work.

For the xenomorphs, I think back to one scene I actually thought was interesting in Alien: Covenant; as a chestburster is born from a hapless scientist, it lays its eyes (???) on David and replicates his movements, mimicking the first living thing it witnesses. Nothing is ever done with this (of course), but think about the potential that could be used! Plenty of animals like crows, ravens, dolphins, octopi, killer whales etc etc can use mimicry in voices and actions, and that includes things like tool-use! And of course, the fact that they take on new forms from hosts helps with that.

For the Space Jockey's: scrap them. They had their time, the mystery is basically solved. Show us new and different alien civilizations long past. Were they also victims of the Xenomorphs? From some other threat entirely? Surely, there are extraterrestrial predators out there that don't follow the Xenomorph formula. Why not have them share the splotlight, with just as little explanation?

For space itself: stop with trying to recapture Alien and Aliens. Alien: Isolation is the only successor specifically because of the format of the medium. Alien and Aliens rely heavily on the shock factor of sudden reveals. Remove that, and you are given "bug hunt" games and movies ala discount Starship Trooper. Focus more on making human space feel almost alien and beyond our understanding as well, but just enough that we can recognize the purpose that we would have them for our society.

How I would write an Alien Story:

(This would all be backstory and setup for the actual story)

I would set it within a colony satellite with an explicit task: a skyscraper ecological time-capsule for deep space experimentation of wildlife.

It would have levels, with humans situated at the second uppermost and an AI as the manager at the top level of the satellite, with all the other animals in different levels fit for their habitats (including some non-earth, non-xenomorph aliens). It's a religious sponsored and run organization, offshoots of [Insert Church Here] that is trying to get good press with cutting edge AI and biological research.

The prize is an alien lifeform that looks like a cross between a crocodile and a panther. Usually docile when fed, it has been growing more and more agitated, harming several workers on the job. Most assume it may be some late-stage degenerative disease within it's brain.

Not all things are as it seems, as at the bottom of the station, a location no one but a select few faithful engineers are sent to maintain, a pod is damaged. A young attendant watches in shock and horror as a bloody and maimed chest burster crawls out of the pod, possibly having injured itself to burn through the lock. The creature is mewling in pain, but the young attendant makes a choice: leaving food, water, and blanket for the creature. Watching as the creature watches them, before going to feast. All under the gaze of a camera.

The xenomorph grows and grows, eating more, getting bolder and allowing its "caretaker" to feel more comfortable. Soon it begins to recognize certain sounds as they pray when he feasts, and association occurs. One day, its hiss sounds suspiciously like "Lord".

This is when the young attendant reaches out to higher, but trusted, priests to share this miraculous revelation. The first one is shocked, terrified, but intrigued as the creature mimics words like "Lord" and "Mighty". Barely audible, some would say hallucinatory, but they believe they can here this humanoid creature speak their language.

The second is equally shocked, terrified, but listens and becomes a believer.

The third one does not believe. Rightfully horrified and full of questions. Their arguments in front of the beast escalate into violence and when the young attendant shoves the priest to the ground, it is the Xenomorph that pounces. Blood is shed. the creature rises in front of it's faithful, and the Xenomorph uses the same sounds it heard over the fight. Lord. Mighty. Here-tik.

They can't be delusional or driven by guilt! This is a sign... right? This creature is speaking to them!

The faith grows. Never large. Can't risk word getting out or people noticing too many missing priests. The satellite is just barely large enough that people can excuse going missing for a few days between objectives.

But key individuals are brought in. The creature is worshiped. Animal offerings are delivered. It's changing, slowly. Growing larger (not a Xenomorph Queen, it's too maimed, but adapting to a steady diet).

Things might have escalated, had one of the priests killed not had an estranged sibling/spouse/loved one who had the pull to make a formal investigatory complaint.

The investigator arrives with his repertoire, this supposed garden of eden in deep space, none the wiser to what he would uncover. (Again, this would be the backstory, not revealed except through character investigations and evidence found during that. Defeats the purpose if it's spelled out like this).

It would play with the idea of how sapient/sentient the Xenomorphs are (do they care? do they understand? if not, why act like this? if yes, what does this mean for their continued slaughter), how much one puts into faith versus delusions, and leaves lingering questions: who put the xenomorph on the ship, why is the AI so complicit with the deaths and disappearances, and why is the one non-xenomorph alien acting so dangerously agitated despite being far away from the xenomorph's quarters?

