#writing and characterization

[uhhsnail]

I love a character raised to be a weapon as much as the next guy. But what really gets me is a character raised to be a shield. Who can’t fathom being needed—or even being wanted— beyond keeping others safe. Who believe they are alive only to insure someone doesn’t die. no matter the cost. Characters who self-sacrifice not because they think they deserve it, but because no one else does deserve it, and it’s their job to protect.

Characters who’ve been told that’s why your important. Your worth something because this other person/ thing is important, and you are here solely to keep them safe.

Bonus points if it’s not a legitimate job they’ve been given. Maybe at one point it was, but now that they are free from it, they haven’t given up that mentality. No one is forcing or asking them to do this, but they need to. They need to in order to be deserving.

[ukrainian-groove-metal]

I love the "came back wrong" trope but from the opposite side.

Imagine you are dead. And then you are RIPPED from the embrace of decay into the world of the living again. Your memories are hazy and you don't recognize any of these people, but they act like they're close to you? Like they love you? So you try to get your memories back, to act like you belong here, but everybody tries to forget you died. And you can't. It is omnipresent. And just trying to grapple with that fact pushes the people who "love" you away, and they're incapable of understanding, and they're so confused, what's wrong N̶̄̀O̶͛͗T̷̉́ ̷͋͝Y̴̎̌Ȍ̴̈U̸̓R NÄM̴̃͑E̵̾̇? And you just need them to understand, you aren't that person! You aren't! You don't know who that person is! You don't know why any of this is happening, but they're unwilling to bend, they keep insisting you are that person, your memories will come back, everything will be normal again, and you want to scream and cry and claw yourself open to show them you're different. Your existence as a being wholly separate from whoever you "used to be" is a sin unto itself. All you can do is scrabble for life and to them, you're killing whoever they loved to do it.

just. lots of fun in that concept, you know?

[bricreative]

Already thinking about their future together UGH they make me sick

Inspired by Heybosshotsauce fic “Lovers, Hunters” Chapter 12, on AO3! A great blend of pre/post battle missing scenes and flashbacks that relate to the story.

Check em out!

[literaryvein-reblogs]

more words for characterization (pt. 4)

Age

adolescent, afresh, ancient, antiquarian, antique, big, childish, crude, doddering, elderly, fresh, full-grown/full-fledged, green, hoary, immemorial, infant/infantile, junior, late, medieval, mint, modish, new, novel, older, old-fashioned, originally, outdated/out-of-date, passé, quaint, refreshing, secondhand, stale, state-of-the-art, undeveloped, up-to-date, well-preserved, youthful

Appearance

adorable, aesthetic/esthetic, artistic, beautiful, comely, crisp, dapper, decorative, desirable, dressy, exquisite, eye-catching, fancy, fetching, flawless, glorious, good-looking, graceful, grungy, hideous, homely, irresistible, natty, ornate, plain, pretty, refreshing, resplendent, seductive, spiffy, striking, stylish, ugly, unbecoming, willowy, with-it

Genuineness

abstract, actually, alias, apocryphal, apparently, arty, authentic, baseless, beta, bona fide, circumstantial, concrete, contrived, credible, deceptive, delusive, dreamy, ecclesiastical, empirical/empiric, enigmatic/enigmatical, ersatz, ethereal, factual, fallacious, fantastic, far-fetched, fictitious, foolproof, fraudulent, good, hard, historical, honest-to-God, illusory/illusive, imitative, indisputable, invisible, just, lifelike, made-up, magic/magical, make-believe, matter-of-fact, metaphysical, monstrous, mystic/mystical, mythical/mythological, nonexistent, openhearted, ostensibly, paranormal, physical, positive, pretended, quack, quite, realistic, right, sincerely, specious, spurious, supernatural, synthetic, tangible, true, unearthly, unnatural, unthinkable, unvarnished, unworldly, valid, veritable, wholehearted/whole-hearted, wrong

Movement

ambulatory, brisk, clumsy, fleet, fluent, frozen, gawky, graceless, immobile, indolent, itinerant, leisurely, lifeless, liquid, lithe, maladroit, migrant/migratory, motionless, moving, nomadic, oafish, passive, pendulous/pendent, portable, restless, roundabout, sedentary, slow, speedy, static, vibrant, winding

Style

adorable, baroque, becoming, black, bold, brassy, cheap, class, classy, contemporary, country, cultural, dashing, dowdy, eat high on the hog, exquisite, featureless, flamboyant, floral, flowery, formless, futuristic, garish, gay, glamorous, gorgeous, grand, graphic, hot, improvised, informal, innovative, kinky, loud, lush, luxurious, mean, meretricious, modish, neat, new, obsolete, old-fashioned, orderly, ornamental, ostentatious, outdated/out-of-date, palatial, picturesque, plush, posh, prevalent, quaint, refined, resplendent, rustic, scruffy, sharp, simple, sleazy, smart, snazzy, spiffy, spruce, stately, state-of-the-art, stylish, swank/swanky, tacky, tasteless, tousled, two-bit, unbecoming, unworldly, up-to-date, vogue

NOTE

The above are concepts classified according to subject and usage. It not only helps writers and thinkers to organize their ideas but leads them from those very ideas to the words that can best express them.

It was, in part, created to turn an idea into a specific word. By linking together the main entries that share similar concepts, the index makes possible creative semantic connections between words in our language, stimulating thought and broadening vocabulary. Writing Resources PDFs

Source ⚜ Writing Basics & Refreshers ⚜ On Vocabulary

[radiance1]

By all accounts, it shouldn't have worked.

By all bloody accounts, that should not have worked.

Constantine will repeat.

That, by all accounts, should not have worked.

The warehouse was shitty. The materials were shitty. The summoning circle was shitty. The chanting was shitty. The magic was shitty.

By all accounts, the summoning should not have worked.

So Constantine couldn't give much of a shit about really stopping it because the summoning was so shitty it shouldn't have worked by an means possible.

So what. In the ever-loving fuck. Was the Ghost King, known tyrant of the Infinite Realms. Standing in the middle of the circle and not, last he checked, imprisoned?

That was another thing that he thought would have made it fail, actually. Because the Ghost King was incapacitated, asleep, gone, unavailable, nada.

So what. The fuck. Was he doing. Here?

Constantine knew the day was going to well to stay that way but wow. The universe loves to fuck him over, apparently.

Or the Justice League in specific.

Or both.

