Obsessed with authors like Naomi Novik whose books always seem to say “no, fuck that, there is another way than cruelty, and we do have a choice to be decent, and not choosing it isn’t a burden but a cop out.”
Authors like Neil Gaiman whose books seem to say “we are all simply human, and that is so valuable. This world is worth more because we are in it, when we choose to notice and care”
Authors like Brandon Sanderson whose books say “We are all a little broken, and there is strength in not turning away from us, and there is pain in healing but there is also strength and hope.”
Seriously, these folks do more for my faith and hope in this life than any religion ever has. I don’t have the words to describe it yet but just. Warm cup of apple cider held close to the chest on cold autumn night?? That’s the best I got
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Talk Shop Tuesday: what’s the most important thing to you when it comes to characterization?
[Sorry I am so behind on these I have been so fucking busy] CHARACTERIZATION I LOVE YOU SO. What a good question!!!!! I get compliments on my characterization a lot so I should probably think about this. Also @lazuliquetzal chime in if you want because you're just as good at this.
There's a lot of important things. The most important, I think, is that the character has consistent internal logic. It's like worldbuilding or magic. Their actions don't have to be objectively logical, but they do have to be consistent. The character has a framework for understanding the world, a way of perceiving the world and how it works, and an idea of how they think other people work. Everything that happens in their lives is filtered through that. They have to feel like a real person making real decisions, not an instrument of the plot.
Something I like to do is to make their greatest strength their greatest flaw. I think in writing there's no 'good' or 'bad' character traits - no virtues or sins. I think character traits are neutral, and that they can be used to good or bad effect. I think we do things because of other things that have happened to us, and that these things have positive and negative consequences.
Obviously a character has to have consistent motivations and to change over time. A character shouldn't end the story in the same place where they started. Character focused stories ought to have your characters change throughout the story - Sherlock Holmes doesn't have to have moments of character growth but your slice of life character definitely should. I think the setting around them really helps - giving them foils really helps develop and flesh out both characters.
I feel like that's all pretty basic notes though. For me and characters, there's way more to it than that. It's hard to explain. I think I can only ask that you make the plot and tropes fit the characters, not the characters fit the plot and tropes. Fanfic has a horrible habit of making characters one dimensional and stripping away a lot of nuance to fit in with different slots in relationship dynamic, roles in a team dynamic, or niches in an AU. The character should come first. And love of god if you make their personality seme or uke I will come find you with my yaoi baseball bat.
Oh and the best character-building exercise is to figure out if the character would ever be a cannibal or not and I am barely joking.
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cassandra cain and damian wayne should be shown bonding more. They both had horrendous childhoods and they alone know what it's like to be trained to kill and see that as the only purpose of their lives for a long time. They alone completely understand that about each other.
Don't get me wrong i love dick grayson and damian's pseudo father figure and protector but he will never understand damian's kill or be killed childhood while cass does. she might also be the best to help damian truly understand how it effects him as he gets older. give me cass and damian sibling bonding moments please.
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i know it’s a popular idea, but i don’t think i can ever really be on board with the idea of lovelace having some big post-canon revenge tour. like, i can appreciate the catharsis of a good revenge narrative in other contexts, don’t get me wrong, but given the themes of wolf 359 as a show, and particularly the values lovelace expresses in her own character arc, i can’t see it as anything other than a tragic regression into the exact type of person she chose not to become.
“the whole epic rampage of revenge thing? isabel lovelace wouldn't do that. the terrible wretch that you people made isabel lovelace into? oh, she'd do that. but... i’m not going to be that person anymore. i’m going to be isabel lovelace again. even if i never have before.”
twice near the end of s3 hilbert calls lovelace isabel, sees in her some shared experience and reflection of himself and his willingness to do whatever it takes, by any means necessary, but he fails to realize that what he recognizes is the result of trauma inflicted on her largely by him. hilbert is a constant reminder of what lovelace has lost and what’s been done to her, and in some sick way that makes him the last link to her past. they both die, and she comes back, and he doesn’t, and she decides to be isabel lovelace again. i don’t think that’s a coincidence.
wolf 359 as a show seems to believe in the futility of revenge - all of dirty work, “and then what? who pays for this? who owns up for this murder? and for the one after this one?” - and places its faith instead in the power of individuals to break cycles of violence and abuse. and i think that’s relevant to the wording of lovelace’s final lines in the show: “look up some old friends, take apart goddard futuristics brick by brick... maybe go to disneyland? but first, i’m going to take a long vacation, somewhere warm and quiet, where nobody has any idea who i am.”
lovelace feels a sense of duty in dismantling goddard and holding them to account, but it’s a world away from the all-consuming ire and drive for revenge “run and hide” contained. i think that’s where the focus should be. it’s not about hurting the people who hurt her, not anymore. it’s about preventing them from hurting anyone else. it’s a final act of love and closure for the people she couldn’t save, to say: i’m still here. i remember you. i’ll make sure your families know the truth. i’ll make sure they never hurt anyone else, ever again. i can’t bring you back, but your deaths won’t be in vain.
i think it’s important to emphasize that lovelace is NOT a violent person. she doesn’t want to be. she doesn’t enjoy it. whatever she may have been driven to by fear and trauma and desperation, she chooses to be isabel lovelace, and that’s not the person isabel lovelace is. i hope she does help take goddard down. structurally. brick by brick. and then i hope she lives a good, peaceful, happy life, in the memory of all her loved ones who couldn’t. like minkowski in boléro: “so that we never forget how important it is that we're still here.”
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do you think part of the reason diluc still struggles with his resentment towards kaeya is because kaeya is more like what crepus wished diluc to be? crepus was so proud of diluc for his accomplishments as a knight and lived his dream through him as well and we know how much crepus' approval meant for diluc, more than any title or doing. i sometimes wonder if diluc feels hurt knowing that kaeya gets to live the equivalent to his past life as a knight as if nothing happened when he had to make sacrifices for his own peace of mind and sense of justice. i wonder if that's what pains him the most, not the fact kaeya ommited the truth about his past for so many years but having felt like he was the only one who cared to do something regarding his father's death and who showed any sense of uprightness when confronted with the knights' request to cover their mistake and negligence. i always think about how diluc might have felt like everything was a lie and his sense of betrayal. but maybe that didn't matter as much as having the support of his brother and someone he could share his pain with would have mattered. maybe the worst thing wasn't what kaeya did but what he didn't do; maybe it was never about his actions but the lack thereof.
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dennis finally sorta acknowledges his attraction to men and starts a relationship with this random guy using a Dennis’ Relationship Standards Checklist he created that the guy has to sign. his bpd makes him deeply attached + really vulnerable way too soon without realising it, and he starts talking about himself, but the guy is really weird and says stuff in response like “y’know, i always had an interest in psychopaths.” dennis feels uneasy about it way too late and the guy ends up ghosting him because he isnt living up to the expectations he had of being with A Crazy Person (the whole situation backed dennis into a corner and really changed his demeanour), and a month later the guy is at paddy’s and dennis yells at him to fuck off, but then dee shows up and is like “why are you yelling at my boyfriend??” fully aware that dennis had a relationship with him, but not knowing any details
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