[deusvervewrites]

I would say it is weird that people think Midoriya is childishly naive when his very first phrase of the story is "not all men are created equal", when the first chapter has Midoriya going about how he was deluding himself, when he talks again and again how lucky and blessed he is, but we have already concluded Horikoshi needs some sledgehammers.

But yeah, people seem to look down in a way at empathy, when having empathy despite everything Midoriya has gone through shows his strength. He could have easily just have given up, but that isn't who Midoriya is.

I've touched on it before, and others have gone into far more detail about it, both in other media and in general, but there's a deceptively cruel undercurrent throughout an alarmingly vast percentage of media. A single, insidious idea that has been reused and recycled and repeated.

THE VILLAIN MUST DIE

Think about that for a moment. Really, think about it. Why does the villain have to die? Think about all the works out there about the cycle of revenge. Think about all the works out there about how you should be kind to one another. Hell, just pick a Disney film. No matter how Heroic the hero. No matter how central mercy is to the theme. And yet.

THE VILLAIN MUST DIE

Sometimes they dress it up fancy. A Villain rejects the offered hand only to accidentally kill themselves, as in Tarzan or countless others. Or their own scheme ends up killing them without the Hero doing it. Sometimes it is the hero, by some accident.

And it makes sense, right? The villains do horrible, awful things, and many of them show no signs of remorse or even stopping. Taking them out is for the best, right?

THE VILLAIN MUST DIE

Why.

How can they not choke on the hypocrisy. How can they stand there and tell us that love and compassion and understanding will lead Darth Vader from the Dark Side but the Emperor needs a one-way trip down the reactor chute?

THE VILLAIN MUST DIE

It's much cleaner, as a narrative. When the noble hero slays the evil king, there's never any depiction of the inevitable succession crisis that would ensue. Imagine having to... reform? From the worst possible version of yourself, a character in blood stepped in so far that, should they wade no more, returning were as tedious as go o'er? Having to try and do better? Even if they could never atone? Even if it could never be made right? But yet. But yet. You still have to live and do better?

THE VILLAIN MUST DIE

Why?

I know. Help us all do I know that there are people out there that will not change. Are staunchly against changing. Would die before they ever had a second thought about their actions. But. But. They are still, first and foremost, people.

And yet.

THE VILLAIN MUST DIE

WHY?

This world has no end of fools who mistake weakness for strength and boast their foolishness from the rooftops. People who think that kindness is a weakness and compassion a curse.

I can't help but wonder what this world could be if we all held each other with a bit more empathy.

Since recorded history began, people have sold their hearts for power. This weakness should not be celebrated. Power means nothing.

Midoriya's empathy is his greatest strength. It's the thing that makes him a Hero.

And I'm glad that there's been a trend lately in Shonen Jump towards empathic protagonists. The Promised Neverland. Demon Slayer. Dr. Stone. My Hero Academia. All of these works can't help but wonder what this world could be.

How are we meant to make the world better if we can't imagine a better world? How are we meant to dedicate our lives, knowing that perhaps that kind world is far away from here, that we may have to miss it because it's far beyond our years, if we think it's impossible?

WHY DOES THE VILLAIN HAVE TO DIE?

WHY IS IT EASIER TO SEE THE ENEMY THAN A PERSON?

WHO ARE YOU LETTING CONVINCE YOU THAT DEATH CAN BE DESERVED?

People act this way about Midoriya because that's how we are trained to experience media. He is, by the nature of his kindness, a subversion of expectations. The idea of treating the enemy like a person, understanding why they act the way they do, why they want to hurt, that's... difficult. It can be hard to remember in the face of human cruelty and depravity. But you must. If you can't understand then you can't prevent it. Yes, there are people who must be stopped. Yes, characters in fiction reflect this fact.

Even so.

To say that the villain must die, that is a justification of violence that has been used by real humans to cause real harm.

But it doesn't have to be that way.

As I said above, media has shifted recently. It's small, and I doubt it will be mainstream anytime soon, but the shift is there. Not just in shonen, but other places as well.

"We have a saying, my people. Don’t kill if you can wound, don’t wound if you can subdue, don’t subdue if you can pacify, and don’t raise your hand at all until you’ve first extended it."