Doesn't matter, because now he has to bullshit his way out of this or get ready to brawl for his life.

Good thing he's good at both of those things, then.

Mostly the bullshit-

"Phantom what the fuck are you doing-" Constantine wheezed out, watching one of their newest members-a ghost going by the name Phantom-fly over in front of the known tyrant and-

Oh.

Oh, holy shit this won't end well.

Ghost King.

Phantom. A ghost.

Well, shit.

This is fine. This is totally fine. He just needs to bullshit his way out of this or face two powerhouses.

This is fine.

He's done worse.

"Sup War" Phantom said, floating around the summoning circle that contained the king of all ghosts like it wasn't a problem. "Didn't expect to be seeing you here."

"Ward." The Ghost King inclined his head slightly, eyes trained on Phantom. "I would not have come here if not for Time's insistence and I have been meaning to..." The King paused, hands gripping and ungrasping the pommel of his sword. "...Check in... on you."

"Aww, were you worried about lil old meeeee?" Phantom, ever the little shit and holy shit did Constantine want to go over there and shut him up, said. Floating around until he was staring upside down in the Ghost King's face. "Didn't know you were so soft, pa."

"I am not soft." The King huffed, flame dancing at the edges of his hair. "I was merely... concerned. Over how you would be acclimating to your circumstances. This world's League of Justice covers far more than your small haunt."

"Weeeell, it's not that bad honestly." Phantom admitted. "Haven't really done anything too big yet just some smallish things here and there. So, you know." The ghost boy shrugged, swinging back in the air to turn upright and crossing his legs. "Nothing too bad."

"Good." The Ghost King nodded, shoulders slumping so slightly that if Constantine wasn't looking, he wouldn't have seen it. "That is good. Yes. Good." The King slightly cleared his throat, grasping and ungrasping the pommel of his sword.

Silence echoed in the warehouse as the King seemingly looked for words to say.

"Would you..." He cleared his throat again, squaring his shoulders and standing up straighter. "Would you like to join me and Time for a meeting? It has been some time since you had last joined us." The King shifted slightly before adding. "Of course, if you're busy you do not have too."

"Sure." Phantom said, rolling back and forth in the air as he hummed. "Been a while since we've had some family time-"

"Family time?" Constantine caught someone-who he thinks was Green Lantern-say. He was just as bewildered.

"And if Time sent you here then it must be important." Danny paused before shrugging. "Or maybe not, can never know with him. But yea, sure. I'll come."

"Wonderful." The Ghost King smiled. Smiled. At Phantom. "Then I shall. Leave. Now. To do. Things. Yes. Things." The summoning circle flashed a familiar green, the same green when the King was first being summoned. "Goodbye, ward."

"You can call me son, you know."

The King paused for a moment, blinking slowly before hesitantly nodding.

"Then goodbye. Son."

The circle flashed and just like that. The king was gone.

"Kid. What the fuck." Whoever said- okay wait no that was Constantine, him. But yea fuck it he agrees with himself. "What the fuck." He repeated.

Phantom, the brat, only gave him a shit eating grin and a peace sign before disappearing on the spot.

[carolinanadeau]

"this female character is underdeveloped" TO YOU. I can read subtext and I know all about her backstory and her rich inner life. also she told me personally

[freenos]

I think it’s so interesting how Medea is the person Melinoe tends to discuss moral quandaries with, especially on her way to battling Prometheus.

[necrotic-nephilim]

as much as I love the common "Tim worships/stalks Jason" trope in TimJay fanfiction because it's Good and making Tim a weird little freak is Fun, I think the underutilized dynamic is where Jason is the one weirdly obsessed with Tim and makes it Tim's problem.

Like, the moment Jason is confronted with the information that a third Robin exists, the first thing he does is cover his wall with pictures of Tim so he can just obsess and torture himself over it. That is the behavior of a man who is Unwell over Tim's existence and I love it.

red hood: lost days #4

And as much as a shitshow as The Titans Tower Incident™ is characterization-wise (though I think it has far more merit in depicting Jason's character than people give it credit for but I digress-) there's something very fun about the fact that even after kicking his ass, Jason respects Tim and is impressed by him.

teen titans (2003) #29

And on top of that, Jason can't seem to stop trying to ask Jason to Tim to work with him in some capacity.

robin (1993) #177

batman: battle for the cowl #2

While Battle for the Cowl is an exceptionally bad comic, especially for its characterization of Jason and the "be my Robin" bit is taken deeply out of context, I do think it's interesting how obsessed Jason is with believing that Tim is extremely competent, only held back by being "brainwashed by Bruce". (hence him leaving Tim for dead later on in the comic.) Jason seeing a darker side of Tim and wanting to bring that out of Tim, wanting to see what Tim could be if he let go of his loyalty to Bruce is so fun to me, tbh.

And in Robin #177, Jason seems genuinely upset Tim doesn't want to work with him. Jason sees such a raw potential in Tim and is obsessed with it, constantly wanting Tim to work for him and see Tim be the type of person Jason is. And despite Tim rejecting him, Jason doesn't shoot to kill Tim. I just cannot get over the fanfic potential of Jason obsessing over Tim, tracking him and seeing what he's capable of and what he could be capable of. Wanting to make Tim see things the way he does. To Tim it's corruption, to Jason it's freedom. Tim trying to 'save' Jason is fun and all, but Jason trying to corrupt Tim? That's even more fun to me. Watching that power struggle between them, Tim unable to get Jason off his heels as Jason gets more and more possessive and bold with each attempt.

And when Jason sees Tim successfully get Gotham back under control after a gang war, he's impressed. He praises Tim, even. And then Tim just. Breaks him out of prison.

robin (1993) #182

The way they're constantly trying to see something in the other that isn't there, hoping the other will come around? That is the most fucked up hate/love dynamic ever. Jason keeps coming back to Tim, keeps trying to find ways to get Tim onto his side. They're always chasing each other. And I think Jason would be the one to confess love first, the one to do anything to make Tim his. And when you consider after all of this, Tim has his Red Robin arc and is at his lowest, getting the closest he ever gets to considering murder? I think it'd be so fun to see Jason take advantage of that and worm his way back into Tim's life and finally push Tim over the edge.

[feralforbeanix]

Manfred Von Karma did not burn Phoenix's letters to Miles.

Like, I'm not even saying this to defend Manfred's character (though the fanbase does get a little crazy with what he actually did and didn't do) I'm saying this because that's not canon. I'm not sure it was even possible in canon.

