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i-heart-hxh · 4 months

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Hi! I have a question, between the two versions of the anime, which one do you think was more faithful to the manga when it comes to the personalities of Gon and Killua? I've recently finished watching the 99 anime and I really enjoyed it, but idk if this is an unpopular opinion, but sometimes i felt like some of the characters were a little bit ooc, people usually talk about how the Killua of the 99 anime is so different to the Killua from 2011, but I also felt that Gon was really different in both animes, in the 99 version sometimes he was kinda shy or doubtful, like he was too passive, where as in the 2011 anime he seems overall more confident except for the times where he doubts about his self-worth, like after Hisoka didn't take the tag back during the hunter exam, in the 2011 version it also feels like when they are doing something even if the plan wasn't his, like going to Heaven's Arena, Gon is the one taking the lead and deciding how he is going to do things, idk if I'm making sense lol, the point is that he is a little bit more assertive while still being a sweet boy in the 2011 version while in the 99 version he is mostly just a sweet boy at least to me, I'm really interested in getting your thoughts about this topic, sorry for the long post 😅.

Thank you for sending this, it's definitely an interesting thing to discuss and something I've thought about quite a bit myself! Going to go on for a bit right back at you, haha.

Gon and Killua's characterization is actually a major reason for why I have mixed feelings about the 1999 anime. It has some wonderful strengths--like the beautiful cel animation, creative visual direction, more realistic character designs, unique (and darker) atmosphere, some great OPs/EDs, and a lovely soundtrack, among other things. But there are a few different aspects that I'm not a big fan of, and the changes to Gon and Killua's characters are at the top of my list.

First off, I want to say that to an extent I understand why Gon and Killua are characterized differently. Not much of the manga was out when 1999 was made, so the staff could only work with (essentially) the first impressions of the characters, and the anime had to expand into filler/anime-only material to prevent it from catching up with the manga and running out of things to adapt, so to a degree the staff had no choice but to get creative. The artistic liberties they took aren't always a bad thing. I even like some of the additions they made. But I do think some of the choices they made to deviate from the source material--and some of them were definitely not necessary--lead to them being much flatter characters in 1999 than in the manga itself.

This whole paragraph requires some oversimplification so bear with me, but I feel like in 1999, Gon is characterized as too much of a "good boy," while with Killua they lean too much into his "bad boy" side. Leaning into these stereotypes runs counter to what I love about these two, which is that they're both complex and have mixed lighter/darker attributes that feel somewhat "balanced" between them ultimately, and by the end of CAA they have essentially switched positions with regards to their respective light and darkness. They both have strong light sides and strong dark sides contained within them, which is part of why they get along so well even when they're as different as they are. To make Gon more passive and sweet (as you said, which I agree with) and Killua more edgy and bratty makes the relationship feel much more unequal and, to me, uninteresting.

I love Gon's assertiveness, strong-willed nature, and feral and scary sides, and Killua's softer, more vulnerable, and more childish sides, as well as other sides to them we see in canon, so having those toned down makes me sad.

One small example of a change that has always bothered me in 1999 is that they had Gon introduce himself to Killua when they first meet, and Killua even ignores him initially when he tries to introduce himself. While the scene isn't drastically different, I think it's incredibly important in establishing Killua's character that he introduces himself first and is so eager to get to know Gon. He desperately wants a friend! This is a vital basis for his character and motivations! There are a number of decisions in 1999 like this, where some deviation is made to make the characters more straightforward/fitting an archetype, and it would just be a small thing if not for how carefully constructed and extremely intentional Togashi's writing is, and how delicate the balance is with their characterization in the original series.

I'm personally not a fan of how much bigger and older Killua seems in 1999 compared to Gon as well--at times it feels like there must be an age gap of 3-4 years, which is weird to me with two characters where an important aspect of their relationship is that they're the same age. In the early parts of the manga, there was a bigger height gap between them as well (though it gets less and less with time), but even taking that into consideration, the strongly emphasized size difference is odd to me. (I know some people find it cute and that's fine, this is just my own preference!)

That said, I still do enjoy a lot of their scenes in 1999, even some of the added ones! I just don't think the way their characters are portrayed comes off nearly as layered/fascinating/well-balanced as in the manga and therefore in 2011 (which more-or-less closely follows the manga, with some exceptions). I consider 1999 its own alternate canon and any changes/additions only canon within that universe. (Though some of the additions I like can go under "Headcanon accepted!" status for me, LOL.)

2011 does have some small deviations from the manga too, and I do think there are subtle differences in the characterization vs the manga, but 2011 and the manga are much closer to each other overall and the characters are essentially the same at least, with only small exceptions.

So anyway, I definitely agree with what you said about their respective characterizations, and it's something that bugs me, too. There are a lot of aspects I appreciate about 1999, but I'm actually glad I didn't start with it for multiple reasons, and it's a pretty mixed bag for me overall.

#hunter x hunter #hxh #gon #killua #killugon #gonkillu #asks #my posts #anonymous #hxh 1999 #hxh 2011

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oh-katsuki · 1 year

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Hiiiiiii Cal! I really like the way you write so that's why I'm asking you this, but don't feel pressured to answer if you don't know or just don't wanna.

Note: English isn't my first language.

I studied Latin a few years ago and I want to translate this lil quote thingy from Pompeii that roughly translates to "lovers and bees live sweet lives. I wish I could, too".