-Wonder Woman, Gail Simone

[manhwameltingpot]

I abdicate the title of empress is the better version of remarried empress

Spoiler:

First let me introduce you to the main characters

1. Diane and Adelaide

The antagonist and the protagonist

2. Lionel and Karl

ML and the antagonistic emperor

Everything about this story including the villains are better solely because of their economic background.

No slave character is the main villain here.

Diane the female antagonist comes from a noble family and ML doesn't fall for MC at first sight simply for breathing.

The male villain is also refreshing in a way that's a bit different from others. He's written to be hated but his actions make sense but the author doesn't try to excuse them either.

No punching down on underprivileged characters like Rashta.

The FL Adelaide is not an unfeeling uncaring empress and she cares for her people instead of just catering to the nobles like Navier. She knows she's not perfect and tries her best to sympathize with Diane and her situation while acknowledging Diane's faults too.

She's also a maze like Navier but unlike her, her magic isn't stolen from common people and she actually goes out in the field to help her people.

She's not image obsessed like Navier but knows how to play political games

She knows she's the third person between Diane and Karl as Diane was there first and Karl's first love. (Funny how the fandom still hates Diane despite her not breaking a home. It really tells you those Rashta and Diane antis suffer from MC syndrome, no media literacy).

Her family relationship with her mom is turbulent and her mother reminds me of Navier in a way. She is very cold and calculative like Navier and to her, nobles and politics and image comes first then the people which ultimately drove a wedge between them and she forced her daughter to abdicate and marry her off to a foreign emperor.

Adelaide as an MC has earned my respect. Is she perfect? No. But her choices and actions are explained. Like Diane, she too is trying to survive and for that she also acknowledges Diane's struggles and tries to give her leniency many times.

As for Diane, she comes from a count's family and is very much aware of the political games. She's even aware of the emperor's messed up obsession with her. She's very vindictive and capable and ambitious. Her mistake was to go against Adelaide. She never hid her intentions from Adelaide.

She's sometimes outright crazy and I love her for it. Like yes! Give us a capable deranged villainess who's deranged in the head! Thank you author!

When her inevitable fall appears, she doesn't go down alone, she takes the emperor with him and that alone made her hundred percent badass in my eyes. Like yes girl! Don't let that man get away after screwing you up and she kills the emperor herself.

And the emperor Karl

Two words: mommy issues

Dude is all about mommy issues and it's very messed up. He falls for Diane as she reminds him of her biological mom who died and he was raised by his step mom who was forced to raise him by his father. He basically sees his mom in Diane and she's very much aware and plates the game well.

But Karl's mommy issues don't stop there. He sees his step mom whose affection he sought as a child in Adelaide.

Basically both women in his life represent his bio and step mom. He never really loves either of those women and in the end tries to go after Adelaide's heart and Diane makes sure to take revenge on him by killing him with her. Diane is basically yandere herself 😂.

And I loved their toxic ending. They're entertaining and refreshing. I wish Rashta took Sovieshu with her too. But unlike Sovieshu, Karl is inept as an emperor as he often ignores his people's needs and yells at Adelaide for helping them just like her mom. He basically is the male version of her mom and probably why she hates him too.

Sovieshu had many faults but he wasn't this messed up in the head and definitely didn't have a weird thing for his mom. But I said Karl is refreshing in a psychological way. He's bad but new, instead of being the typical falling for MC for no reason, he sees his step mom in her and falls for her.

And he's a very bad emperor as he doesn't do his job well either. Sovieshu was a workaholic but he's mommyholic. 💀

The story really focuses on how parents can mess up their children in a gigantic way.

Now ML Lionel

He's not emperor rather the brother of a Duke. Unlike birdshit, he actually cares for the wellbeing of the people. And he doesn't fall for Adele at first sight. He admires her bravery, good will and doesn't act like catty little bitch like birdshit. Unlike heinly's fake ass, Lionel is actually a puppy but capable. He slowly falls for MC even though their relationship started as fake to distract the emperor.

Funnily enough he too was a concubine to Adelaide like Diane was to Karl. He doesn't plot to harm others for the greed power. His relationship with Adelaide is cute.

Anyways, I loved the story and the battle between two badass ladies.

Adelaide won fair and square and Diane went out with a bang. And I love that.

It's not perfect but it's way better than TRE.

Also ignore the Diane haters. They can't appreciate a good villain even when it's thrown on their faces.