Phoenix didn't write letters to Germany. He didn't know Miles was in Germany, let alone Von Karma's address. He didn't even know who Von Karma was until Edgeworth told him about Manfred in Turnabout Goodbyes.

In the game canon, Miles just stopped showing up to school one day. All Phoenix seemed to know was that he transferred schools suddenly. He didn't know why or where to. Remember, Phoenix didn't even hear about DL-6 until Turnabout Sisters when Maya mentioned her family's involvement.

Even in the anime canon (I haven't watched the anime in a while so I might be off about this) where Phoenix and Miles get a chance to properly say goodbye, Phoenix still doesn't have a direct means of contacting him. His best way of doing so was dedicating a song through the radio using Signal Samurai codenames and hoping Miles would hear it.

Phoenix mentions trying to contact him several times when explaining their relationship to Maya, but this was after finding out Miles was this "Demon Attorney". Miles would have to be at least 20 at this point in time, living back in California with at least a few trials under his belt. With how young he reached success, it's not impossible Miles was living on his own at the time. Even if he wasn't, I doubt Manfred was going through this grown adult's mail.

No, what the game seems to be implying is that Miles ignored Phoenix. (Maya even says, "I guess he didn't want to hear from his old friends.") And I don't think this was out of hatred or anything, I think Miles just wanted to forget his past entirely because even the good memories of his childhood would be bittersweet at best.

And to be honest that makes it even more tragic to me. Why do we need Manfred to intercept their connection when Miles' trauma and guilt complex is already doing that?

I like to think Miles knew Phoenix would be asking questions if he ever responded to those initial attempts at contact. Questions he of course doesn't want to answer because they'd at best open old wounds or at worst risk his childhood friend finding out he might have committed patricide.

I also like to think he knew Phoenix of all people would stubbornly try to find the answers Miles wouldn't willingly give because he literally mentions Phoenix always being "single minded in his work" and "always seeing things through to the end". If anyone was going to press and bring those uncomfortable and painful memories out in the open for the sake of "helping him", it would be Phoenix Wright.

Why do we need Manfred to take away all that complexity and tragedy? That is such a waste!

[lightseoul]

a/n. pleasantly surprised at how quickly i wrote this bit, it practically wrote itself. glad the first part was interesting for a lot of you—i love writing about psych/therapy stuff (despite my complex relationship with 'em), and ofc bkg <3 i honestly don't know where i'm going with this, but it's been fun so far. (0.8k)

navigation. part 1, (you are here), part 3

thankfully—and to the relief of whatever dignity he had left—that interaction was short-lived.

well, it’s mostly because after you blinked at him for what felt like a torturous eternity and said a shaky hello back, he gave you a curt nod as if he wasn’t the one who just initiated the exchange and bolted it out of there without a single glance back.

that bit haunted him for the next few days, reappearing in his consciousness whenever the topic of therapy or anything remotely close to it was broached. he even snapped at kirishima when the redhead asked how his latest session went during one of their evening patrols together. it was a kneejerk reaction, an entirely out-of-proportion, aggressive response that shocked even him, which says a lot.

he should go ahead and text the guy an apology.

eventually, though, that unfortunate powwow slowly faded into the background of his exceptionally busy mind as the days went on. things got so hectic in the agency that he had to postpone his appointment for the week, which—quite frankly—is an upside to this chaos, because he sure wasn’t pumped about discussing his love life, or the lack thereof, with the jarringly knowing middle-aged lady. being able to definitively avoid you and buy you more time to forget about his stupid social blunder is merely the cherry on top.

okay, maybe the incident didn’t actually slip his mind after all.

“…bakugou-san? are you still with me?”

dazed, bakugou squeezes his eyes shut before fluttering them open, and what greets him is the very same lady against the backdrop of her increasingly familiar office, only this time she’s looking more concerned than perceptive.

right. he’s supposed to be in the middle of a session right now.

“yeah, sorry,” he mumbles, shaking his head in an attempt to rid himself of irrelevant thoughts and focus on the matters at hand. therapy is expensive, after all. “i’m here.”

that doesn’t seem to placate the woman who instead prods, much to his chagrin. “you seem out of it today. is there something in your mind that you want us to talk about?”

for a second, he debates caving and just telling her the dumb shit that happened two weeks ago, but then backtracks when it dawns on him how ridiculous everything is. what is he, a prepubescent boy? he died and survived a major war, for fuck’s sake. why is he so hung up on seeming awkward for once in his life?

even hearing it in his head is embarrassing enough.

that settles it, then. his lips are and will remain sealed.

but then his gaze refocuses on his therapist, and the sheer ‘unconditional positive regard’ or whatever the crap is called that she’s radiating becomes so palpable that it just spills out of him.

“i fucked up.”

that makes the lady frown—which, if he thinks about it, is understandable, because he rarely opens up about his failures, let alone this blatantly—although she manages to quickly school her expression into a more neutral one. “can i ask you to expound on it?”

at that, bakugou sighs, because it’s either he just tells the laughable truth or actually cite one of his actual mistakes—which he’s not feeling right now, by the way. or he can expertly maneuver the conversation to another topic, but something tells him there’s no getting out of the current subject. maybe today, there is, but it’ll surely loom over their next sessions indefinitely until either of them revisits it.

he should know. it’s happened to him too many times, he’s lost count.

with this realization, he can only sigh again.

“it’s stupid,” he preempts.

“i’d like to hear it regardless,” comes her classic, supportive response.

and so he does it. talk, that is. it starts off a bit rough—he didn’t know how to even begin without flushing like an idiot, but he managed to get the brief anecdote going. he still ended up blushing anyway—the warmth in his cheeks was undeniable—and if she noticed, she gratefully didn’t point it out. by the time he’s finished with the trivial tale, he’s mildly out of breath, having said everything in one continuous burst.

“i told you,” he spits when she doesn’t say anything for a beat. “it’s stupid.”

“i’d normally ask you to reconsider the adjectives you use for yourself and your experiences, but i think you’ve heard enough of that.”

he snorts. damn straight.

the woman then shoots him a smile, and he has to tamp down the reflex to bristle at an impending attempt to placate him. fortunately, it doesn’t come.

what does, instead, is a question.

one that catches him completely off guard.