Now here's the question: could I say honeyed instead of sweet? Because the literal translation from Latin would be sweet like honey but I don't wanna use a whole bunch of words for it because it's just one word in Latin. When I googled it said honeyed is just about food and I don't want to accidentally use a food-word when it's supposed to be all ✨serious✨ so that's why I'm asking 🥲

Annnnnd the reason I'm asking a RaNdOm FiC wRiTeR and not my professor is because he would wonder why I'm asking and I cannot lie for the life of me and I don't want to tell him it's for angsty, sexually explicit fan fiction about a 2D man so. Yah

And yes I also could just google what the ✨official translation✨ to English is but I'm a stubborn bitch and I want to do it myself so I'm not gonna 🤪

Sorry if this is long 🥲

hiiiii!!!!

i'm actually so flattered that you came to me with this!! idk why i just am!! and thank you, im glad u like my writing <333

first of all, that's a REALLY nice quote. like so poetic and meaningful.

anyway, i think you definitely COULD substitute "sweet" for "honeyed". a lot of the times, when you look up english phrases like that, it will come up with really literal definitions despite the fact that they aren't always used that way (cultural context and whatnot). like with the word "honeyed" specifically.. yeah it usually applies to food (ie; honeyed ham), but there's also a phrase in English—"honeyed words"—that basically refers to something someone says that is sweet/kind/hopeful. similar to the way the phrase "sugarcoated" is used when referring to negative news/lies delivered in a way to not hurt feelings.

i use "honeyed" as a descriptor for things other than food in my writing all the time and while i don't think it would be exactly correct, i do think it applies really well to the specific quote you're using. it's honestly probably a closer translation in general since you said the original latin says "sweet like honey". also, the term "honeyed" in that context implies that it's coated in honey, not made of it, which i think suits the quote a lot if im interpreting it right.

if im being fr... i like using "honeyed" in that quote better than sweet. not sure why. sweet feels like there's very little longevity/weight to it (idk if that makes sense), whereas honeyed is a very sensory word to use. like idk it conjures up images and feelings and flavors. ya know?

anyway, im not really at all qualified to give a definitive answer on what's correct and incorrect (english is my first language but i literally never know what's going on with grammar or like... correct use of vocab. we go based on vibes alone). but for what it's worth, i think honeyed would work great there and that it's a good idea to use it. like it would def make sense. fuck it, we ball mentality.

(sometimes googling doesn't do much good bc google is SO wrong a lot of the time. AND translating things from latin and greek always has a MILLION different translations that all imply different things. i understand and support ur stubbornness. plus you can always look it up after ya know???)

#[ 🏩 – chatting ]#im sorry if this sounds PREACHY i do not mean for it to come across that way #that's just my two cents and like... reasoning on it ya know?#BUT i do think that it's a good word there #honestly im a little in awe you even thought to use that word bc it feels really perfect for the quote #i LOOVEE it #anyway hope ur doing well <333

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gargrizzled · 6 months

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⭐️ idk if you’re still doing this

Hi, thank you for this! I honestly consider myself open to any ask games I reblog anytime, so you're good!

I've been considering what section to choose because there's a lot I could talk about, but since Chapter 4 is one of my personal favorites I'd like to go more in depth with that!

!Spoilers for Chapter 4 of Blood Brothers!

The chapter title, It's the Nighttime That Flatters, are lyrics from the song Self Control by Laura Branigan.

Songs are the theme of the chapter titles in BB, either because they fit at least somewhat lyrically or to set the vibe I'm going for. This fits in both categories! I find it has a chill party vibe, which pairs with the purpose of the chapter: Gangrel introducing E&C to the nightlife to escape the stress they're under. A lot of the lyrics fit as well, including but not limited to:

You take my self, you take my self control

I, I live among the creatures of the night

I know the night is not as it would seem

Which leads us to the underlying mysteries of the chapter. One of the first things Christian notices as they enter The Empire is this:

(Side note: Christian's disturbed reaction gains later importance in Chapter 5!)

Weird that these are there right? Perhaps they're leftovers from the time the club was actually an apartment complex, as Gangrel had explained to the brothers. Or maybe - they're hints to a more sinister truth that E&C are none the wiser to yet.

The Empire has a bar, club, stage - and also a bunch of apartments that seem open for just about anyone to fulfill whatever sinful whims they have. Edge uses this to his advantage when he seeks out a quick hook up to indulge his sleazy, Rated R side. This takes a strange turn when the woman abruptly leaves, seemingly startled by something that happened in the room, and Edge feeling oddly drained. Even more questions go unanswered when he returns to Gangrel, who seems angry at something he sees on Edge's neck.

Stark chill in the room? Objects suddenly moving? Symptoms of anemia with a mark on your neck? 🤔

And it sure is a shame the moment pieces of this puzzle could've fallen into place comes when E&C will be too drunk to remember:

You know... without a little paranormal intervention... do you think Edge's one night stand could've ended with him getting to know the ghosts of the Empire in a closer way than anyone would want? Did that mysterious woman see something from the past she did not expect??

And what did Gangrel do to correct her mistake?

Other small tidbits to end on a lighter note!

The neon signs have a reference to the Quentin Tarantino vampire film of course, and a vampiric twist on the fun "Don't do coke in the bathroom"

The name of the club is based on a picture of the Brood in a section of a WWF magazine, "A Goth Night on the Town", where "Empire" is seen cut-off on a neon sign behind them.

Helen the bartender is an original character made on the fly, and may not so subtly be from the 1920s - 40s based on her mid-atlantic accent and slang such as "juice" and "bushwa". It also seems she's close friends with Gangrel. Maybe they go back?

#fic: Blood Brothers #VS BS

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ladyimaginarium · 1 year

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helloo, i hope its okay for me to send this here… but! i saw you made a post on @multiplicity-positivity and mentioned indigenous people with a low quantum bloodline, and it got me thinking.

my maternal grandfather was a member of the blackfeet (specifically aamsskáápipikani) nation. he was born and grew up there, but moved to florida in the 60s, where he met my grandma. i never met him (he died before i was born), but i heard a lot about him growing up. his name was something like “barking yellow coyote” but everyone called him frankie, and thats how hes referred to by my grandma when we talk about him.

no one in my family is very interested in connecting with our indigenous roots, and i never would have considered myself indigenous since my family is so white passing. my mom turned out pretty light skinned despite being mixed, and all of my siblings and i are very white. but ive always felt so pulled to the blackfeet nation for my whole life. i used to ask about my grandpa all the time, and even though ive never met him i feel so connected to him and ive always felt this drive to immerse myself in his culture and learn more about the blackfoot nation. i feel guilty about it though, since im basically white and i dont want to intrude in a space that isnt for me.

i guess what im wondering is… is it okay to want to connect with the blackfoot nation if i have never been to the actual reservation, and have never even met my only relative who was a full-blooded member? am i considered partially indigenous, and am i allowed to try and explore that aspect of my identity?

idk your post really spoke to me and so i wanted to reach out. im sorry if this is breaking any of your boundaries or something. if im being totally honest i didnt really check out your blog too much before i hit the ask button… you can just delete this if you’re uncomfortable responding. either way thanks for reading, have a great day!

