#with real character traits positive and negative ones

[morningmask27]

Hey so, do you ever feel.. Iffy? Bad? Disappointed? That the Fandom at large only became interested in whistlepaw thanks to faer ship with Frostpaw? I admittedly was feeling a bit like that when the ship first started popping up, although I understand that Whis is quite a background character aside from that (and up until then, more or less). So like I get why fae would gain more traction only now but Idk. I can't help but feel a little sad about it since you've made me develop an attachment to this cat. Just curious about your thoughts on the matter!

I get chronically attached to background nobodies, so I'm used to people not really caring about my faves and I honestly like it more that way because popular characters are A Mess of discourse and drama,

but yeah it is a bit sad that Whis is only really seen as a love interest for Frostpaw in the major fandom, but in a way that's also what fae is in the books. Whistlepaw does nothing outside of supporting Frostpaw (and that annoys me So Much for daily whis purposes, I want more material!!!) and I can't blame the fans for not latching onto background WindClan cat #78 and making up a whole world around them

in the end the fandom portrayal is kinda bland, but inoffensive at least. I made Whistlepaw my little silly and have never really cared about the fandom at large; Fae's basically my oc at this point and if a few people enjoy what I do then I'm content

[imastoryteller]

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

Step 1: Define the Character’s Core Traits

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

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

Step 2: Establish Motivations and Backstory

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

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

Step 3: Develop Moral Ambiguity

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

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

Step 4: Create Dynamic Relationships

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

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

Step 5: Show Consequences and Growth

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

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

Step 6: Balance Sympathetic and Unsympathetic Traits

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

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

Step 7: Use Subtlety and Nuance

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

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

Step 8: Test and Refine

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

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

Example: Crafting a Morally Grey Character

Core Traits:

Strengths: Intelligent, determined, loyal.

Flaws: Arrogant, manipulative, vengeful.

Backstory:

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

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

Motivations:

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

Moral Dilemmas:

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

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

Relationships:

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

Forms a complicated friendship with a morally upright police officer.

Consequences and Growth:

Faces the legal and emotional consequences of their actions.

Gradually questions their own morality and seeks redemption.

Balance:

Helps the community but uses unethical means.

Shows moments of kindness and ruthlessness.

Subtlety:

Reveals their inner conflict through small actions and dialogue.

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

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

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[3hks]

Writing Character CHANGE

Character development is absolutely CRUCIAL to a story, but having spent more time thinking about this topic, I came to the realization that I misunderstood a lot of points other people have made when teaching how to write character development.

There are a lot of factors that play into character development, but in this post, I'll cover some overall, but the main thing concerns any change to your character! (Which is also a huge part in development, really.)

So with this post, I'll be teaching you MY personal tips regarding this subject!

*The Basics*

Before we really get into the developmental stage, there are some things you want to establish, in which I'll explain later!

A couple of flaws.

How your character views themselves at first.

Your character's morals/ideals and how they think.

These things may vary, but you want your readers to be able to at least roughly predict how your character will act during specific events!

*Change*

Character development is just about how your character changes throughout the story. I like to say that there are several different ways one may change, (we'll get into that later on) but your character should NOT stay the same as the same person during the exposition and during the resolution!

"During character development, your character should grow."

This is a common piece of advice; your character needs to grow. And while I've assumed for the longest time that I understood what it meant, it never truly clicked.

While they will use words such as grow, what they really mean is that your character should mature. By the end of your story, your character may not always end up as a better person. When I say mature, I mean that they have reflected back on their life and have understood the consequences that came with their actions (if any) or how they could've done things differently.

Your character will not always end up as a better, fixed person, but they should understand their world and themselves better.

*Negative/Passive Change*

Alright then, so how does a character develop if they don't necessarily change for the better? Well, I'll get into that!

No matter what, your character should have learned a lesson through their experience. Even if they haven't exactly improved as a person, there should be a moral they can learn from what they have gone through.

If not, then did they really grow?

Additionally, how did their qualities negatively impact themselves? If they are bad traits, then it needs to be clear. And the best way to achieve this is by demonstrating how it hurts your character! However, it is rather uncommon for a character to undergo little to no change after a story!

*Positive Change*

Let's circle back to the basics, real quick. Remember how I said that before any development takes place, your character should be anything but perfect? That same thing applies to after the change.

Do NOT create a flawless character by the end of your story. Instead, focus on one or two flaws that get fixed as the story continues. These don't have to be huge, life-changing imperfections, but they can be minor ones that still shape their life in one way or another.

"Fixing" too many shortcomings can make your character seem, well, out of character, producing a character development that's more forced. The same thing applies if you're attempting to FULLY alter a fault that's just too big. The change will be too noticeable.

What am I talking about? Here's an example!

Imagine a character who's incredibly closed off to other people, wanting to ensure that he never gets too close to others.

That's a pretty sizable flaw, no? By the end of your story, you do not want to completely change because you need to preserve character, but you can change it a bit. Does he have a few friends now? Does he understand that there are some people worth trusting?

He may still be closed off to majority of people, but at least it's not everyone, and that's a realistic change.

*Different Changes*

As I continue to read more stories and watch more shows, I have realized that character development is not always about fixing flaws or personality, but it can extend far past that line.

So listen up, because I feel like no one really talks about this.

Your character can change their IDEALS, MORALS, and how they VIEW THEMSELVES.

Hear that? If your character has strong morals, they will hardly stay the same as they reach the end. Remember the requirements I mentioned at the beginning?

See how it connects now? There is SO much more to character development than changing a few imperfections. Like I said in the start, your character needs to grow and mature. Things like new morals or ideals assist with that!

*SUMMARY*

In order to start character development, you need a couple of flaws, an idea of how your character looks at themselves, and their morals. This is because those are the main parts of you character that may change through time.

Growth = Maturing (gaining a better sense of who they are and the world they live in.)

NOT ALL CHARACTER DEVELOPMENT IS POSITIVE!

For negative or passive change, make sure to clarify how their imperfections affected or hurt them and have some sort of moral that follows.

YOUR CHARACTER SHOULD NOT BE PERFECT!

They should not be perfect in the beginning, and not perfect in the end! Do not 'fix' too many traits because you want to preserve character.

I think that's all! It's quite the post for something so simple, eh? But hey, character development is absolutely PIVOTAL to a story so I hope I at least explained the 'change' part of that well!

Happy writing~

3hks <3

[thewriteadviceforwriters]

Crafting Compelling Morally Gray Characters: A Guide for Fiction Writers

In literature, there is often a clear distinction between good and evil. Heroes are portrayed as virtuous and villains as wicked. However, in recent years, there has been a rise in the popularity of morally gray characters - those who do not fit neatly into the categories of good or evil. These characters are complex, flawed, and often make decisions that challenge the reader's moral compass. In this guide, I'll help you explore the art of crafting compelling morally gray characters and how to make them stand out in your fiction writing.

What Are Morally Gray Characters?

Morally gray characters, also known as morally ambiguous characters, are those who do not conform to traditional notions of good or evil. They may have both positive and negative traits, and their actions may be motivated by a mix of good and bad intentions. These characters often blur the lines between right and wrong, making them more relatable and intriguing to readers.

Examples of Morally Gray Characters

Some well-known examples of morally gray characters include:

Severus Snape from the Harry Potter series: Initially portrayed as a villain, Snape's true motivations and actions are revealed to be more complex and morally ambiguous.

Jaime Lannister from A Song of Ice and Fire series: Known for his arrogance and incestuous relationship with his sister, Jaime's character evolves throughout the series, showcasing his internal struggle between his duty and his personal desires.

Walter White from Breaking Bad: A high school chemistry teacher turned methamphetamine producer, Walter's character is constantly torn between his desire for power and his moral compass.

Why Are Morally Gray Characters Compelling?

Morally gray characters are compelling because they challenge the reader's perceptions of right and wrong. They are not easily categorized as heroes or villains, making them more relatable and human. These characters also add depth and complexity to a story, making it more interesting and thought-provoking.

The Power of Relatability

One of the main reasons morally gray characters are so compelling is because they are relatable. They are not perfect, and they make mistakes, just like real people. This makes them more human and allows readers to connect with them on a deeper level. When readers can see themselves in a character, it creates a stronger emotional connection to the story.

The Element of Surprise

Morally gray characters also add an element of surprise to a story. Their actions and decisions may not always align with what the reader expects, keeping them on the edge of their seat. This unpredictability makes the story more engaging and can lead to unexpected plot twists.

The Exploration of Morality

Morally gray characters also allow for a deeper exploration of morality in a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality. This can lead to thought-provoking discussions and a deeper understanding of complex moral issues.