“did you find her attractive?”

the fuck, is his first, immediate thought.

but then his normally trusty and acute brain seemingly comes to life and promptly supplies a second one that leaves him frozen and utterly dumbfounded.

yes.

˖⁺‧₊ as always, reblogs, replies, and tags are appreciated <3 feel free to drop an ask, too—i'd love to chat with you. have a nice day!

tagging. @bunnysaursushii @yawnzzzzzzzz @cholios @kashee-h @iluv-ace @lotuslovers @elarakive @sugurusmoon @napbatata @k0z3me @h0ngh0ngh0ng @honeyoru @yoongiwithglasses @hellokitty-doll @lilsebnem @tetsuukuroo @crangrapel0ver @syrhra | @kalulakunundrum @cheezemanz @gold24fish @lunaryasha

[elumish]

One way to build your writing skills--a way that I would argue is necessary if you ever want to write original fiction for publication--is to write from the point of view of, and with the focus on, a wide range of different characters.

it's really easy to fall into a rut when writing the same character or characters all the time, or even the same type of character all the time, where characterization tends to become muscle memory as much as anything else. You know what that character will do, so you know what characters of that type will do, so you know what characters will do, so that's what your characters do.

And when you don't have to think about it, you don't build--and can start to atrophy--those muscles required to do detailed, specific, engaging character building. What does it mean for this character, in this time, to do or experience this thing. What are the myriad of things that have built your character up to being who they are, and how do those things (individually and in aggregate) impact the choices that they make, the actions that they take, the reactions that they have, and the people that they engage with.

What can end up happening--and I see this all the time in published fiction--is that authors end up only being able to write 2-3 character types of each gender, and it all feels a bit samey.

Without opening a book by so many authors I have read, I can predict with a fair amount of accuracy what most of their characters will act like, because it's kind of the same across the board. Even when they start distinct, they end up drifting towards the same personality/character types like carcinization.

Writing from the point of view of/focusing on a range of characters (especially if they are different genders, of different backgrounds, with different wants and fears and habits and interests and personalities) forces you to actually be specific in your writing, if you want it to be any good.

Your 15-year-old B-student who really wants to spend their time playing rugby shouldn't sound like your 45-year-old businessman with a penchant for collecting Star Trek action figures who is trying to plan the perfect anniversary for his wife and neither of them should sound like the 23-year-old who spends their time going out at nightclubs and showing up a little bit hungover at work and worrying about finding a job that will let them move out of the apartment they're sharing with three other people.

Practice, and then practice some part, and then keep practicing. Write different characters, ask yourself if you're writing a character a certain way because you think they would be that way or because it's just habit, and be specific.

[siggiedraws]

Sonic is fundamentally unrelatable and unrealistic - and that's a good thing

I want to address a common sentiment in the fandom that I've seen countless times over the years - the idea that Sonic should be more humanlike. Specifically, the idea that Sonic should have more human traits, such as anxiety or insecurities, that make him emotionally vulnerable in some way.

I have always felt that this sentiment strips away what I love about Sonic so much—that it goes against his character as someone who is meant to be inspirational rather than relatable. From the bottom of my heart, I truly believe that making Sonic more relatable ruins his appeal and misses the entire point of what role he is meant to fulfill. Sonic being the way he is, an inhuman being that is extremely strong and unyielding mentally and emotionally, makes him an inspirational character that is appealing outside of the realm of relatability.

Please note that I am discussing Game Sonic for this essay, not any versions of Sonic from spinoff media.

(Special thanks to @blurredblu for helping me write this essay!)

Relatability =/= likeability

First, it is important to define "relatability" for the rest of the essay, as what is seen as relatable can vary across countless different cultures and lifestyles.

In this case, we are discussing facets of the human psyche. Traits such as emotional vulnerability, insecurity, or trauma are traits seen as humanlike because they imitate the depth of the human mind. They come across more realistic, and thus relatable to people in real life who have generally gone through emotional hardships.

Relatability is also considered with the implied audience in mind, according to Craft in the Real World by Matthew Salesses.

If relatability were somehow a goal of craft, then the question should be: How can a writer go about trying to make a piece of fiction relatable? If we mean “relatable” as sharing a reader’s experience, the first place to go is audience. We must always ask: Relatable to whom? Which brings us back to the elephant in the room—to call a manuscript “relatable” is really to make a claim about who the audience is or should be.

When writing relatability in fiction, what is important to recognize is who the target audience is. Sonic is a character that was initially created to appeal to a wide target audience, not only meant for young boys but for girls, women, and an older age range in general. When it comes to marketability however, Sonic is almost always advertised towards children, and this demographic is the most pertinent when we look at versions of Sonic written with relatability as a goal. With this idea of the target audience in mind, a character who is portrayed as young and having a childish temperament would be more relatable. The Paramount Sonic movies are a great example of a version of Sonic explicitly written to be relatable to the target demographic on a broad level, heavily influenced by the culture that the movies derive from: specifically a middle-class, suburban, small-town vision of American life. Sonic is portrayed as dependent, inexperienced, and abiding by a nuclear family structure who idolises many elements of American popular culture, such as Keanu Reeves or Marvel/DC superhero comics. Compare this to the games, where Sonic is shown to be self-supporting, wise, and living life as an unfettered vagabond, all without a trace of any pop culture utterances.

In other words, Sonic was created to be the height of unrelatability to his target audience.

It is not lost on me that the prevalent desire for Sonic to behave realistically ties into the idea that the goal of crafting a good character is to emulate realistic human characteristics. A character's relatability is what allows audiences to connect with the character, which is considered unequivocally a good thing.

What is forgotten in this rudimentary line of thinking is that characters in media need to fulfill a role. Characters are not people like you or me, but fictional creations made to serve a particular purpose. There needs to be thought put into what narrative role the character fulfills and why they are portrayed a certain way to the audience. Hence, there must be a reason for the relatability, instead of employing it haphazardly.

To quote Craft in the Real World once more:

"readers’ expectations for fiction are created by their previous experiences with fiction—in other words, by culture."

The desire for Sonic to be relatable can be attributed to people recognizing pervasive tropes present in their previous experiences with fiction, internalizing these commonalities as the correct way to write good stories, and assigning these to Sonic as a result. While I can understand the logic behind this thinking, it is crucial we don't limit our appraisal of media by saying a protagonist ought to abide by a certain limitation, when it's the breaking of rules, however rigid they are, that allow for different methods of storytelling. Sonic breaks the so-called rule that a protagonist must be relatable, and it's this unrelatability that enhances and strengthens the narrative in many Sonic games. In other words, writing Sonic in a relatable way can be a way to write him; that does not mean it is the only or correct way to do so.