-🍓🌙 (my emoji tag just in case you do post this)

Hi, uh. Sorry, we& just woke up from an unexpected nap and I& guess I'm& fronting now? This shit is weird, it never happened to me& before but here we& are. Anyway, nice to meet you. To answer your question, we're& not bodily Blackfoot or anything like that but I& think it's only natural that you'd wanna discover and reclaim your heritage. Usually there's a reason for it. I'd& say go for it as long as you be respectful about it and do it for the right reasons. Blood quantum is colonizer bullshit. But keep in mind there's no "part" indigenous of anything, you either are or you aren't. That's all I& really gotta say on the topic. We're& glad it touched you and collectively wish you the best if you do end up reconnecting to your heritage, just know it's a long and hard journey and from experience, it isn't always fun because you also have to dig up intergenerational trauma and all that other shit, and you also have to be active and fight for your community, it's definitely not all fun and games, but it's worth it. To anybody else who's disconnected and who reads this: please don't give us& your whole entire life story and ask us& if you're Native enough, don't ask us& questions about your place in the Native community, or whether you're Native or not, or on whether you can do certain things, especially if you haven't even started your reconnection journey. I& realize we're& very vocal on our& indigeneity and the issues our& communities face, we're& collectively flattered you guys come to us& about these things, but that doesn't automatically mean that it's an invitation to come into our& inbox and seek validation, especially if we're& not from your nation. We're& not elders or knowledge keepers. Thanks.

— 🍊 / Clementine Maria Jasmine Cree&, she/her; they/them.

#written in blood.#🍊.txt

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embossross · 1 year

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You've been too productive lately, the wait between the next chapters is going to be hard to bear ahah !

Now, what can I say, except THIS SUSPENSE 😱 ????!!!! You're spending too much time writing Rindu, you're becoming as sadistic as him.

Anyway, a little review because I'm trying to control myself for once, lol.

Firstly, I'm quite impressed that Rin makes phone calls in Yasuko's presence, bonten is so covered that he can afford it. It makes me feel a little sad for her, a million miles away from thinking that her wonderful lover is importing drugs. I still can't wait for her to learn the truth, even though I know she might suffer.

Also, I noticed that Yasuko and Reader from FHMTH both have a few daddy and mommy issues, if they didn't, would things be different ? Would Yasuko be dating older men ? And Reader... do we really need to elaborate on the fact that you have to have a little problem to fuck Hanma, no matter how hot he is ? 😅 Anyway, I'm doing counter psychology (idk if the expression exists in English) and I hate it. I was originally going to talk about the parents because Yasuko's mom seems so protective of her daughter and it's kind of fun to be able to talk about her relationship with her without judging her. I like their relationship, even if their place in the family is not very balanced.

One last question I have and then I'll stop hihi, Rindou who puts his work in the background, is Mikey going to be totally ok with that ? I mean, we know from the beginning that he's not a workaholic, but, can there be consequences ?

That's it, I'm done, I'm really really really excited and impatient for the next chapter and I wanted to tell you that after a quick calculation, this story really in my top 2, I love it so much so thanks again for sharing it with us ❤️

the way your mind works, i swear, i'm always so excited to hear your thoughts on the chapters! like you just make such good connections! and i'm so flattered that you are loving the story so much. dgm has a special place in my heart too!

i'm going to do a read more so i can give this the attention it deserves!

poor reader really has no idea about rindou’s job and is so not ready for the truth. in that scene, rindou’s not saying anything directly incriminating, she doesn’t understand shipping enough to follow, AND rindou is intentionally keeping her distracted. she never stood a chance.

also poor Doc and her mommy/daddy issues ☹ I feel so bad for her tbh. you’re so right that her issues are a key reason she’s able to be with hanma. most people would run and not look back after the eye gouging and Russian roulette incidents, but the childhood abuse Doc experienced really inoculated her against that. and her unexpected reactions are what makes hanma interested in her in the first place.

whereas with yasuko, her father is really a nonentity to her. she doesn’t have issues about him. BUT because she had to fulfill an adult role from a young age because of her family’s poverty, she feels far more mature than her age. worth considering that she’s several years older than her friends in her university program (22 while they’re 18/19) and would have been much younger than most of her coworkers at the factory, so her dating just kind of works out that way.

great question about rindou’s work ethic! Rindou cannot afford to slack off fr bc drugs are bonten’s 2nd biggest revenue stream and kokoni would be up his ass. it would probably fall to takeomi to discipline rindou if he wasn’t doing his job, as takeomi’s like bonten’s chief of staff to koko’s chief revenue officer.

mikey probably wouldn’t get involved. he’s pretty checked out at this point in the story.

but, rindou knows what he can and can’t get away with. he can reschedule a meeting with suppliers for you, but he wouldn’t be ditching, say, a meeting with mikey just because you called upset. he does his job and nothing more, and that’s good enough. it just looks like a fantasy to yasuko who comes from a working class background.