How to Craft Morally Gray Characters

Crafting morally gray characters requires a delicate balance of positive and negative traits, as well as a deep understanding of their motivations and internal struggles. Here are some tips for creating compelling morally gray characters in your writing.

Give Them a Strong Motivation

Every character, regardless of their moral alignment, should have a strong motivation for their actions. For morally gray characters, this motivation should be complex and not easily defined as purely good or evil. It could be a desire for power, revenge, or even a sense of duty. This motivation will drive their decisions and actions throughout the story.

Show Their Flaws and Vulnerabilities

Morally gray characters are not perfect, and they should not be portrayed as such. They should have flaws and vulnerabilities that make them more relatable and human. These flaws could be physical, emotional, or moral, and they should play a role in the character's development and decisions.

Create Internal Conflict

One of the defining characteristics of morally gray characters is their internal conflict. They are torn between their good and bad tendencies, and this struggle should be evident in their thoughts and actions. This internal conflict adds depth to the character and makes them more relatable to readers.

Avoid Stereotypes

When crafting morally gray characters, it's important to avoid falling into stereotypes. These characters should not be one-dimensional or defined solely by their moral ambiguity. They should have unique personalities, backgrounds, and motivations that make them stand out as individuals.

Show Their Growth and Development

As with any well-written character, morally gray characters should experience growth and development throughout the story. They should learn from their mistakes and make decisions that challenge their moral compass. This growth and development will make them more dynamic and interesting to readers.

How to Make Morally Gray Characters Stand Out

With the rise in popularity of morally gray characters, it's important to make yours stand out in a sea of similar characters. Here are some tips for making your morally gray characters unique and memorable.

Give Them a Distinctive Voice

A character's voice is an essential part of their identity. It should be unique and reflective of their personality and motivations. For morally gray characters, their voice should reflect their internal conflict and the complexity of their moral alignment.

Create a Strong Backstory

A character's backstory can provide valuable insight into their motivations and actions. For morally gray characters, a strong backstory can help explain their moral ambiguity and add depth to their character. It can also create empathy and understanding for their decisions.

Use Foils to Highlight Their Morality

Foils are characters who contrast with the main character, highlighting their strengths and weaknesses. For morally gray characters, foils can be used to showcase their moral ambiguity and challenge their beliefs. This can add depth to the character and create interesting dynamics between them and other characters.

Morally gray characters add depth, complexity, and relatability to a story. By challenging traditional notions of good and evil, these characters force readers to question their own moral compass and consider the gray areas of morality.

[novlr]

how to create good characterization naturally? The chemistry in between characters without seeming forced

Great character chemistry can turn a good story into one that readers can’t forget. It’s a spark that makes your characters’ relationships seem real and exciting. Let’s look at how to make your characters interact in a way that feels natural and keeps readers hooked from start to finish.

Behaviour

Have characters unconsciously mirror each other’s actions.

Include small acts of intimacy, like sharing inside jokes or personal anecdotes.

Show characters prioritising each other’s needs or sacrificing their interests for the other.

Develop unique habits that characters only exhibit around each other.

Use consistent, unique actions or quirks that reveal a character’s feelings.

Create scenarios where characters defend each other’s viewpoints or actions to outsiders.

Allow characters to show vulnerability around each other.

Have characters unintentionally adopt each other’s mannerisms or phrases over time.

Have your characters make an effort to engage in activities they don’t typically enjoy, just to be with the other person.

Show characters naturally falling into synchronised rhythms, like walking in step.

Interactions

Lace your dialogue with subtext.

Have characters finish each other’s sentences or speak in unison without planning it.

Include playful banter and light teasing.

Allow for moments of comfortable silence that show a mutual understanding and connection.

Conflicts should be heated, but often end in mutual respect and a stronger bond.

Write intimate conversations where characters share secrets or dreams.

Develop scenes where characters work together seamlessly, anticipating each other’s moves.

Write moments where one character can tell what the other is thinking just by looking at them.

Have interactions where characters seek each other out for advice or comfort.

Create situations where characters celebrate each other’s achievements genuinely and enthusiastically.

Body language

Subtle touches like brushing hands or a gentle push that lingers just a moment too long.

Leaning towards each other while talking, showing attraction or interest.

Describe the way characters mirror each other.

A characters’ eyes lighting up or softening when they look at each other.

Positioning themselves between their partner and a threat.

Unintentional proximity, like standing or sitting closer than necessary.

Nervous gestures that characters show only around each other, like fidgeting or playing with their hair.

Warm, genuine smiles that are reserved for one another.

Instinctively reaching out to comfort each other in times of distress.

Relaxed posture in each other’s company.

Attitude

Show a respect for one another that they don’t show with others.

Are consistently patient with one another’s flaws.

Willingness to compromise or find middle ground.

Giving each other the benefit of the doubt in misunderstandings.

Unconditional support during difficult times.

Take pride in each other’s accomplishments, without jealousy.

Consistently have faith in each other’s abilities and decisions.

Openly express admiration for one another’s talents or character traits.

Maintain a positive outlook on the other’s intentions, even when they make mistakes.

Show an understanding between characters that goes beyond words.

Positive story outcomes

Stronger alliances or partnerships.

Romantic subplots that add depth and interest to the main story.

Believable character development as they influence each other positively.

Moments of triumph where their combined strengths overcome obstacles.

Deep, meaningful friendships.

Can easily resolve conflicts that seemed insurmountable.

Celebration is more impactful due to their shared success.

A fortified sense of trust that can be pivotal in critical story moments.

Enhanced reader investment in the characters and their relationships.

Openings for sequels or spin-offs based on popular characters dynamics.

Negatives story outcomes

Conflict arising from misunderstanding or jealousy.

Unresolved tension between characters on the outside.

Can lead to unnecessarily complex emotional entanglements

Creates obstacles due to the characters’ strong connection being exploited by antagonists.

Tragic outcomes when the chemistry between characters causes them to make irrational choices.

Intense confrontations that threaten the relationship.

Betrayals that are more impactful because of the depth of their relationship.

Unforeseen sacrifices that characters make for each other.

Heightened stakes when the wellbeing of one character is tied to the other.

Unexpected changes in the character when relationships are cut short.

Helpful vocabulary

Smitten

Love

Afffection

Desire

Charisma

Intimate

Playful

Magnetic

Affectionate

Devoted

Engrossed

Dynamic

Mesmerizing

Empathy

Kinship

Enthralled

Spark

Trust

Harmony

Synergy

Supportive

Heartfelt

Genuine

Symbiotic

Unbreakable

Deep-seated

Fascinating

Bonded

Authentic

Obsession

[siren-nate]

There's something I see overlooked when discussing the different character traits of the Color Gang members. Red is hot-blooded and the first to throw a punch, yes, but after that, he does not give up. Once he puts his mind to something, the guy just won't quit. He's almost pathologically stubborn and determined.

He's the last one to get taken over by the Orb, and he dives right into the ensuing 4v1. This kind of bravery isn't universal to the Color Gang - even Second Coming was paralyzed with fear when the Dark Lord vaporized all four of her friends.

In vs. League of Legends, he's the only one who still wants to try and fight to win the game after the entire group has been decimated by Purple's cheating.

When everyone's trapped in the Parkour loop, Red isn't the first one to get past his designated Brute guard, but he's the only one to get past without drawing a real weapon or using some outside-the-box tactic. He just keeps getting back up and fighting bare-handed until he wins.

This even applies to situations that don't involve fighting; in the Monster School, Red wasn't ready to give up on befriending his teammates even after putting up with their constant bullying. Hell, he's not ready to give up even after they keep bullying him while he's actively helping them.

Both times the Color Gang make their desperate last stand against King, Red is the first one to stand up, ready to keep fighting against impossible odds.

I know this next one is more silly, but he won't even let go of wanting to take a nap in the Nether, something that Yellow explains will kill him.

Despite the obvious dangers, Red can't let go of the idea of putting a Lucky Block in King's staff to see what could be achieved by combining them.

Do I even need to say anything about The Prank?

It takes four of GreenScreen's duplicates to pin him up to the wall, and he's still throwing punches.

When he has a chance to appease GreenScreen and get it to stop being so violent to them, he instead taunts it.

And when all the rest of the Color Gang are finding ways to entertain themselves while trapped by GreenScreen, Red seems to just be going crazy with boredom because there's literally nothing he can do in this situation to fight back.

Red is crazy determined and stubborn. It's both a positive and a negative character trait based on the situation, but I don't ever see anyone talking about it compared to people talking about how he's hot-blooded.