We should bear in mind that there are usually financial incentives to cast characters as mentally or emotionally relatable to audiences. To create a protagonist that appeals to all audiences to maximize revenue, the solution is typically to make them broadly relatable. While this can be a successful formula, it is important to not apply it to media indiscriminately. If a myriad of works all prioritise having characters be relatable over what makes them unique, you may end up sacrificing creative integrity for the sake of following a trend. In Sonic's case, you would lose the inimitable appeal that makes him stand out. While relatability can be valuable in certain contexts, it should not dominate all other considerations of writing a character, especially when it is done for the purposes of profitability as opposed to earnestly conveying a character to, ultimately, tell a story.

What makes Sonic stand out

What, then, makes Sonic stand out as a character? His inhuman mental fortitude. In a wide and varied cast of characters such as the Sonic cast, each with their own unique emotional struggles, Sonic stands out as the sole character with no struggle. He has no weak point, no Achilles' heel. Though he is weak to water, that is only a physical weakness. Mentally, he is too strong for anything to affect him long-term.

As stated before, characters are designed to serve specific creative purposes. In Sonic's case, his striking mental resilience is to highlight other messages and characters in the story. This is because Sonic usually plays the guiding or support role in his stories. He is not the sole focus. There is always at least a second character that the story focuses on to highlight that character's problems and struggles, and how that character ends up overcoming that conflict, often with Sonic's help.

With all this in mind, would Sonic stories be improved if Sonic was, instead, a human-like character with human flaws and insecurities? Or would this muddy his core concept and require all Sonic stories to be changed unrecognizably to fit this new, different character?

Sonic has no backstory - and that's a good thing

Understand that this section is not an attack on backstories in general. For the most part, backstories provide insight into a character's motivations and personality. They are effective in accomplishing what they were meant to do - creating characters that are meant to be realistic.

Sonic is not meant to be realistic.

Yuji Naka once stated the reason behind Sonic's lack of a backstory in an interview: if you uncover all the mysteries, then the character will become uninteresting.

Very little information of Sonic's backstory has been revealed. We know that he is from Christmas Island (same interview link as above) and it is implied in the Sonic 1 manual that he and Eggman already know each other and have been regularly tussling before the events of the first game. These are vague and unspecific details that are not brought up in Sonic games at all, and for good reason.

Distance is required to portray a character who you are meant to be separate from rather than analogous to. Maintaining a certain level of mystery around Sonic creates intrigue, as a question is begged but never answered or even brought up in Sonic stories. This is because Sonic's backstory has no relevance on the narrative and delving into it is not necessary.

Sonic's motivations are simple and straightforward. He likes to run and go on adventures because it's fun. He likes to help people not out of some heroic obligation but because he wants to do what he feels is right. There is no need for a backstory to explain Sonic's motivations when they are plainly presented to you in such an uncomplicated manner, and what's on the face of it is just wholly what it is.

Sonic is also a character that remains static rather than having a major character arc. While he can grow when it comes to things that don't affect his overall character, such as Sonic learning and overcoming Shadow's Chaos Control technique in Sonic Adventure 2, he has no emotional conflict to overcome. He has been a fully realized character since the beginning of the franchise.

Compare this to a character like Tails, whose character arc is about him being bullied for his two tails in the past and being inspired by Sonic to be more confident in himself, as communicated in the Sonic 2 manual and his Sonic Adventure campaign. Divulging Tails' backstory is necessary for the improvement of Tails' circumstances and confidence levels to be effectively communicated in the story.

Fictional characters are narrative devices created to tell a story. They are not real. Again, there must be narrative reasons for them to be the way they are.

Providing Sonic's backstory would serve no narrative purpose—none that would serve the themes his stories and character are meant to serve, at any rate.

Sonic has no trauma - and that's a good thing

Upon analyzing Sonic's character in the games for so long, it has become astoundingly clear to me that Sonic does not have an ounce of mental trauma from everything he has been through. This should not be seen as a bad thing, but rather a well-thought-out and deliberate decision that serves to reinforce the role his character serves.

In the face of situations that would be considered stressful or traumatic to the average person, Sonic remains unfazed and even excited. There are countless examples of this: Sonic jumping from a plane with nothing but shrapnel to use as a surfboard in Sonic Adventure 2; Sonic expressing excitement that he's near an active volcano spewing lava in '06; Sonic exuberantly grinding over pits of lava in Black Knight; Sonic burning up with excitement at the prospect of dangerous stakes in Team Sonic Racing while everyone else seems to be concerned.

For Sonic, danger and near-death experiences are not a source of emotional struggle, but rather a source of fulfilment and joy. He lives life on the edge; the excitement of diving off of a plane or nearly falling into lava only fuels his love for life.

Additionally, Sonic also enjoys the simpler pleasures of life. Exploring the world. Reading books. Going on relaxing vacations. Racing through open fields. Life is one big adventure and Sonic is having a blast living it.

The idea of Sonic having some kind of secret, hidden trauma that he hides under the guise of a fake smile can be a fun fanon trope, but, for the purposes of canon and official Sonic stories, there are clear reasons why they should stay as fanon. If Sonic had trauma, it would undermine his unrelatability and make no sense given his role in his stories. Tropes such as Hurt/Comfort and Angst are ubiquitous when it comes to fandom culture, and this could be a case of those tropes appearing in the Sonic fandom simply due to the nature of fandom itself. Enjoying fanon in and of itself is all well and good, but advocating for it in canon will homogenize it by stripping away what is unique about the media we love.

In the end, there is no reason to believe that Sonic pretends or does not behave genuinely when it comes to expressing his true emotions. Sonic simply has nothing dark inside of his heart to hide. This is confirmed in Unleashed, where Sonic's heart is strong enough to resist the negative emotional forces of Dark Gaia without him even realizing. The subconscious nature of the action combined with his humility even leads him to initially think it to be Chip's doing. His heart is so strong and so pure that it is incorruptible by negative forces. This shows how Sonic's resolve is effortless and practically baked into who he is.

Sonic's internal strength is completely unconscious on Sonic's part. He doesn't actively try to be the way he is. He just is.