#i spent way too long thinking about this ask #wanted to treasure it 🥰🥰#asks

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misiwrites · 1 year

Text

4KINGDOMS RE-READ ADVENTURE part 7

it's getting................ ! not hot in here. it's actually getting a bit stale. but the quest must continue

Chapter 28: max gets bitchslapped

i realised maybe yesterday that giancarlo really just fails at his job as max's knight over and over and over again in this story and in this chapter he does it again. he let everyone know that max sneaked out and didn't do anything to cover up for him whatsoever HAHHAHAHA

so max gets back home. sick. tired. and judy comes over and bitch slaps him to oblivion

judy also says giancarlo is going to take orders from her and tarou from now on i---- i'm not sure if i've remembered this. AH WELL i mean probably yeah. maybe? um

okay this bit made me almost feel a little bad

I had never seen Mama like this. She had never spoken to me like this. She had never called me stupid and worthless like this. It didn't feel real. It couldn't be real. Was this really Mama? The same Mama who had been so understanding only one day earlier? Did I deserve this? Had I done something so bad that she would hate me for it?

aw. poor max. :) /rubbing my filthy hands together in satisfaction

Chapter 29: takao and kai have a Very Exciting Fencing Match!!!

takao is all pumped practicing for a match against kai. and then it just suddenly is the fencing match day?? this pacing man. so i write these pointless chapters about rei and max just kind of gazing in each other's eyes and holding hands but i jump entire weeks of takao&kai progression forward because i want them to fight. this may honestly be more flattering to tyka than reimax. because rei and max progress at fucking snail pace even when they are gay w each other from like day one (or. day two. day one rei was calling max a hobo)

takao being like, i could immediately tell tourists apart from locals because of them Acting Rather Foolishly! is hilarious, also real

and then kyouju tries to use the Power of Friendship on kai but he. i laughed a bit too much at this

At one point Professor, who was also present with his parents, came to talk to me by our table; and he tried greeting Kai as well, saying how he’d heard a lot about him from me. Kai only granted him a questioning glare that was enough to make Professor shake in his boots and hurriedly wobble away with an apology.

a little pathetic that this is probably the most action-packed chapter of the fic to the date. you won't get anything this exciting anymore

this is also a not very well written chapter, as in it has a whole lot of straight-up typos, i guess i got too into it while writing the match HAHAHA

kai is a little shit who uses magic to fly and dodge takao's strike, and takao is like, wow he can fly i'm so in love. and then he also wants to fly for the rest of the story

takao wins! and he's so happy to have won in front of his own proud people! yay.

then the crazy storm wind happens and takao stops it by yelling out seiryuu's name, i always thought this was a nifty little scene myself. a bit short-lived but, it works i think.

this chapter is too stretched out tho. i should have cut it at the end before the part with kai looking at the paintings and then showing takao that he can also do fire magic, but i know i didn't because it takes place on the same day still. this is a lot of information packed into just this one chapter

Chapter 30: rei's number one enemy, internalised heteronormativity

this chapter starts off by takao complaining about kai having called him an idiot as the last line of the previous chapter, okay that makes the drawn-out end worth it

max has taken a hike to visit rick and doesn't seem to be coming back. byeeee

i can see the quality of my writing slipping here and i wonder why. like it's not bad, but there's a lot of… well idk, it just doesn't sound good. it's pretty dull, lots of poor punctutation choices. i did an elimination operation to semicolons

mao comes over to fangirl over a wedding catalogue and rei is like please shoot me in the head this sucks ass

the way i've portrayed mao in this early story is kind of icky. like she's very wifey with rei. just taking care of things for him and talking about marriage and clothes and fancy parties and she brings rei food and the list goes on. i've tried patching it up later by improving her role in the story but uuuuh yes. not sure what my thought process here was making it this way. maybe it's the internalised heteronormativity

Chapter 31: kai swinging weapons with his strong muscular arms, takao reacts like any normal boy would, i.e. damn he's hot

it's good that the takao stuff starts picking up here. also thinly veiled sword euphenisms. kai likes them long and thin. takao's is a bit curved.

the first line of this is better written than the entirety of the previous chapter

takao witnesses miguel descent into becoming a coffee addict i guess

max sends a postcard with a picture of. what takao calls. hairy cows

a lot of small things going on in this chapter. takao has a lot of frustration for kai being so cool and handsome and ripped with a sword in hand okay wow that got very gay very fast. takao leads kai right to ryuushinken and also tells him what it is like the fool in love he is

there was this real long ramble about some other city at the end of this, unrelated to anything and it didn't fit the pace of this already poorly paced chapter at all. i just eliminated most of it. like a semicolon

Chapter 32: rei is squeaky clean now

what are you gonna serve me this time rei. not much. unnecessarily detailed descriptions of how the purification period ends. why did i write this

olivier stress-baking macarons is the best detail in here

i swear rei choosing that he wants to wield a spear is not another phallic euphenism ...or is it

i'm honestly not sure where i was going with this thing about a fake byakko-ou crown having the gem of byakko on it. this is one of the very few details i flat out forgot what its purpose was. feeling a bit too lazy to change it at this point since this has existed like this for so long now. it also feels weird to have a description of rei's crown in the story but nobody else's. but um. (i changed the description entirely btw. it was so dry. this chapter is a raisin)

this is one boring ass chapter. nothing happens in it. the mention of byakko's stone is honestly the only relevant fact in here, i mean apart from macarons

this chapter's comments are full of "PLEASE UPDATEEEEE PLEASE MORE TYKA" fuck offe i hope you never got your tyka. bye

#i read my own fic and die while at it #4kingdoms stuff

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ihatebnha · 2 years

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what’s your opinion on bakugou’s version of justice compared to someone like midoriya or todoroki?

Anon!!! What an interesting question... it's been a while since I've been asked anything like this so I'm honestly SO flattered you want to know what I think (and I spent the whole day thinking about my answer LOL).

I would say I actually think about Bakugo's... ideology a lot (because the ideology in BNHA is truly Something Else), and right off the bat... idk, it's hard to really say for a number of reasons, but I actually find his principles very childish mostly because I find EVERYONE'S principles rather childish askjdfalks...

(Just for easy reference, I think the very watered-down versions of their sense of justices include:

Bakugo - wrongdoers should be punished/I personally should punish wrongdoers

Midoriya - Save everyone (we have yet to see him address what should happen to people like Overhaul so... it's hard to comment on what he'd say about crimes to those extremes)

Todoroki - Do what is right even if there is a cost

And Shigaraki (or LOVs) - Anarchy (or, less complexly: destroy the system that causes harm?))