[oraclesblog]

Sakura Blossoms

One of the most significant character moments for Sakura Haruno in the original series of Naruto remains one of the most misunderstood. This can, no doubt, be attributed to the fact that a large portion of shonen fans are incapable of understanding any form of writing that isn’t surface-level and doesn’t have to be spoon-fed to them. Many view this scene as an example of illogical decision-making by Sakura because she had an “opening” to stab her opponent, as shown here:

However, Masashi Kishimoto goes out of his way to provide two specific reasons as to why this approach wouldn’t work: a practical reason and a symbolic one.

Practically speaking, it is explicitly stated that had Sakura attempted to stab the Hidden Sound shinobi, it wouldn’t have worked.

It was also established very early on that there was a massive power imbalance between the two and that, no matter what Sakura did, the Hidden Sound shinobi would always have a counterattack because they were more skilled and had more experience. Hence, instead of using the Kunai to stab her opponent, as this particular Hidden Sound shinobi expected, Sakura decided to cut her hair—not only to catch her opponent off guard but because Sakura herself knew that stabbing her wouldn’t work; she’d simply be overpowered.

Symbolically speaking, the reason Kishimoto had Sakura cut her hair (the most important reason and the entire purpose of the scene in the first place) was to signify the beginning of her character arc. To understand this, we need to look at Sakura’s initial character traits and the perceptions she carried at the start of the series.

Initially, Sakura is introduced as a superficial, appearance-obsessed, boy-crazy girl who has a no real understanding of what it means to be a shinobi.

She even outright admits to already considering herself a full-fledged ninja despite having done nothing to earn that title.

This false self-perception is what leads Sakura astray compared to her teammates. She becomes disinterested in the idea of training to become stronger and doesn’t work for the skill she so desperately needs at this point in the story. In her mind, there’s no point in training if she’s already graduated the academy and become a “full-fledged” shinobi. Her own arrogance and naïveté on the subject even lead her to believe that she’s fully superior to her teammates on Team Seven.

However, as the story progresses, we see Sakura’s inexperience in battle and taijutsu, combined with her misguided priorities (particularly her obsession with Sasuke) and her arrogance regarding her own self-perceptions, make her overly reliant on her teammates. This not only makes Sakura a burden to her team but shows the consequences of her actions, behaviours, and beliefs.

The forest of death arc is so crucial for Sakura‘s character, as it pushes each member of Team Seven into moments of growth. For Sakura, it where she learns the true meaning of being a shinobi and the trials and tribulations that come along with it. Sakura is put in a situation where she’s forced to fight on her own for the first time in her life to protect her two teammates. As she does, her enemy grabs her by the hair, trapping her. With no escape, Sakura takes her Kunai and cuts her hair.

In this moment, Sakura is physically cutting off an aspect of her identity that aided in the superficial virtues of her character, both physically and emotionally. She is unbinding herself to the girl she used to be, freeing herself of her negative qualities and traits, and most importantly, her false self-perception regarding the identity of a shinobi. The act of haircutting within literature can carry various meanings, but the most common symbolism behind it is to mark a character’s transition into a new stage of life. In Ancient Greece, it was tradition to cut one’s hair as a sign of mourning, symbolizing a positive or negative change for the character. In Sakura’s case, she is “killing” her past self and mourning this loss through the act of cutting her hair, while also stepping in to a new sense of self with a clearer understanding of what it means to be a ninja and the harsh realities that follow it. That’s why this line:

Is so important because it serves as a representation, both figuratively and literally, that it’s Sakura’s turn to step into the role of a true shinobi—to be someone her teammates can count on and, most importantly, to say goodbye to the girl she once was.

What’s more is that we actually see how this character development impacts Sakura’s throughout the series. The Forest of Death scene is more than just words; it marks a transition she carries forward, not only becoming someone her comrades can rely on but also becoming someone who understands the deeper nature of things and people rather than viewing them through a superficial lens. This growth is especially evident in her desire to become stronger, seeking out training from a Sanin, and in the way she begins to see Sasuke after the Forest of Death. Instead of viewing him merely as an attractive classmate she has a crush on, she starts to see him for who he truly is—a traumatized boy falling prey to his own pain and going down a dark path. This new perception makes her want to help him, both physically and emotionally, rather than simply wanting to make him hers, as she did initially.

Ultimately, this scene is what gave Sakura the development to become the character she was at the end of the series—a strong kunoich and a true, full-fledged shinobi, as well as someone who can genuinely understand the pain and trauma of others.

[evilbihan]

This is probably the most unpopular of all unpopular opinions out there, but hear me out for just a second:

Can we please start to acknowledge Kuai Liang's flaws? It's perfectly fine to like a character while also acknowledging their negative traits and the bad things they've done. I'm genuinely confused by the whole "aww Kuai Liang is so nice :)" thing the fandom has going on. I understand that, being a Bi-Han fan, I might sound biased, but I promise this is coming from a completely neutral standpoint.

I don't see how any of the positive traits fans associate with Kuai Liang (kindness, selflessness, a caring nature) are backed up by any canon material we know of. Those traits belong to Tomas, not Kuai Liang. The version of Kuai Liang that is a loving brother to Tomas and the prime example of a good man only exists in fanon.

Vengeful, short-tempered, regressive — those are Kuai Liang's actual traits.

May I remind you, the real Kuai Liang looks like this.

His face expresses arrogance, he's looking down on whoever is in front of him. He doesn't smile, doesn't display any expression that one could interpret for kindness. He looks cold. Does that arrogance and coldness look familiar at all?

It's the same expression as this one. Bi-Han is also shown looking down on others, with the exact same confidence stemming from the idea that he is superior to others. Kuai Liang mirrors that expression perfectly. They're brothers, they're similar in the way they act and think, in the way they were raised. Let's not forget that Kuai Liang was second in line for the grandmaster title while with the Lin Kuei. He is grandmaster of the Shirai Ryu now. They are both arrogant.

Tomas is the only one of the three who smiles and has a warm, kind aura to him. I'm not saying he's a perfect ray of sunshine, he's certainly capable of being ruthless just like his brothers, but he doesn't share their overwhelmingly negative traits.

There is no warmth to Kuai Liang at all, which is ironic given that his element is fire. Kuai Liang's fire, however, burns cold to match Bi-Han's ice. They are not opposites, they are the same.

Hanzo as Scorpion was driven by grief and ultimately love for his family, Kuai Liang's fire is only fueled by hatred for his brother.

While Bi-Han is obsessed with power, Kuai Liang's obsession with honor and tradition is crossing the line to fanaticism. Am I the only one to find it concerning how he worships his father and his father's ideals almost religiously? It's pretty much all he ever talks about at any given chance.

to Bi-Han: "His teachings did not pass with him. They should still guide us." to Bi-Han: "Father would turn in his grave if he saw this." to Smoke: "We must chart a new course. One that both honors our Father's legacy and serves Earthrealm." to Kitana: "Death before dishonor." to Smoke: "Only if we honor tradition."

Is this how a normal person talks? I don't think so. Admittedly, Bi-Han's methods are wrong, but since when is it a good thing to be completely against progress? Kuai Liang is stuck holding onto outdated traditions that don't allow for growth. It's not necessarily a bad thing that he looks up to his father, but idolizing someone to the point of never questioning anything they do or say and giving up any critical thinking is dangerous.

There's plenty more examples in the story mode and intros where Kuai Liang brings up honor and tradition, but this post is going to be long enough as it is so I only named a few.

I want to focus more on how Kuai Liang treats other characters throughout the story.

Tomas:

Why does the fandom claim he's such a good brother to Tomas when this is the only scene in the story mode where Kuai Liang expresses any sort of care towards Tomas — in a moment where he needs Tomas on his side?

Oddly enough, he's playing at Tomas' vulnerability here by bringing up family and reassuring him that they're brothers even if they don't share blood, in direct contrast to how Bi-Han said Tomas' blood was not Lin Kuei earlier. Words he chose carefully and deliberately, not out of the goodness of his heart because he wanted to comfort Tomas, but to achieve the desired effect: to sway Tomas to his side.

Similar to Bi-Han, Kuai Liang is a manipulative and calculating character. I would even dare to go as far as to say he's even more manipulative since Bi-Han lacks the charisma and patience to be a successful manipulator. Bi-Han makes no effort to convince Tomas to join him. He can't even keep up the lie he told Kuai Liang for very long. Bi-Han's actions are impulsive and poorly planned out, he's the naive one being manipulated by characters like Shang Tsung while Kuai Liang makes smart, calculated moves. He knew exactly what he was doing when speaking to Tomas.

I don't see how that was even necessary since Tomas would have picked Kuai Liang's side regardless simply because it's the one aligning with his own beliefs, but Kuai Liang's words were a subtle "Hey, remember that I'm the one who considers you part of this family and he does not. If you don't side with me, you're going to betray your own brother."