Sonic doesn't cry - you get the idea

It has become a hot topic in the fanbase in recent years that Sega once provided a revision note for Sonic to not express excessive emotion such as outwardly crying or sobbing.

This idea has generally been met with hostility and aversion from fans. However, this negative reaction has always confused me, and I hope to offer a different perspective to the issue.

Why does Sonic need to cry?

Let's expand on this argument for fairness' sake. A common rebuttal grants that Sonic doesn't usually cry. But in extremely emotionally difficult situations, such as loss or mourning, Sonic should cry because it is only natural to cry in such a situation.

Again, I want to challenge this notion. We could approach it from the angle of human psychology and behaviour—it is far from the case that everyone cries in response to severe adversity, belatedly or otherwise—but instead I want to explore this with respect to the narrative angle we have covered so far. Specifically, with respect to the idea that characters, unlike you or me, are designed and portrayed with certain purposes in mind.

Why would it be natural for Sonic to cry?

To help understand Sonic's handling of loss, let's analyze four examples from the series of Sonic losing someone.

In Sonic Adventure 2, Sonic stays strong and composed right after Shadow's presumed death, paying respect to his fallen ally.

In Sonic Unleashed, after Chip leaves him, Sonic takes a deep breath before moving forward with a smile on his face.

In Sonic Battle, Sonic is desperate for Emerl to live and expresses this openly.

In Sonic '06, Sonic expresses a great amount of despair when Elise dies in an explosion aboard the Egg Carrier.

It is clear from the outset that Sonic is not an uncaring individual - he wouldn't do all the selfless things he does if not because he didn't care about people. He also still feels strong emotion at losing those close to him, but he handles those emotions with a great deal of fortitude. In Adventure 2 and Unleashed, his reaction is more subdued, while in Battle and '06, it's clear that Sonic is upset and isn't afraid to show it. The difference could be due to that in the prior examples, Sonic watched them die in front of his eyes, while in the latter examples, they were already gone by the time we see Sonic's reaction.

Nevertheless, Sonic feels emotion. It is only because he does not express himself in an adequately typical way that this idea is met with so much outrage and pushback. Because Sonic does not cry, and because an expected response in certain scenarios would be to cry, it is perceived as a writing mistake that must be fixed. Sonic is perceived as a bad character because he does not fit into a rigid box of socially acceptable expressiveness.

But why is Sonic acting outside the norm necessarily a bad thing? The fact that Sonic can go through such hard situations and remain positive is a testament to his strength. The fact he doesn't cry makes him come across as superhuman when it comes to mental fortitude. That is not a mistake of his character that needs "fixing." That is the entire point.

The animosity towards the idea of Sonic not crying, that he must express himself a specific way, a distinctly normal and humanlike way, is stirred from the irrational, yet sadly common, leap in logic that Sonic must behave and experience life like you or me.

There is an irony, too, to how localised this demand of realism is of Sonic. I've seen no outrage demanding that he spill blood or break bones like us. But, apparently, he must shed tears to be a good character. Sonic is superhumanly resilient while running, or fighting, or taking on the miraculous powers of the Chaos Emeralds. Chaos is power and power is enriched by the heart. Sonic's is shown to be one of the strongest and purest out there, one that moves ever on from and through the pain of loss, grief, and tragedy. Isn't it bizarre, then, that this is considered a defect to him?

The messaging of Sonic

Sonic's core concept as an inspirational character must be maintained because it is key to the emotional messaging of nearly every single Sonic game.

Right from the very first game, you play as a plucky little hedgehog, fighting against the tyranny of Eggman's industrialization threatening to destroy all life on the planet.

Sonic is small and unassuming. But he fights anyways, determined to stop Eggman. And he does.

This concept remains throughout the franchise. Sonic always remains steadfast in the face of great adversity. From Sonic CD's "You Can Do Anything" vocal theme telling the player to believe in themselves to simple yet motivational phrases—ones that Sonic himself has given to the likes of more normal characters such as Elise: "If you have time to worry, then run!"

There is even a quote on the Japanese box art of Sonic & Knuckles comparing Sonic to the Sun, the far and unreachable star in space that our entire galaxy revolves around.

We look up at the Sun like how we look up to Sonic.

As brought up earlier, Sonic is the antithesis of relatability to his target audience, children.

This is because he is meant to inspire children.

The fact that Sonic remains so popular and successful to this day is undeniable proof that relatability is far from a necessary ingredient for likeable characters. Given the fact that Sonic is such a strong-willed character, that he fights endlessly against adversity with a smile on his face, that he always gives positive words of encouragement, is it any wonder why he is so popular with children? Sonic is a wonderful role model that promotes living life to the fullest. Sonic is deceptively wise, seeming to know simple yet effective solutions to every problem. Sonic encourages you to chase your dreams, to stay strong through hard times, to enjoy life.

Sonic is a friend who is always there for you.

Not only does Sonic provide guidance to characters, he provides guidance in the real world as we navigate our lives and the trials and tribulations that come with them. Each character that presents a problem is the character we are meant to connect with, and Sonic is who we strive to be.

CONCLUSION

I do not hold any grudge against relatable characters. I love them, just as I love all kinds of different characters in all kinds of media.

I believe that coexistence is possible. I believe that you can praise a character for their relatability and realism, just as you can praise a character for being the antithesis of both of those things, and these do not have to be contradicting principles for one to have. It all depends on a character's narrative function and how their character traits – both relatable and unrelatable – serve the story that is being told.

Sonic the Hedgehog is a character whose role in the narrative is to inspire and guide other characters. From a Doylist perspective, he represents the prominent, all-embracing messaging about staying strong and positive despite all odds, inspiring and guiding his target audience.

Every decision put into Sonic's character traits serve his role perfectly. Of course this extraordinary character does not behave like you or I do. Why would he? That's simply not his nature; a gust of wind in the breeze, moving endlessly all throughout the world. A pure and positive heart who has achieved the innate desire of all humankind in a way that we will never truly understand, free from the burdens of human nature. Freedom.

Sonic is unrelatable and unrealistic. And he is an amazing character.