In a very rudimentary sense (because really, do we ever get any more than that?), the only real reason Bakugo wants to become a hero is because he thinks he has the ability to be the absolute best at it. Is that untrue? Not exactly. But does it tell us anything about what drives him? Also no.

There's actually a title for it in psychology that I'm forgetting, but I would say it's safe to assume that there's something in Bakugo that makes him feel as though he is GOOD in the way that requires/allows him the responsibility of punishing those who are not.

In comparison... Deku's philosophy (for the most part) is that as long as someone is good deep down in their heart, they should be saved. Those who are not should be ??? "handled" (as an American, this makes me nervous LOOOL).

Both things tell us that they believe bad or "evil" actions should be punished (or reprimanded), but we can go on to distinguish Bakugo from Deku with the understanding that "Bakugo serves [justice] because it serves him, and Deku serves [justice] because it serves others."

BUT. in relation to Todoroki, even the League of Villains, rather than juxtaposing the standpoints, one could instead say that they very much compliment each other, almost as if they're on a circular scale.

While Todoroki's philosophy can almost be read as, "I serve [justice] because I myself do not matter in the equation of things"... the LOV's come's back around with "the [justice] we serve is a consequence..." which is actually closely tied with Bakugo's, but on the opposite threshold...

...which is what makes it so easy to understand him as the villain, as well. Or rather, it's easy to see why the LOV wanted him... AND why exploring him as a villain has tons of potential I have yet to think of or have seen explored (deeper than just Mafia!AUs and stuff. I mean... in more complex, narrative ways).

SO... what does this all really mean? Is one version of philosophy more correct than the others? And does this signify that Bakugo is inherently selfish? I think those bits are up to you... as BNHA has yet to answer MANY of the questions it initially brought to light, such as those that regard quirk + ability discrimination, social standing, and even what Stain brought up (the questions of why heroes are heroes and what constitutes a hero in the first place)?

However you feel, I think... it can honestly still be argued that Bakugo's, much less hero society's, convictions are wrong. And BNHA has yet to address the story surrounding that overall, as well.

And I hope this answer was sorta what you were looking for!!! I'm slightly afraid i ended up derailing a bit at the end... so i hope it all makes sense!

i think the philosophies in bnha are SO interesting, and im constantly have debates with myself over them in the shower LOOOL... so thank you tons for asking!!! I had a ton of fun <3

#bakugo #bakugo thoughts #LMFAOOOO i wrote this tag while h*gh ->#*pretend its in quotes*#me: writes out a whole *ss scientific analysis that probably literally no one will actually read #don't take it seriously #but its making me laugh bc this probably will get two likes #but i had fun and thats all that matters #thank u so much anon!!! and thank u for reading if u do!!!#feel free to ask for clarification if needed #ill be happy to provide #ask #anon #caitie post #queue

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jotarosrealgf · 2 years

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OOH OOH I HAVE A GOOD IDEA could I pls get a winter fanfic with me and dr twobrains? It’s implied in canon that he sleeps a lot and stays inside throughout the winter, because like most mice, the mouse brain enters torpor during the winter! it’s like semi hibernation. on occasion, during the winter months, the animal’s body just kinda shuts down and enters a very deep sleep for around 19 hours, this deep sleep is not easy to wake up from which is likely not an important detail but I think its worth noting anyways! When dr twobrains isn’t sleeping he’s generally just lethargic and noticeably nicer since the mouse brain is so sleepy! Just a soft cuddly sleepy guy, especially with me ❤️ If you need my personality (probably) I’m an INFP, I tend to worry, especially about the people I care for, I try to be accommodating and hospitable, I like to give but sometimes I give too much of myself, and my speaking voice is generally monotone and deep, I tend to space out, a lot, dr twobrains affectionately calls me “space cadet”. Some other details I think are at bare minimum worth noting (idk they may be kinda sillay notes 🤓) is i’m trans ftm and I hc dr twobrains is too! Erm standard winter clichés like it’s snowing or anything else warm and cuddly you could think of! Bonus points, his secret lair is an abandoned (not really abandoned) warehouse, and I imagine it gets pretty drafty i mean it’s not built to stay warm like a house is yk! Where I fit into the story is I’m dr twobrains’ paid intern (the full lore on that is I was actually looking to be an intern for dr steven boxleitner(side note: before dr twobrains became dr twobrains, he was a normal guy, dr Steven boxleitner) and when I realize dr twobrains has taken dr boxleitner’s place, I persuade him into hiring me anyways(he didn’t think he needed an intern but he was flattered and said yes lmao)) and in this winter fic we wouldn’t actually be together yet, nothing is actually discussed, but we both know about each others crush, it’s pretty blatant, especially when he’s so cuddly with me in the winter! OH OH AND BTW since this is a fic you’ll need my name for this, my name is Ferris :D IF YOU HAVE ANY QUESTIONS PLEASE FEEL FREE TO DM!! THANK YOU SOOOOO MUCH IN ADVANCE OH OH WAIT YOU PROBABLY NEED THE WORD COUNT I DONT ACTUALLY KNOW THE SPECIFIC WORD COUNT JUST GO NUTS WITH IT HAVE FUN WITH IT AND MOST IMPORTANTLY TAKE YOUR TIME!!!!

hihi ! thank u so much for requesting, i'm super excited to write this for you ! kind of unrelated but i'm INFP too so hopefully i can make your writing very realistic LOL

Ferris & Dr. Two-Brain's Winter Fic !!

word count - 539

It was going to be a particularly cold winter this year, and Fair City was already starting to feel the long, dreadful winter months coming on. At only the beginning of December, everyone was already preparing for the months ahead. Particularly, Dr. Two-Brains and his intern, Ferris.