One of the key signs to recognize a manipulator by is how they try and convince a person close to them that it's "the two of them against everyone else" or in this case "them against their older brother". Manipulators know someone's weaknesses (Tomas' desire to be a part of their family) and how to exploit them to get what they want.

There was never even the slightest chance that Tomas would have sided with Bi-Han in that fight anyway, but he also appears way more passive in it as opposed to Kuai Liang. Tomas doesn't want to fight his own brother, but at the end of the day he cares more about doing the right thing and saving innocent lives than about his inner conflict. For Kuai Liang, it's a quest for vengeance and the pursue of his own goals above all else.

I also think it's interesting that Tomas looks slightly surprised/ confused at the hand being placed on his arm by Kuai Liang. It's almost like he's not used to being reassured like this which makes you wonder how often Kuai Liang really comforted Tomas or showed any support towards him. Like Liu Kang and everyone else, Kuai Liang barely acknowledged Smoke's presence before. They're only seen exchanging occasional glances.

What has me doubt the sincerety of Kuai Liang's words even more is this scene.

Personally, I don't believe that Bi-Han has ever snapped at Tomas like that before this incident here, but I know the fandom likes to think otherwise so just for this take let's go with the wrong assumption that Bi-Han used to put Tomas down like that regularly.

Why did Kuai Liang not step in to defend Tomas in this scene? If he knew where this was going why did he let Bi-Han finish his sentence? It's certainly not out of respect or because Bi-Han is their grandmaster. Kuai Liang has no issue talking back to him and contradicting him in other situations but he was surprisingly silent when this whole thing went down.

He was either just as surprised as Tomas that Bi-Han would snap at their brother like that because it hasn't happened before or because he simply didn't care to interrupt since he had nothing to gain from it, unlike later when he wanted Tomas' loyalty for himself.

Kuai Liang could have been standing up for Tomas in this situation if he was the good brother everyone sees him as, but for some reason he didn't. Make of that what you will.

As for the intros between them, there's only one where Kuai Liang asks about Tomas' family. In every other intro with Tomas he only speaks of his own goals. Honor, tradition, training the Shirai Ryu, defeating the Lin Kuei... At one point he praises Tomas for his loyalty towards him, only to question said loyalty later on.

Scorpion: Our resolve cannot waver, brother. Smoke: I'm offended that you think mine has.

If I'm not mistaken, that's a prime example of manipulation right here. Guilt tripping/shaming someone into doing something they don't even want to do.

Kuai Liang seems to always be working an angle with Tomas. Why is he suddenly doubting him? Because he knows Tomas wants peace, not war between the brothers?

Ultimately, it seems he doesn't care about what Tomas wants. We know that Tomas is torn in this conflict, he resents Bi-Han, but he also doesn't want his brothers to fight. Otherwise, he wouldn't have asked for Liu Kang to reunite them.

Tomas' intros are a whole paradox of their own.

Smoke: Are we to be enemies for life? Sub-Zero: Unless you submit, Tomas.

Smoke: I'll never forgive Bi-Han. Scorpion: His betrayal has seared both our hearts.

Scorpion: We'll soon meet the Lin Kuei in battle. Smoke: It will be our last with them. Smoke: For Earthrealm's sake, my brothers must reunite. Raiden: There's little hope for that, Tomas.

Smoke: Can I get the brothers to reconcile? Liu Kang: They must choose their own path, Tomas.

What Tomas says to other characters contradicts everything he says to Kuai Liang. But why? Why does he never tell Kuai Liang directly that he'd just wish him and Bi-Han would stop fighting? Why if not because he's afraid of Kuai Liang's reaction and that he will lose him as a brother unless he agrees with everything Kuai Liang says?

SPOILERS: It's interesting how Kuai Liang in this scene asks Tomas to help him bring Bi-Han back with them so he won't be able to aid Shang Tsung, but according to leaks he's going to leave Bi-Han behind with Havik in the dlc, not even caring about the consequences that might have for Bi-Han or for Earthrealm. Now that Tomas isn't there he no longer has to keep up the facade. Tomas' absence also makes me wonder if he maybe got tired of Kuai Liang's spitefulness and blind hatred.

To sum it up, here's what we know about how Kuai Liang treats Tomas:

Kuai Liang initialy doesn't defend Tomas against Bi-Han's harsh words

He picks an odd timing to comfort Tomas at the Ying Fortress, possibly to assure that Tomas will join his side, not Bi-Han's

He's trying to push his own agenda onto Tomas who agrees with him in their intros but doesn't seem to share Kuai Liang's goals when speaking to other characters like Liu Kang or Raiden

SPOILERS: It seems that Tomas won't be attending Kuai Liang's wedding as he's not mentioned at all in any of the dlc leaks. He might be trying to stay out of the fight between his brothers entirely.

Bi-Han:

Another detail I've noticed is how quickly Kuai Liang comes up with the idea to create the Shirai Ryu. How likely is it that he made the decision to form an entire new clan on the spot? He seems way too prepared for this scenario.

Smoke: Once he's exposed, won't you be grandmaster? Scorpion: You forget Cyrax and Sektor. Their loyalty to Bi-Han is absolute. They'll sooner abet his corruption than follow me. We must chart a new course.

Why did Tomas not know about this when they're part of the same clan but Kuai Liang knows the answer immediately? It's almost like he has thought it through before, tried to figure out exactly who would side with him and who wouldn't if it came down to important Lin Kuei members choosing between him and Bi-Han. And that's because he has. It even says so in his official bio.

Kuai Liang always intended to overthrow Bi-Han.

He admitted that he was aware of Bi-Han's frustrations all along and yet he never brought up his concerns to Liu Kang or anyone else. It seems that he intended to take advantage of how mentally unstable his brother was in order to become grandmaster himself. I'm not saying he always wanted the title to himself, Kuai Liang doesn't care about power, but his obsession with tradition equals Bi-Han's obsession with power. He wanted to rule the Lin Kuei himself to enforce his own ideals and when he realized that wouldn't work out, he settled for the next best thing: creating his own clan.

Kitana in comparison also knows that Mileena is impulsive and many people doubt that she's fit to lead but she supports her sister regardless. Her loyalty to Mileena is unwavering. Kitana loves and supports her sister unconditionally. It doesn't even once cross her mind to take Mileena's place on the throne.

Kuai Liang and Kitana share similar values, yet Kitana's loyalty to her sister outweighs all that while Kuai Liang didn't hesitate to plot against Bi-Han way before Bi-Han even sided with Shang Tsung. Just Bi-Han's frustration alone was reason enough for Kuai Liang to want to overthrow his brother.

Ashrah, a complete stranger, cares more about redeeming Bi-Han than his own brother does. And no, Kuai Liang's actions can't be justified by bringing up that Bi-Han let their father die or betrayed Earthrealm etc. because Kuai Liang gave up on him long before any of that happened. In fact, the way Kuai Liang constantly brings up their father at every chance he gets probably added to Bi-Han's frustrations and is part of the reason why he was driven to madness.

Scorpion: Glory? We fight for duty. Sub-Zero: Does our father's ghost possess you? All I hear is his voice.

Bi-Han seems haunted by their father's ghost and Kuai Liang knows, yet he doesn't shy away from bringing it up at every opportunity. Was it done on purpose? Who knows.

But it's noteworthy that it's again manipulative behavior. The way Kuai Liang constantly criticizes Bi-Han, undermines his authority, compares him to their father whenever he can although he knows about Bi-Han's frustrations, then claims a shadow has fallen on Bi-Han's soul when he at the very least partially helped cast that shadow.

I'm not sure why people claim Kuai Liang was supportive of Bi-Han before his betrayal because there's no evidence of that at all. At least, none that I could find. Kuai Liang seems reluctant to follow Bi-Han's orders and he also doesn't seem to respect him much. Again, compare that to how Kitana shows actual concern for Mileena while Kuai Liang just seems fed up with Bi-Han.

Personally, I believe Kuai Liang's goals are far bigger than we know at this point. Something about the line "The Shirai Ryu won't rest until Bi-Han is defeated and the Lin Kuei's honor is restored" suggests that, while he built his own clan, Kuai Liang still has some interest in the Lin Kuei. I doubt that he's just planning to take down Bi-Han to let someone else be grandmaster in his place. I think that Kuai Liang wants to merge both clans once Bi-Han is defeated. After all, Kuai Liang's bio mentions that he's willing to fight his brother for control of the Lin Kuei's legacy. He might think it would be in his father's interest if he became grandmaster of both clans. However, that's just an educated guess and might not be true at all.