[thus-spoke-lo]

"What's Got You All Worked Up?": Little things that turn One Piece men on feat. Zoro - Sanji - Law - Usopp - Franky - Crocodile - Doflamingo

NSFW/18+ [minors DNI]

CW: gn!reader [Zoro, Sanji, Usopp]; afab!reader [Law, Franky, Crocodile, Doflamingo] - no gendered pronouns used; vaginal fingering [Law]; vaginal intercourse [Law]; somnophilia [Doflamingo]

Zoro: the way you look after a workout

Zoro never cares if you keep up with him when he works out—he loves that you want to spend time with him, adores how serious you take your bicep curls or how you look in the afternoon light when you lay down on a mat for a while to slowly stretch your limbs. But it’s when you’re all done for the day, when the heat of the midday sun has the room like a sauna and your muscles are sore and shaking, that he starts to lose all semblance of control. Your temples are dappled with perspiration, your chest heaving as you finish your last rep, sweat is trickling down your neck; he swallows hard and lets out a low groan at the sight of you. It reminds him of the way you look right after he fucks you, all heated and glistening with sweat and limbs weak and trembling. And since you’re already all warmed up, this seems like the perfect time to bend you over and take you right there on the weight bench.

Sanji: the way you smell

He doesn’t mean to be such a pest (well, actually he does) when he comes up behind you in the mornings, when you’ve just woken and you’re still sleep-drunk and groaning that the sun is out again already, but he needs to bury his face in the crook of your neck as soon as you wake and inhale your scent. Sanji thinks you smell sweet in the mornings, like pancakes and pastries, and pulls you back into bed so he can devour you like the delicious treat that you are. In the afternoons, he catches a whiff of you on the breeze, your skin covered in the salty spray of the sea, hands scented with tangerines after helping Nami in the garden, and he’s all over you, plying you with kisses and lust-tinged whimpers, begging you to come to his bunk, just for a little while, just so he can taste the way the citrus settled into your skin. And at night, he’s insatiable, burying his nose in your hair unabashedly when you stay to help him clean after dinner, taking in the way the faint traces of aromatic ingredients have settled on you and mixed with your own scent that he adores. It’s not long before he’s shutting off the sink and taking you by the hand, leading you over to the table and making a meal of you right then and there.

Law: the way you look in comfy clothes

Sure, he thinks you look lovely on the rare occasion you get to leave the submarine together and you doll yourself up for him, wearing that new shirt he likes, the one that flows over your body like water, and take the effort to line your eyes and swipe a little lipstick on. But when he feels the most hungry for you is when you get back and head straight to your quarters, stripping off your shoes and your pretty shirt and those tight jeans that make your ass look perfect but that you joke threaten to cut off your breathing one of these days. He sits in his desk chair and watches as everything comes off, and you crawl into his bed, face freshly-scrubbed, tucking your hands into the sleeves of an oversized sweatshirt. It’s then, when you’re finally comfortable and warm, when you look at ease and relaxed, and you gaze at him with half-lidded eyes, that he’s all over you, fingers dipping below the waistband of your soft cotton shorts, teasing your pussy until you whimper and beg for more. He doesn’t even bother to strip the rest of your clothes off before he pulls his cock out of his jeans and buries himself inside you to the hilt, pulling your shorts to the side instead so you can stay nice and cozy, just how he likes you.

Usopp: when you help in his workshop

Sharing his workspace with you is already intimate enough for Usopp – it’s like he’s sharing a piece of himself the way he invites you in. But once you’re in there, it’s hard for him not to be heated at how serious you take it. You look so sweet the way your tongue pokes out of your mouth when you’re focused on something, and he feels a tingle at the base of his spine whenever you pout and ask him for help—you’re so close to getting it right, you just need him to guide you, to stand behind you and place his hands on yours and make sure the welding equipment stays steady. Watching the way you grip that piece of metal piping your working with in a way that makes him wish your hands were wrapped around his length instead…it takes everything he has not to grab you and sit you on top his worktable, to wrap his arms around your waist and pull you against him, let you feel just how much you drive him crazy. But he resists, at least for the moment, anyway--hearing you describe just how hard that steel is and how hot and sweaty you've become doing all this work pushes him to the brink soon enough, and he has no qualms in showing you exactly how skilled his hands are.

Franky: when you show just a little bit of skin

Coming from a man who walks around in an open shirt and swim briefs, this sounds pretty rich. But there’s just something so tantalizing about seeing a hint of skin and having to imagine what’s underneath, like that time your leggings were more sheer than you thought, and you bent over to grab the laundry basket and he got a quick glimpse of your panties (that happened to be the same pattern as one of his shirts). It was enough to drive him to distraction for the rest of the day and make him glad he was alone in the engine room, barely able to contain the way his cock pulsed every time he remembered how you looked. He loves that one sweater you wear, too—the one that just won’t stay on your shoulder and keeps slipping down, exposing just the slightest bit of soft skin in the afternoon sun, and the way it leads his eyes down to the way the fabric settles over your breasts. And don’t even get him started on that hint of your tummy he gets to see when you reach up to grab something off a high shelf, reminding him how easy it would be to wrap his big hand around your waist and just slide it right on up until he can feel the silky material of that nice bra he bought you…have mercy.

Crocodile: the way you look getting ready for dinner

It’s so routine now that you don’t seem to mind—at first it alarmed you, made you feel like prey when Crocodile would sit on the velvet couch in your quarters, his arms draped across the back, a cigar clenched in his teeth, and he’d watch you ready yourself for that evening’s festivities. But now, you almost welcomed the way his predatory gaze would settle on you as you sit at your vanity and paint your lips; you throw a wink and a pout his way now and again in the mirror, almost tempting him to ruin that pretty makeup after you’ve spent so long putting it on. He loves how your body moves, almost sleek and catlike, around the room, slinking into your closet and asking him which dress he likes better. He shifts in his seat as you wriggle into that pretty blue number he adores, and throbs as you glance over your shoulder and bat your eyes, asking him sweetly to come zip you up. And how can he refuse? Of course, by the time he crosses the room and reaches you, you both know that he has no plans to move that zipper an inch, and instead you feel the tip of his hook lifting your hem as he growls in your ear to bend over—he’s going to take care of that needy pussy of yours before you ever step foot out of your room. Guess you’ll be late for dinner, again.