Having a mouse brain, Dr. Two-Brains often goes into an almost hibernation during the colder months. Like most other mice (and other animals), his body can sometimes shut down for hours at a time to conserve energy. Ferris had been made aware of this and had expected a rather slow and easy winter without much work to do. Except, it was not this way at all. It felt as though Ferris was being called back in every time he had left.

"Ferris dear, I'm cold. Is there a blanket over there?" Ferris looked around, as he knew he had brought in lots of blankets in advance. He knew the warehouse was quite drafty, and it would get very chilly as the winter dragged on. To his surprise, out of all the blankets he had brought, only one remained. "Huh? I knew I had brought in a lot.. where could I have put them?" Ferris brings the final remaining blanket over towards Dr. Two-Brains, only to find a pile of blankets where he thought Two-Brains was. "Ah, here they are. I must've been occupied with something else when I put these down.." As he gathers the blankets, he hears a muffled voice underneath the mound of fabric. "Hey, what are you doing? I'm going to freeze to death! Put those back, put them back!" "Oh, sorry... I didn't realize you were using them. Why are you huddled under them like that? Are you that cold?" Ferris asks. "Yes, it's so cold in here. Aren't you freezing? Look at how underdressed you are." While Ferris was far from underdressed, he was not nearly as bundled as his mouse friend. "I mean, it's a little chilly, but..." Ferris sees movement underneath the blanket pile, and soon, a face emerges. "Come here, quick! Our body heat will make us both very warm!" Before Ferris has a chance to reply, Dr. Two-Brains grabs him and pulls the blankets around them. "Ah, I can feel us warming up already. I'm glad you're so snuggly, space cadet." "Me? You're the one who demanded I cuddle with you." Dr. Two-Brains pretends he doesn't hear this. Shortly after, Ferris feels a slight weight fall onto his shoulder. Sleeping soundly beside him was Dr. Two-Brains, who was already starting to dribble a little in his sleep... Ferris smiled at his mentor and decided to take some time to try to cover the drafts in the warehouse. Though, when he went to get up, he noticed a tail wrapped around one of his ankles. "Ferry... Where are you going?" Two-Brains asked in a sleepy voice. "I want you to stay here. I'll get too cold without you." Ferris smiled. "Alright," he said, "I'll stay right here." Ferris puts on a movie for the both of them, though they both end up sleeping through it anyway. "Ferris, will you stay with me all winter? I don't think I'll be warm enough on my own."

#f/o positivity #f/o prompts #f/o stuff #familial f/o #monster f/o #f/o scenarios #self ship #fictional other #self insert #s/i #self shipping #self shipping community #self shipper #fictional boyfriend #imagine your fictional crush #fanfic

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aspoonofsugar · 5 years

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Hi, I was wondering if maybe you had a method, or an experience, anything actually, to advise on this, because you seem really, really knowledgeable on everything touching fiction and construction of it around characters' arc. But above all, do not force yourself to answer if you don't want to bc I don't want to bother you! It's been a while, since I'm a child, that I've characters in mind for a fiction. I often daydreaming of them, especially since I tried to create a plot and an universe.

But it isn’t deep enough (the MC miss a real stake so oc, the end doesn’t exist, just subsidiary things that can make arcs but not a guideline for articulate all the work), and even though it’s pleasant to ‘rave’ about potentials scenes, I wish to write this one day but can’t even give a proper direction like that. It’s possibly getting on a fantasia universe, but at the same time even if I wish to have a personal universe I don’t want it to be a repetition of every declination

of fantasy models universe as it’s often the case with this kind of projects. So maybe it’s just going to be a SF in real word idk… anyway, if you have an idea of smth to advise in this case for creating a universe even if the process is supposed to be the opposite process (universe - plot- chara) I would really appreciate it very much. Sorry to have bothered you, if you don’t have don’t worry, you’re not obliged to answer. At worst I would find this by myself one day! Wishing you a good day!

Hello anon!

Thank you for your kind words, I feel really flattered :)!

When it comes to your ask, I will try to answer it, but you should consider that I will talk generically since I don’t know much about your idea. In other words my suggestions might sound too generic and you might not know how to immediately apply them to your story. However, I hope they can be of some help.

From what you say, it seems to me that right now you should not really worry about the worldbuilding, but rather you should try to develop what you already have aka the characters and (I guess) some themes linked to them. As a matter of fact it seems to me that it is in these elements that your main idea lies.

I will try to explain myself better. A story is made of many elements (characters, themes, the world, the conflict and so on). All these elements are interconnected and the more they are coherent with each other and intertwined the more the story itself becomes cohesive and thightly written. What is more, among the above-mentioned elements, conflict is probably the most important one since the main conflict of a story defines the kind of story you are gonna tell.

In summary, we can say two things.

1) All the elements of a story are (idealistically) intertwined.

2) The main conflict of the story should be decided early on.

Now, every story is born by a simple idea which is then developed in something more complex and sometimes this idea is transformed to the point that it becomes difficult to recognize the original inspiration. However, a first and primitive idea is always needed. This first idea is about (at least) a specific narrative element. For example, it can be about a world with special attributes or about a specific theme the story wants to explore. In order to develop this idea it can be useful to understand the different possible conflicts it can give birth to, to choose one which is interesting and to determine the other elements of the narration in a way which is coherent with the initial idea.

Your basic idea is about the characters and since you have some ideas about the arc you want your main character to have you probably also know what this character must convey thematically. In other words you may also have some ideas about the themes of your narration. You should now try to shape these elements in an interesting conflict which is the struggle your character will go through.

You mentioned you are not convinced about your current draft because the stakes are not high enough for your character. A way to try and have a best result might be to give your character a different objective from the one they have right now.

TRY TAMPERING WITH YOUR CHARACTERS’ FLAWS AND OBJECTIVES

Generally speaking, characters are defined by a flaw and by something they want aka an objective. Usually their flaw goes in the way of their objective.

Let’s also highlight that to be more precise characters usually have two objectives which are one internal and the other external. The relationship between the internal and the external objective can give birth to different arcs structurally speaking.