How Kuai Liang treats Bi-Han:

Kuai Liang never trusted Bi-Han's leadership skills or acknowledged his authority

The conflict of interest between the brothers always existed, even before Bi-Han switched sides and Kuai Liang always planned to take the grandmaster title from Bi-Han

Kuai Liang attempted to (and would have) killed Bi-Han but was interrupted in doing so

He's eager to fight Bi-Han, while Tomas is reluctant

He seems to have always held very little love for Bi-Han, if any at all, although he claims they used to be close once

Harumi:

Does no one else think it's a little bit suspicious that the woman Kuai Liang ends up "falling in love with" is a capable fighter and head of her own clan, someone with exactly the resources, knowledge and means to provide Kuai Liang with everything he needs to build his own clan? He even names the Shirai Ryu after Harumi, a clan whose goal it is to take down Kuai Liang's hated brother, someone Harumi probably knows little about or never even met. Maybe I'm the only one to think that's kind of messed up and not a romantic gesture, but at least he's giving her some credit, right? Does Harumi lead the Shirai Ryu with Kuai Liang or did he take her own clan from her to build his own? I couldn't really find any information regarding that but it would be even more messed up if the Shirai Ryu are originally Harumi's clan that Kuai Liang simply took over.

Another weird detail is how Smoke calls Harumi Kuai Liang's "good friend" in his own ending, which makes you wonder if he left the Shirai Ryu before Kuai Liang and Harumi became a couple? Does he know Kuai Liang doesn't actually love Harumi? It's confusing because Tomas is the person closest to Kuai Liang. Shouldn't he be the first to know if his brother fell in love and is planning to get married?

Kuai Liang's reaction when Kitana congratulates him on his marriage is rather cold as well. He doesn't seem like a happy, newly married man and it makes me think their marriage wasn't necessarily out of love, at least not on Kuai Liang's side.

How Kuai Liang treats Harumi:

There's not enough known about their relationship yet to really know if Kuai Liang's love for Harumi is genuine

He benefitted a lot from his friendship with her when creating the Shirai Ryu

It's strange that Tomas only calls Harumi Kuai Liang's "good friend"

Final conclusion:

Kuai Liang seems to follow a pattern of binding people to him emotionally (Tomas, Harumi... ) to be able to use them to his own advantage. I'm not saying that he doesn't care about them at all, but first and foremost, they're assets to him and family second.

For someone who claims to care about honor, Kuai Liang sure has very little of it. SPOILERS: The fact that Kuai Liang is willing to let Bi-Han die and deny him treatment when he gets infected with chaos magic says a lot about the type of person he is. How is it honorable to kick a man when he's down? How is it honorable that he wants to kill Frost during his own wedding and Harumi has to beg him to spare her life?

To get this straight, this is not an attempt to paint Kuai Liang as the epitome of all evil or to say he doesn't care at all about the people in his life, just that he's much more cold and calculating than people give him credit for. Just because Kuai Liang has chosen the good side while Bi-Han went down the wrong path doesn't necessarily make him a nice person. He's still vindictive and selfish. He still shows toxic behavior.

I know someone will try and twist this post into something it isn't, so let me say this is NOT a personal attack on Kuai Liang fans or an attempt to spread negativity, it's just my opinion that you're free to disagree with. I blame the writers and their obvious bias for Scorpion that Kuai Liang's bad traits are so often overlooked. This post is only me sharing my thoughts. If it offends you, block me. I don't want to see this reblogged with paragraphs from people trying to defend Kuai Liang.

[the-badger-mole]

I get the frustration around shipping within this fandom. No, really I do. It does take up a lot of the bandwidth in the conversations around the show. I don't blame the fans, though. This is really Bryke's fault. They may not have started the ships wars, but they definitely threw napalm on the bonfire. Add that and the fact that when you really look at it, the friendships- the relationships that were supposed to be the backbone of the series- don't really add up to much. The biggest mistake was trying to make Aang the heart of the group and have so much of the "friendships" hinge on him. The kid has zero empathy and nil desire to actually get to know his friends.

His closest bonds are supposedly Katara and Zuko. I've talked at length about how little focus Katara gets in their relationship, platonic or romantic. His interest in her is very shallow, and mostly focused on the fact that she's pretty and sweet. Any moment of real, in depth friendship between them is Katara supporting him and caring for his feelings, but the moment she needed him to give her the same energy, he compared the death of her mother to his losing Appa for a few days, and compared her desire for targeted justice to Jet trying to do a deep cleanse of an entire community which included children (and possibly other EK citizens). Then the episode ended with his continued misunderstanding of Katara with no attempt at getting to know her better.

His other major bond is supposed to be with Zuko, but I have many of the same criticisms (minus his hyper focus on how pretty Zuko is). Honestly, I don't think Zuko and Aang actually had that strong of a friendship. We know they were "best friends" by the end because the narrative says so, but aside from that moment after Pouhai, and their field trip to see Ran and Shaw, they don't have a ton to do with each other. Even their training together is glossed over. Zuko is more narratively tied to Katara, and he has a stronger "bros" vibe with Sokka, and even Jet, for a quick moment.

If I'm keeping it a whole buck, Aang isn't really a great friend to anyone in the Gaang. The strong friendship beats have more to do with how they are friends to him than the other way around. He doesn't offer much by the way of empathy, or even a desire to know the struggles of his friends. I know that's mostly a failing on the part of the writing, but I do like exploring that as a character trait of Aang. His negative traits are a lot more interesting to explore than his positive ones.

I love the stories that explore the friendships within the Gaang. I love writing stories that do those friendships. In particular, I think the potential Katara, Toph and Suki, and Sokka and Zuko friendships had so much potential. And I'm right. They do. But let's be real here. The major points of interest within the show are the ships. And i think it was partially by design. Who else remembers how hard the show's promo material pushed the Zuko/Katara/Aang triangle?

[saintsenara]

Thoughts on Ron and Hermione as a ship?

thank you very much for the ask, @thesilverstarling!

i’ll state my position straight away: book ron and hermione are the best of the canon couples.

they will have a long and extremely happy marriage made rich by great and stalwart love, lust, fun, and faithfulness, rather than held together by duty and couples’ therapy like so many readers and authors (including jkr, who seems to have decided to spend the years since the conclusion of the series failing to understand anything about her own characters) tend to think.

i will state another position straight away: lest i seem like i’m just a fan with blinkers on, i think this even though hermione is, by far, my least favourite member of the trio. if she were real i would detest her, and i dislike how she is treated by the narrative as always justified in her negative characteristics. i like fanon hermione - perfect and preternaturally good - even less.

as a result, i think that it’s ridiculous that jkr has said that she thought ron needed to ‘become worthy’ of hermione. they belong together as equals - which is what they’re set up in the narrative as being from the off - and i hate seeing that undermined.

because ronald weasley? he’s an icon. and he doesn’t get anywhere near the respect he deserves in fandom.

there are multiple reasons for this - ron’s narrative purpose is to be the everyman sidekick, and so he is able to be less special than harry or hermione (the helper-figure); the amount of aristocracy wank in this fandom means that the weasleys’ ordinariness is less appealing to writers than making harry have twenty different lordships and call himself hadrian; the narrative interrogates ron’s flaws - especially his capacity for jealousy - much more intensively than it interrogates either hermione’s (cruel, inflexible, meddling) or harry’s (reckless, self-absorbed, judgemental) - but one i feel is particularly significant is that ron is such a british character that many of his traits are not understood as intended by non-british readers.

in particular - as is outlined in this excellent meta by @whinlatter - ron’s sense of humour isn’t indicative of immaturity or a lack of seriousness, but is, in fact, evidence that he’s the most emotionally aware of the trio.

ron is shown throughout the series to understand how both harry and hermione need to have their emotions approached - and i think there is no piece of writing which says this better than crocodile heart by @floreatcastellumposts:

That was what she liked most about Ron, she thought vaguely. He was very good at being suitably outraged on your behalf. For Harry, for her, for Neville. That sort of thing mattered, when you were hurt or embarrassed or wronged in some way. You needed to have someone else on your side, to be as emotional as you felt, maybe even more so, so that you might feel a bit more normal. It was very decent of him, and she was not sure he realised he did it.

ron’s inherent emotional awareness is an enormous source of comfort to other people. he does the work which isn’t flashy or special - he makes tea and tells jokes and is just there - but which is needed in healthy human relationships far more frequently than a willingness to fight to the death for the other person.