Doflamingo: the way you look when you’re sleeping

He chuckles quietly and wonders if you fell asleep this way on purpose—the silken nightgown he dressed you in before he left for the evening has been discarded on the floor, and you lay atop the sheets, your body completely bare and bathed in moonlight. He slowly circles the bed like a predator, admiring the way your limbs are stretched out, arms flung above your head, your legs spread, one knee bent and lolled to the side, exposing your pretty little cunt. It looks just like the way you fling yourself onto the mattress when you’re feeling needy, how you toss your dress at him and lay back against the plush pillows, biting your lip and beckoning him to you with sweet pleas of I need you. He licks his lips at how your slit glistens, and wonders if you’re dreaming of him, wonders if perhaps you touched yourself thinking of him before you fell asleep. He sits carefully on the edge of the bed and watches you sleep a little longer, your lashes fluttering slightly as you moan and shift, your breasts heaving as you inhale deeply and sigh. You tempt him even in slumber, and he palms the throbbing hardness that pushes against his slacks, groaning softly as he decides if he should wake you with his fingers, his tongue, or his cock.

[artist-issues]

Your story doesn't "have a message;" your story IS a message. The narrative and characters and setting and dialogue are just determining whether or not you delivered that message well.

[literaryvein-reblogs]

more words for characterization (pt. 2)

Attributes of behavior: [A-D] abstemious, accident-prone, acid, acrimonious, adamant, affable, affectionate, agreeable, aimless, aloof, amuck, animated, anxious, arbitrary, ardent, arrogant, ascetic, attentive, austere, avid, backhanded, bad, barbarian, barbarous, beaming, belligerent, big, blindly, boisterous, bossy, brassy, brazen, brusque, cagey, calm, capricious, casual, cavalier, cheeky, chill, chummy, clumsy, cocky/cocksure, combative, comic/comical, compassionate, complaisant, compulsive, conciliatory, considerate, contemptuous, contrary, convivial, cordial, corrupt, courageous, courtly, cowardly, crabby/crabbed, cranky, craven, crotchety, cruel, cunning, daring, dauntless, debonair, decent, decided, defensive, defiant, deliberately, delightful, delirious, demure, detached, diffident, disagreeable, disarming, discreet, disgruntled, disinterested, disobedient, disorderly, disputatious, disruptive, dissolute, distraught, divisive, doctrinaire, dolorous, doting, double-dealing, draconian

[E-J] eager, easy, edgy, effervescent, emotionless, envious, equable, evasive, even-tempered, excitable, exuberant, faithful, fake, false, fanatical, favorably, fearful, feigned, ferocious, fervent/fervid, fickle, fiery, finicky, flamboyant, flighty, flirtatious, foolhardy, foolishly, forceful, forward, fractious, freely, fretful, frivolous, fussy, gamely, genteel, glacial, gluttonous, goody-goody, graceless, grandiose, gritty, gruff, gung ho, halfhearted, hardhearted, haram-scarum, headstrong, hearty, helpless, high and mighty, high-handed, high-strung, holier-than-thou, hot, huffy, humble, hypocritical, idle, ill-mannered, ill-natured, ill-tempered, impatient, impertinent, impolite, importunate, impudent, inactive, inconsiderate, ingratiating, inhuman/inhumane, innocuous, insidious, insubordinate, intractable/intransigent, introverted, invidious, irreconcilable, irreverent, jaded, jaunty, jazzed-up, jovial, jumpy

[K-R] keen, kittenish, lax, lecherous, lethargic, liberal, lifeless, light-headed, litigious, lofty, loquacious, loud, loving, Machiavellian, maladroit, malicious, mannered, martial, mean, meat-eating, menacing, merciful, mercurial, militant, mischievous, miserly, mousy, munificent, naive, nasty, naughty, neglectful, neighborly, nervy, nomadic, noncompliant, nonconformist, nosy, obedient, obliging, obsequious, obtrusive, offhand, on edge, on purpose, orderly, ostentatious, overbearing, overwrought, parsimonious, passionate, peevish, pent-up, peppy, peripatetic, permissive, pert, petulant, philosophical/philosophic, phobic, pitiless, plaintive, playful, plucky, politic, pompous, pragmatic, precipitous/precipitate, predatory, presumptuous, prickly, prissy, profane, prompt, propitious, provident, prudish, puerile, pumped, puritanical, quarrelsome, quick-tempered, racy, raffish, rash, ready, rebellious, reckless, regardful, relentless, remiss, remorseless, renegade, repugnant, resigned, responsible, restful, restrained, retiring, revolutionary, rocky, rollicking, rootin’-tootin’, rousing, rude, runaway, ruthless

[S-Z] safe, sanctimonious, sassy, savage, scintillating, secluded, self-conscious, self-righteous, sentimental, serpentine, severe, shameful, sheepish, shifty, short-sighted, shy, simple, sincere, skittish, slippery, sluggish, small, smooth, snappy, snide, snooty, sober, soft, solid, sophomoric, spineless, spontaneous, sporting/sportive, sprightly, square, staid, starchy, staunch, stealthy, stiff, stingy, stoic/stoical, stony, strained, strait-laced, strenuous, stringent, stuck-up, suave, submissive, subversive, supercilious, supine, surly, sympathetic, tactful, tame, tearful, tempestuous, tender, tense, thankful, theatrical, thieving/thievish, thoughtless, tight, tipsy, touchy, traitorous, treasonous, truculent, true-blue, turbulent, two-faced, unaffected, unasked, unattached, unbridled, uncivilized, uncontrollable, uncouth, undependable, underhand, unemotional, unfriendly, unguarded, unintentional/unintended, unkind, unmerciful, unprejudiced, unreasonable, unrelenting, unruly, unseemly, unsettled, unsophisticated, unsympathetic, untoward, unwary, unwise, unworldly, uppity, urbane, vainglorious, valorous, vengeful, vibrant, vicious, vigilant, violent, virile, vital, volatile, wacky, wanton, warm, wary, watchful, wayward, well-bred, wicked, willful, wily, winning/winsome, witless, yellow, zany, zealous

NOTE

The above are concepts classified according to subject and usage. It not only helps writers and thinkers to organize their ideas but leads them from those very ideas to the words that can best express them.

It was, in part, created to turn an idea into a specific word. By linking together the main entries that share similar concepts, the index makes possible creative semantic connections between words in our language, stimulating thought and broadening vocabulary. Writing Resources PDFs

Source ⚜ Writing Basics & Refreshers ⚜ On Vocabulary ⚜ Part 1

[mythalism]

genuinely curious how the writers and larger dragon age audience would treat thom rainier if instead of being appropriately* repentant and putting himself in prison he blew up a major orlesian government building to instigate a chevalier rebellion or tried to have someone do some necromantic blood magic ritual involving uncertain danger and possible sacrifices to bring the innocent children he ordered killed back to life