For example, I mentioned in this ask that Kogami from Psycho Pass has the external objective not overlapping with the internal one. In other words, it is a case of what you need and what you want.

Kogami’s internal objective is to become a detective and to stop living like a hunting dog. This is what he needs.

However, his external objective is to kill Makishima. This is what he wants.

It is obvious that if Kogami wants to realize his internal objective he must give up his external one and vice versa. On one hand if he gives in to his flaw (his desire for revenge and his most instinctual pulsions) he will be successful in his external objective, but fail his internal one. On the other hand if he overcomes his flaw he will fail his external objective, but be successful in his internal one and change, so becoming the protagonist of an arc of transformation.

I will now make an example of how a narrative can be structured starting from defining a specific character. My objective is to show that just by thinking deeply about things like a flaw, an external objective and the way a transformation can happen many different stories (well at least many ideas for many different stories) can be born.

I will talk about Elen from Requiem of the Phantom. It is not necessary for you to truly know the series because I will simply discuss some aspects very generically.

Elen’s character has an arc of transformation and is also the character who lives the most important conflict in the series. She starts as a person who has no will of her own and her internal objective is to develop one. These two aspects are her flaw (lack of will) and her internal objective (developing a will of her own). Now, it is obvious that said like this they can seem very abstract elements. However, it is from developing and specifying these two elements that a more defined character and story can be born.

First of all, once it has been established that her flaw is a lack of will, one must come up with some reasons for it. Why does a person lack a will? Different answers can be given and from each different answer a different character will be born. In Elen’s case the answer is that she has been caught by a criminal organization and transformed into an assassin. Because of this, she has developed a very frail sense of self. In short her lack of will is the result of a specific coping mechanism she developed to survive.

Secondly, there is the problem of how to convey the fact that by the end Elen has a will of her own. In other words her internal conflict needs to be given an external representation. This must happen because we are in a story and stories show conflicts and do not simply tell them. So how can you show an internal transformation like the one Elen must go through? The answer the series gives is to create the character of the Scythe Master aka the main antagonist. Elen’s internal conflict is conveyed through her conflict with Scythe who wants to control her. In order to make the story more cohesive Scythe is not only the character who wants to control Elen in the story itself, but also the one who is responsible for her abuse and so for her initial situation.

A situation where a character must fight another who wants to control them is a good conflict to talk about themes like freedom and self-affirmation (and this is also why you find it in many stories). What is more, it is a conflict with the potential of being very dynamic and it can be used to write many different stories by changing some elements like the character’s personality (e.g. Ash in Banana Fish lives a similar conflict, but his personality is the opposite of Elen and so he has a different flaw which lets the narrative develop in a different way).

Finally, let’s also highlight that other than choosing a flaw and an objective you must come up with a situation which kicks off the character’s change. How is it possible that this character changes? In Requiem for the Phantom the answer is that Elen changes because she meets Reiji aka a person who is put in a situation very similar to her, but that reacts differently and in this way shows her a different path. Once again, this is not the only possible answer.

For example, in BF Ash is challenged not because he meets a person in a similar situation as him, but because he meets Eiji aka a person who comes from a completely different background and who makes him experience a different reality.

Let’s also highlight that in BF there is a dynamic where a character is challenged by another who has had a similar upbringing to his, but is reacting to said situation in a different way. It is the case of YL and Ash. Yut Lung is shown by Ash that there are other ways to react to a specific situation, but YL, differently from Elen, develops jealousy and is almost self-destroyed by his flaw until he meets another person (Sing) who helps him out.

Let’s now try to give other possible answers to the question: “How can Elen change?”.

For example, she might find herself without Scythe Master. Being removed from him might force her to start acting on her own. So now the question becomes “how is she removed from him?”.

He might die and leave her a last mission to complete. Elen who is lost without orders could choose to follow this post-mortuous order, but might come to realize throughout this last mission that she is her own person and she might choose to act against her orders and to use what she knows to go against Scythe’s last will. As you can see the plot becomes completely different from the one of the series. In this version the external conflict is determined by what is Elen’s last mission and it is obvious that she will have to face situations during the completion of this mission which will challenge her.

Elen might be removed from Scythe also for some external tampering. For example, she might be kidnapped by a rival organization. And we could also add some supernatural element. This rival organization has developed a technology which lets two people swap bodies. They might be wiling to send a person to spy the criminal organization Elen is a part of and she might find herself in another body and far away from Scythe. In this new environment she might meet situations which will let her grow. For example, the organization which kidnapped her is actually made of a bunch of misfits who live emarginated from society, but try to use their skills to fight criminality and have targeted Inferno (Elen’s group). In a healthieir environment Elen might feel accepted and grow.

I have added this last example to start discussing about worldbuilding and fantastic elements. As a matter of fact the body-swapping technology is a fantastic element and if it were to be added would modify the genre of the narration and add some supernatural aspects. Such a choice needs to be developed. For example, how does this body-swapping device work? If we choose to introduce it, then it would be a waste not to develop it further which means that it would be great if it added more conflict and more thematic meaning to the whole story.

It could be done this way. The device might still be a prototype and so, it works only if at least one of the two people involved in the swapping has a very weak will. This might also be the reason why Elen is chosen as a target.

This could be interesting because Elen’s external objective might become the one of going back to her own body, so that she can keep obeying her master’s orders. However, her internal objective is to develop a will and to affirm who she is, so in the end she might very well choose to fight her master and not to go back to her body. In short, her external objective is to go back to be herself physically, but in the end she becomes herself in a psychological sense. What is more, since her arc is about developing her own will, she is going to do so gradually and this means that ironically the more she develops the less chances she has to go back to her own body because the device only works if one of the two people involved has an enough weak will. This could lead to a series of minor conflicts between Elen herself and the members of the group which swapped her. On one hand they might start to develop a relationship with her, but on the other hand they might be worried about the person in Elen’s body who will found themselves stuck if Elen develops.