[as an aside, this normality - even though i think it is assumed rather than justified by the text - is also what ginny provides for harry. if you believe that hinny are a good couple but romione aren’t… i can’t help you.]

but let’s look at some specific reasons why ron and hermione belong together:

their communication styles mesh perfectly. ron is the only person hermione knows who feeds her love of being challenged and debated, and who is able to engage in this way of communicating without becoming irate when she refuses to back down. ron is good at picking his battles, but he’s also good at recognising that hermione’s tendency to argue isn’t intended to be confrontational a lot of the time - it’s just the way she works through feelings and problems. he’s far more easy-going about her tendency to nag, interrupt, try to provoke arguments, or speak condescendingly than he’s given credit for - and hermione evidently respects this, since when he does tell her not to push a situation (above all, when she’s trying to needle harry into talking about sirius), she listens to him.

that ron and hermione’s tendency to bicker is taken by fans to be a bad thing is because it’s something harry - from whose perspective the narrative is written - doesn’t understand. harry is extremely conflict-avoidant - he tends to take being pushed on views and opinions he has to be insulting; and he has a tendency to assume that he is right which is just as profound as hermione’s. he and ginny communicate not by debating, but by ginny having no time for his rigidity and refusing to indulge it - but ron and hermione bickering about everything is not a negative thing within their specific emotional dynamic.

[as another aside, this glaring chasm in communication styles is why harry and hermione would be a disaster as a couple.]

they each provide validation the other needs. it’s clear - reading between the lines - that hermione is a tremendously lonely person. the friendlessness of her initial few weeks at hogwarts seems to be a continuation of her experience as a child, and - outside of ron and harry - that friendlessness endures through her schooldays. i’m always struck, for example, by the fact that, when she falls out with ron in prisoner of azkaban, she has no-one else to spend time with, and that this is only avoided in half-blood prince because harry decides not to freeze her out. i don’t think her friendship with ginny is anywhere near as close as fanon seems to imply (ginny has no interest in being nagged either), nor do i think that she’s anywhere near as close to neville (not least because she is so condescending to him) as she’s often written to be.

and this loneliness seems to stretch beyond hogwarts. the absence of hermione’s parents’ from the narrative is - in a doylist sense - clearly just a device to maximise time with the trio all together, but the watsonian reading is that she doesn’t have a particularly good relationship with them. hermione’s obviously upper-middle-class background - the name! the skiing! the holidays in the south of france! - can be presumed, i think, to come with a series of expectations from her parents which she feels constantly that she’s not entirely meeting, particularly expectations attached to academic success.

[for example, the grangers - were she a muggle child - would undoubtedly have ambitions for her to attend an elite university and then go into a prestigious career. tertiary education of the type that they’re familiar with doesn’t seem to exist in the wizarding world - most careers seem to be taught by apprenticeship - and this, alongside all the other divides between the magical and muggle worlds which contribute to the distance between them, would be one very obvious area in which she felt the need to prove herself to them.]

ron, too, has quite a difficult relationship with his position in the family - voldemort’s locket is not wrong to point out that he seems to receive considerably less of his mother’s emotional attention than ginny or the rest of his brothers - and he too is constrained by expectations which he doesn’t know how to explain he has no interest in - above all, molly’s desire for her sons to achieve top grades and go into the ministry.

he also suffers while at hogwarts from being ‘harry potter’s best friend’, something which harry never appreciates. but hermione does. she recognises ron’s jealousy and never allows harry to minimise it (and she and ron are very much aligned on having no respect for harry’s saviour and martyr complexes). she appreciates ron’s strengths - above all his kindness and his sense of humour - and makes him feel as though he’s achieved things with them. and ron does the same for her; he is hugely observant when it comes to her, and he challenges and defends her.

the two of them clearly spend a lot of time together one-on-one while harry’s involved in his various shenanigans (including outside of school - hermione has often arrived at the burrow days or even weeks before harry, and they seem to write to each other frequently when apart). they do this within a relationship which is fundamentally equal. one issue with hinny is that, post-war, harry is going to have to get used to seeing ginny as a peer, rather than as someone he has to protect. but ron and hermione never have that issue - equality is baked into their relationship from the off.

because, to be quite frank, fandom overstates the role that jealousy plays in their relationship. it’s true that ron certainly doesn’t acquit himself brilliantly when it comes to hermione’s relationship with viktor krum (it’s because he’s bi and doesn’t know it yet), and a tendency to externalise his insecurity into trying to make others also feel insecure is one of his primary negative traits (hermione does this too, via her patented lofty voice when she’s trying to condescend to people). but this is often taken as the initial red flag for how the relationship would crash and burn, and ron’s toxic jealousy is often used in fan-fiction as the trigger for emotional and physical violence towards hermione which, frequently, seems to drive her into the arms of either draco malfoy or severus snape… who are, of course, the first people we think of when we hear the words ‘not prone to jealousy’...

but i think it’s important to point out several things in defence of ron’s jealousy over krum. firstly, hermione evidently regards his jealousy as ridiculous - she’s upset by it, yes, but her upset must be understood as being caused by the fact that she wanted him to ask her out. she doesn’t think he’s being possessive, she thinks he’s being stupid. secondly, hermione is equally as jealous over ron’s crush on fleur delacour and relationship with lavender brown. she behaves just as cruelly when it comes to lavender as ron does when it comes to krum - and the narrative only treats her actions as more sympathetic or justified both because harry dislikes lavender too, and because, by that point in the series, jkr has dispensed with any inclination to ever criticise her.

but, outside of this teenage pettiness, ron is never jealous of hermione over things which matter. he is never jealous of her intelligence or competence or ambition or success (indeed, he defends her constantly from attacks designed to undermine her in these areas). for someone who struggles with being overshadowed by harry, he is never upset at being overshadowed by her. he is clearly going to be happy to support her in any of the career ambitions she can be written as having post-war.

and, on this point, i think it’s worth interrogating why so many readers still seem to feel uncomfortable with the idea of ron and hermione having a dynamic where she is the more ‘powerful’ one. [it’s always a bit trite to say ‘but what if the genders were reversed?’, but actually that’s not irrelevant here]. if hermione ends up taking the ministry by storm and ron becomes a stay-at-home father or has a job which is just to pay the bills, what, precisely, is wrong with that? why, precisely, should hermione regard ron making that choice for himself as a negative thing? hermione so often seems to leave ron in fan-fiction because of a lack of ambition - something which seems to be particularly common in dramione - but, in canon, she is shown to not particularly care if ron and harry do the bare minimum when it comes to studying etc. she nags them to do their work so they don’t get in trouble. she doesn’t nag them to do it to the same standard that she would.

and, actually, i think that ron being less ambitious than hermione is something which is key to how well they work. because ron provides not only emotional support, but emotional clarity.

hermione is shown throughout canon to - just as harry does - have a tendency to become obsessive to the detriment of her own health. she is also often - as harry is - emotionally or intellectually inflexible, and finds it hard to move on when what she feels or believes is proven to be wrong. both she and harry are micro-thinkers, who lean towards knee-jerk assumptions and stubborn convictions (and, indeed, hermione has a remarkably hagrid-ish tendency towards blind loyalty).

ron is none of these things. ron is a big-picture thinker (it’s why he’s so good at chess). he’s a pragmatist. he’s the least righteous of the three. he understands that faith and loyalty are choices, and that sometimes these choices will lead to outcomes which are bad or hard. he is the one of the three most willing to own up to having made mistakes. he is the one least likely to act on gut instinct (and, therefore, the hardest to fool - i think it’s worth emphasising that he clocks that tom riddle is tricking harry immediately, the only one of the trio to do so). he understands that things are a marathon, not a sprint. he is the least obsessive.

and these traits contribute to aspects of his character which are underappreciated. ron worries about hermione making herself ill during exams, or when she is using the time-turner, and makes an effort to get her to set healthy boundaries and redirect her anxiety. ron stands on a broken leg in front of sirius or goes into the forest to fight aragog not out of righteousness, but out of choice. ron takes over the burden of preparing buckbeak’s defence when it is clear that hermione is approaching burnout. ron is completely right that harry hasn’t done any long-term planning for the horcrux hunt, and his anger does force harry to tighten up after he leaves the trio. ron has a clear head in the middle of battle. ron makes harry and hermione laugh. ron is unafraid of human emotion. ron arrests harry’s tendency to brood over the little things by looking at the bigger picture. ron will always come back.

ron is bringing his politician wife regular cups of tea and making sure she doesn’t work all night. he is helping his lawyer wife to feel less upset over losing one case by reminding her that she’s won ten others. he is noticing stress creeping in and whirling her off for a dirty weekend, or even just a takeaway on the sofa. he is teaching his daughter to be proud of her ambition and his son to treat women as equals and both of his children that all you can do when you fuck up is apologise and try to do better. he is making hermione smile on the worst days of her life. he is helping her strategise her long-term goals when she gets stuck on the short-term ones. he is telling her straight when she needs to get it together. he is seeing a misogynistic head of department call hermione a ‘silly little girl’ and choosing to tell him exactly what he thinks of that.

ron is the ultimate wife guy. hermione is a very, very lucky lady.

[violinios]

Corrupted!Dream

What if he ate the golden apples? More information below! (This au is not finished yet)

Some facts about him:

I wanted to use roots with thorns to reference Nightmare's tentacles, and also to recall the roots of a tree, like the tree the two guardians used to protect. It comes out of Dream's back, and the first time they came out, right after being corrupted by positivity, they tore the back of his clothes and his cape, so he eventually changed the clothes he was wearing, but the old cape remained. Another reference to Nightmare in his design are the yellow and purple carnations in his left eye, not only because of the meaning of the flowers themselves, but because Nightmare of the goo covering one of his eyes, so I decided to do something similar, but with plants instead of slime. Dream is blind from the left eye after gotten attack from defending his brother from the villagers.

As for the meaning of the colors of the carnations that come out of his eye, I did very brief research, so don't take the meanings I'll write here for certainty. Yellow carnations represent rejection and purple ones represent loneliness. Although they are attached to Dream's body, they represent Nightmare's feelings towards the villagers who often mistreated him. The flowers grew after the corruption and after Dream discovered what they did to his brother.

What is controlling Dream's body now is not Dream himself, but rather a parasite that has taken over his body and identity, while the real Dream remains semi-conscious and unable to regain control of his body.

He feeds on positive feelings and his objective is to exterminate negativity for his own survival. He is not capable of feeling remorse, and will not be afraid to exterminate an entire universe if it has a very strong negative aura (like universes that follow the genocidal route, for example), but he cannot visit these universes alone since his magic works using positivity as "fuel", so he's dependent on allies to travel to negative universes.

He doesn't kill because of his moral compass and doesn't really care about what's right or what's wrong, who's good who's bad, he will kill them anyways if their negative aura is enough to give him a headache. This means he will kill innocent people who hold suffering on themselfs only to end with their negativity.

He calls himself a hero/savior/angel to manipulate people with false promises, when in reality, he only acts out of his own needs and survival instinct, not actual kidness.

There's only one who is full of negativity that Dream wants alive; for now, names won't be mentioned (who the person/monster is still not decided, it can be an already existing character or maybe i'll make an OC for this, but for now, feel free to imagine whoever you want to imagine) but their aura, somehow, makes the burning feeling of overwhelming positivity inside of Dream feel a bit less like it's burning. Yes, the positivity is too much even for Dream to the point it feels like it's burning from inside (remember how in original Dreamtale, a human body would barely even survive with the amount of energy the magic held inside the siblings body? Well, now imagine that now the magic way more powerful to the point that even his skeleton body hurts sometimes), and their negativity makes it feel less painful.

He is not completely incapable of feeling negative feelings, but it is VERY rare. Some examples are his fear of owls, a trait from the original Dream that remained, or the anger he feels when he is disobeyed.

He killed the citizens of the village when he saw the amount of negative feelings they caused his own brother. At first, he didn't want to kill Nightmare, but after he saw Nightmare attack him after the genocide he caused, Dream now seeks to kill him as well. He thinks of him as ungrateful for trying to hurt him after finishing off the people who caused him so much suffering, and he blames himself for leaving him alive, knowing that he is also the result of negativity.

Nightmare doesn't want to kill Dream, because he knows that the balance in the multiverse is important and it is their existence that causes it to exist, he just fights against him to not be killed and when some universe/being is being hurt by Dream. He wants to find a way to bring his brother back to consciousness, he still wonders if he could kill the parasite without killing Dream too. Dream, on the other hand, doesn't care about the balance.

His spines possess a poison that gives his prey the illusion of comfort, hiding the sensation of pain and fear within his own positive aura so that they do not escape when captured. It is rare for their prey to regain consciousness to realize the danger they are in, but not impossible, and some may be immune to the venom or his aura, like Nightmare, who'd feel a big pain if he got captured, which is a good advantage if you don't want to be trapped with Dream forever or eventually die.

[hauntedraggedyanne]

Turning positive traits negative

here are some options you can use to make more complex, real characters

—Optimistic

Refuses to get serious about certain subjects, mocks those who don’t always share their positive viewpoints, says stuff like “if you’re depressed, just be happy 😃”

—Neat

Can’t handle their space being in any other condition, very preoccupied with how they appear rather than how they behave, can’t hold back their tongue if there’s a sock out of place in a friend’s bedroom

—Open

Some things don’t need to be said. They say those things. Every other sentence.

—Effective

Very mission oriented not ‘care about people’s feelings’ oriented. One of those co-workers who makes everyone look bad because they come in early and stay late so everyone kind of already doesn’t like them.

—Leadership

Doesn’t let anyone else take the wheel, as well as controlling when the situation doesn’t require it. Also could be someone who demands praise for their work as well as always being seen as number 1 (could be a cult leader).

—Honest

The type who tells the truth when you show off a new outfit and you ask for their opinion. Believes that fact is greater than feelings and it will get many people mad very, very quickly.

-Wholesome/innocent

Drags other people down to make them feel ‘dirty’ because of the life they lead. Knows that asking people about certain subject matters may make them uncomfortable, but does it anyways to show off just how 🧚🏻‍♀️💕pure🧚🏻‍♀️💕 they are. If you’re struggling with this, watch a bit of those tradwives videos (keep in mind, not the normal ones minding their own business.)

—Imaginative

Comes up with the WORST, most horrific, terrible fates for everyone. Gets really defensive/rude over their work. Thinks that they’re the next big thing in whatever field they’re working in.

—Selfless

Instantly throws themselves in front of danger and doesn’t think about the consequences of their own actions. Could fall victim to situations where they’re forced to take the fall every time while someone else walks right over them.

—Confidence

Can lead to selfishness, over abundance of pride, stubbornness and unwilling to admit wrong doings/beliefs/actions.

—Extroversion

Unable to understand proper boundaries that others have set, tries to bring people out of their comfort zone even when unnecessary, rude.

—Intelligence

One of those nerds that every class has that reminds the teacher of the homework, looks down on those less intelligent and doesn’t care of the social/economical/personal reasons as to why they don’t share the same intellect, prideful.

—Kindness

Nativity, allows the wrong people to walk free, toxic positivity, doesn’t want to understand how some people may just be evil, leading the team into multiple dangerous, avoidable situations.

—Romantic

‘Doesn’t take no for an answer’, makes people uncomfortable, overwhelms people with fantasies of romantic dinners/adventures despite it still being the first date, moves too fast for their love interest.

[prettyrealm]

how do the ive members see wonyoung?

this reading is a paid commision, thank you so much for trusting in me! <3 celebrity commissions • personal commissions

an yujin - she thinks wonyoung is extremely professional and a great idol, she admires that she will try in all aspects of the job (she’s always on “idol-mode”) but she thinks that wonyoung wants to be the it girl, is proud of it, and doesn’t plan on giving that spot up. wonyoung is on yujin’s mind all the time because of this, and I think the reason she sees so many good qualities in wonyoung is because she wants to be more like her. she definitely feels as if she lives in wonyoung’s shadow. she thinks wonyoung is highly attractive.

gaeul - she doesn’t really view wonyoung as a real person. she thinks she’s very distant and that she doesn’t really hang out with the ive members unless she has to (so maybe she’s the first to leave dance practices, or skips out on hanging out with members after work). she thinks wonyoung is really good at being on idol-mode as well. she sees it as not who she really is, not that she thinks she’s a snake or something either, rather it’s more like “no one could really be this way”,’ it’s like she feels she doesn’t and will never know the real wonyoung (as wonyoung doesn’t really open up even behind the scenes). a part of her is even curious to see if wonyoung will ever “break character” one day. she thinks wonyoung is very beautiful.

rei - she thinks wonyoung super attractive, she is actually attracted TO wonyoung (didn’t ask if she acted on it or plans to btw, this is just how she feels). she thinks wonyoung is elite at her job, very beautiful and able to pull everything off, it’s likely that she thinks wonyoung is the best idol in the group. she thinks wonyoung is the ultimate woman. she thinks wonyoung’s kindness is real, she thinks you wouldn’t be able to maintain that type of personality/aura for so long if it wasn’t genuine (she seems to also have the tendency of glossing over possible negative traits or behaviors to interpret them as more positive). she thinks she rarely has a bad day with wonyoung and she can even get butterflies when they’re together. she has a lot of trust in wonyoung and likes her to the point where if wonyoung was ever super mean to her (or betrayed her in some way) she would actually feel heartbroken. she often feels sorry for wonyoung and wishes she could make things easier for her, she sees wonyoung as someone who often has hard times.

liz - she thinks wonyoung is very professional - again, a really good idol. she sees her as a perfectionist and that she’s confident but not arrogant (humble enough that she’s always trying to improve herself and isn’t the type to think she knows everything). she thinks wonyoung’s constant striving for perfection has very harmful consequences though (physically and mentally). she thinks wonyoung is distant and on idol-mode 99.9% of the time so what she sees often isn’t the real wonyoung, but she assumes this is just her being professional rather than fake. she genuinely likes wonyoung and would love to be closer to her and hang out with her more because she thinks she could be a good friend to her, but wonyoung is too distant and simply won’t let that happen.

leeseo - she wants to be wonyoung, there’s a chance that she was even wonyoung’s fan before meeting her. she tries to copy everything wonyoung does, even with how wonyoung acts behind the scenes, she finds herself wanting to be like that (whether she can pull it off or not). this makes her jealous though, she finds herself jealous of how willing people are to help wonyoung because of how loved she is. she understands wonyoung is on “idol-mode” often and this makes her more jealous because she’s like, “yeah i want to be like this too, but I can’t believe everyone is so nice to you when you aren’t even being real!”. i think a part of her even hopes for wonyoung to “crack” and for people to realize she’s not perfect, but overall she basically sees wonyoung as the luckiest girl in the world. she does think wonyoung has a lot of pressure on her though.

[anim-ttrpgs]

Yo. Been really getting interested in Eureka recently, cause it looks cool as hell from what I've read, and also I ran a police procedural campaign a few years back that I'd like to bring back, but my choice of system back then for the type of game was bad (Savage Worlds). Likely gonna give Eureka a shot with it anyway, but does the game separate out the urban fantasy elements from the more realistic/mundane elements by how much? Like, do traits have seperate sections for non/fantasy and fantasy traits, or is it all just together? Is there anything else in the game that complicates running a campaign with no fantasy elements?

You can download Eureka from this link for free (we’d really appreciate it if you paid but payment is optional) and check it out for yourself, just in case you didn’t know!

But to answer your question, the urban fantasy stuff and the mundane stuff actually are quite separate in the book. You’ll find a few references to the existence of vampires and stuff in the mundane rules, but all of the rules for supernatural characters are found in the very back of the book, not mixed in with the other character creation stuff.

As for other complications, this isn’t exactly a complication with running a fully mundane no-fantasy game, but there might be a few small complications with running a police procedural game. Don’t get me wrong, I actually still think that Eureka is probably your best option for a police investigation campaign, but there will need to be a little tinkering. But that’s what I’m here for.

By default, Eureka assumes that the PCs are not cops, so it assumes that they don’t have access to all of the resources cops have when investigating crimes. Eureka assumes that the PCs don’t have the institutional power to make an arrest, to take someone in for official interrogation, to call for backup if they get into a bad situation, or to send forensic evidence back to the lab for analysis.

Now, the only one of these that I can think of actually causing any friction with the game itself is the part about sending forensic evidence back to the lab.

Making an arrest and interrogating someone would be easily handled by the rules as they are with no changes. For calling for backup, you could take a look at the “Heat” section in Chapter 7. That section is normally used for what happens if the cops get called *on* the PCs, but since it has mechanics to tell you how long it takes the cops to show up, you could just use those same rules to determine how long it takes for backup to arrive.

Sending forensic evidence back to the lab, well, we don’t have anything for that. If I had to make something up on the fly, realistically it would probably be like, the PCs bag the evidence and send it to the lab and then in 1D6 days they get the information back.

Of course if I were writing this into the rules for real, I’d probably spend hours or days on it coming up with some kind of system that determines the reliability of that evidence and how likely it is to be a false positive or false negative (because IRL forensic evidence is not nearly as reliable as cop shows make it look or as reliable as police would like you to believe), but i have Silk&Dagger to write right now.

And here's another link

[rosegoldenatlas]

Dear all fans of Joel Smallishbeans, here is your weekly reminder that C!Joel is definitely a fae who is desperately trying to learn how to lie to fit in with everyone else.

Reasoning/evidence:

Look me in the eyes and tell me he doesn't give dragonfly vibes

He pulls tricks a lot! You know what else does that??? Fae!

He's a bad liar, fae trait.

He's a smol boy

His character traits change in fandom and canon spaces to match with the biome or habitat he's in. Body changing to fit nature?? Nature fae moment.

He has pulled so many people so fast, you know what creature is known to be inhumanly beautiful and charismatic? That's right. Fae.

Pretending to be a god is such a faerie move.

In esmp s2 he was the one to make Jimmy a sentient toy and convinced the entire server to play along. Fae curse also fae move.

Esmp s1 he was unaffected by Xornoth's magic, I dunno about you but that sounds like fae bullshit to me :/

Esmp s1 again, he worshipped a MOTHER TREE that BROUGHT LIFE to HIM AND HIS ENTIRE AREA. If you need a reminder, FAE ARE BORN OF PLANTS 9 TIMES OUT OF 10 AND FIERCELY PROTECT NATURE SURROUNDING THEM.

Esmp s1 again, He brought nature an plants into a mesa. Like c'mon man. He's a fae.

Esmp s1 again again, he hated Scott, a canon faerie from what I assume to be the winter court? (Judging by Rivendell) Joel would probably be from the summer court. Obviously as both are on two ends of the extremes they wouldn't clash very well.

-------------

Fae Joel lore and my 'evidence' aka fuck you he's a fae.

Joel is a summer court fae! Which also means he is Seelie. My reasoning for this is a combination of two things: personality traits and aesthetic

For personality he aligns with a lot of the Summer fae traits, he is kind and more benevolent than a fae from the Unseelie courts but is still capable of a lot more cruelty than the spring court. Fae of the summer court usually are rather frivolous and hotheaded. They hold politeness and manners highly but not as high as say the spring court. Fae from the summer court are more willing to cut losses and not force life. (Ex if the see a dying animal they would be quicker to put it out of its misery and feed it to another animal rather than spent long hours of trying to save it. They acknowledge death as a part of life and see more of the negative side of things but still choose to focus of positive aspects. Summer fae tend to lead a more arrogant and hedonistic lifestyle but do not enjoy pleasure at the expense of another happiness. They are more willing to spend time helping another than themselves.

As for aesthetic: Summer court colors are Forrest greens of healthy plants and rich golds an oranges of the sun, they also lean towards richer pinks and reds than spring fae. So you know, Mezalea, Stratos, his normal green?

----------

Headcanons to go with Fae!Joel

-Joel is definitely a fae who will spend decades learning how to lie like other creatures. He's still terrible at it because fae can't lie, but he has spent so much of his life around humans and other creatures able to lie that he has the capacity for sarcasm and white lies. He's still working on real lying though (see: Secret Life smp)

-He is immortal until proven otherwise.

-He's a dragonfly based fae with wings and antennae to match

-When Scott killed him in third life he definitely damaged Joel's wings and Joel wasn't able to heal them until he was off server. So he didn't really like him.

[mamawasatesttube]

i don't know if my previous message sent through but.. my original ask about tim was just wanting to know his personality/character traits both positive or negative. i've been writing for him for a bit but have the idk how to describe emotions thus character traits-itis (alexithymia) and i know you've read a ton for tim so i wanted to ask you, if that's alright?

i just wanna make sure i've been writing him as canon compliant as possible while i keep reading for him. tysm and have a great day/night 💞

IT DID tysm for the reminder!!! ive had family in town this week (leaving tomorrow tho) and we've been doing a bunch of stuff so i havent had a ton of free time for writing up a thoughtful metapost and i wanna give u a good answer ideally with citations but ill have to hunt those down. SO!! if i havent gotten an answer to u by like. wednesday. poke me again!! <3

a very quick synthesis of tim's character for me tho would be that he is a people person. he is made of hubris. he is lawful good - if he sees a wrong happening and no one is doing anything about it, of COURSE he has to step in. he is a know-it-all and he is so nosy. he is the peak annoying baby brother. he is powered by love and the need to say 'i told you so'.

he loves his parents; his relationship with his dad is a complex thing wherein jack is emotionally abusive and tim really wants to pretend that that's not true because they do love each other and he hates how much he has to lie to his dad and sorta goes "well that's the real root of our problems" because if it's his fault then it's in his control. (this goes back to him being a hubris guy. he's a control freak. surely if it's in his control he can fix it.)

he's also very self-aware despite also having the capability to think himself into knots and tie himself into a pretzel or perhaps a balloon animal, which can be quite entertaining because he's aware that he's going balloon animal mode but he can't stop himself from doing it.