Finally, body-swapping is a trope which can be easily used to develop themes linked to empathy since it lets a person be in another one’s shoes, quite literally. So, we could use it to develop this theme as well in relation to the character who swapped with Elen. This character may have a personal grudge against Inferno and may initially despise Elen. However, after seeing how she is usually treated by the Scythe Master they might develop sympathy for her and they may wish to help her escape.

Let’s also underline that this body switch device might very well become something Scythe Master himself grows interested in and he might want to take it for himself because, if coupled with people like Elen who lack a will (and he is good at creating them), assassinations will become easier.

Now these are just random ideas and it is not important that they are good or bad ones. My aim is simply to show that by modifying some elements different kinds of conflicts are born and in this way different possible plots.

Because of this, it might be useful for you to tamper with these elements as well. You might realize that the external conflict you are thinking of might be more interesting if coupled with a character with a different flaw (e.g. a scared character will struggle more if coupled with a conflict which challenges them to be brave, rather than with one which challenges them to be generous). You may also have to think of an external objective which creates a more interesting conflict. In this case, remember that this objective must show in a concrete way what your character is going through in their interiority. Moreover, if you think about an objective which is important for your character, then the stakes will automatically get higher. In order to do so you might have to rethink or to elaborate on some details of the character’s background. As a matter of fact, the more specific and personal the objective you come up with is the easier will be to better characterize your character and to build the story.

SOME CONSIDERATIONS ON WORLDBUILDING

You specifically asked about worldbuilding, so I will make some very general considerations.

First of all, worldbuilding is an element present in all narrations and not only in stories with a fantastic setting.

Secondly, in all stories it should do at least two things.

1) Add to the conflict.

2) Add to the themes.

Let’s consider once again Requime for the Phantom because it has a realistic setting, but its worldbuilding fulfills the two conditions above.

As mentioned above, in Requiem for the Phantom there is a criminal organization called Inferno who forces Elen and the other protagonist Reiji to work as assassins.

This organization is pretty realistic in how it works, but it still has a thematic meaning. As a matter of fact it is the physical hell the characters must escape from. What is more, it is made by traitors from other organizations and in this way it is linked to the theme of betrayal which is present in the series as a whole.

Moreover, the organization itself and how it is structured contributes to the conflict. As a matter of fact many of the conflicts which interest the protagonists are born because of other characters wanting to obtain more power within the organization itself.

When it comes to your story, you must come up with a setting which is coherent with your conflict and with your major themes. Consider that it is something which might come naturally later on once you have developed the story more. That said, you must see if a fantastic world is necessary for the story you want to tell or if it better works in a more realistic setting. Be it one way or the other you will still have to create a universe which is good for your story.

If you choose a realistic setting you might have to research some aspects of it (for example, if you set it in a hospital you might want to research how hospitals work; this could also help you with the plot because you might discover unexpected things which might come in handy to create interesting situations).

If you choose a fantastic setting you will have to establish how that world works. What is more, the fantastic elements should not appear in the story just because, but should have an important role.

Idealistically the world you set your story in is the only world where your story can be told. This means that if you change some aspects of it another story will be possible, but not yours.

In short, the choice of the setting should be useful to your story as a whole and not be simply something extra.

For example, if you want to write a story about a skater who becomes better and better in her own discipline it doesn’t make much sense to set it in a hospital. The world you are gonna explore is gonna be the one of professional skating with all its dynamics and rules.

It is not that you can’t have a story with a skater in a hospital, but it will have to be about something different than her becoming a champion. It could be about her having to solve a criminal case which involves her roommate for example. And in the end she will solve it because of something she has learnt in her skating days (because if her being a skater is not important for the story, then why should she be?).

The same goes for fantastic worlds. If you are gonna put your story in one, you should think why putting it in such a world is necessary and as you do you will create a specific fantastical world with attributes which are original and functional to your story.

For example, you might choose that your character’s objective is to find a magical object to solve a certain problem. You must then establish the problem which might be linked to your character’s flaw. let’s say your character is a coward, so he chooses to go find an object not to be a coward anymore. Of course through his journey he overcomes his flaw without the need of a magic object (this is the idea behind the Wizard of Oz after all). Another hypothesis is that your character has a problem, finds an object which seems able to fix it, but it turns out that an even bigger problem is created and so your protagonist has to fix it. Another possible structure is that your character has a curse (which might very well be linked to themes or their character flaw) and their objective becomes freeing themselves from said curse.

As I am sure you have noticed these are all common structures you can find in many different stories. They work and the stories which have them are all different because of how they are declined. Which kind of curse fits my character best? A character who puts a lot of importance on physical looks will be challenged by being changed in a horrible monster. Who cursed them? A jealous witch? Or maybe in a comic twist it might be the person who must marry them who found the way they looked previously disgusting. Such a premise could very well be used to explore themes like how beauty is relative to an extent or how it is wrong to try and change one’s own partner. Then how can the curse be lifted? Maybe the character will have to overcome some trials. Or maybe they must pass the curse to other five people and so the MC will have to select their targets. If they are a good person, they might not really be willing to do so and they might feel guilty about it, so they might choose to find people who “deserve” it and so on.

I hope I gave you a general idea.

To summarize:

- It is not really important the order you follow when you plan your story, but it is useful to start with one or two elements you have ideas about.

- These elements will help you shape your conflict (which can also be the element you start with).

- It can be useful to build the other elements in a way that they are coherent with your original idea. In other words, what you want to convey can help you in thinking about which kind of elements you have to introduce.

Finally, this way of planning might seem a little too rigid, so I want to make one thing clear. These are instruments and not strict rules. The one I talked about is simply a method to approach and plan a story and it is useless if one has not an idea they want to convey.

From what you say, I think that you clearly want to convey something and you are clearly very passionate about it since it is a story which has been with you since you were a child and you have even been dreaming your characters. Looking at it with these instruments (even if it might be strange at first) might help you better realize what you want to say and you might even discover you have more than what you thought and that you simply need to organize it differently. You might also be able to come up with a plot you like more by simply changing a small element. In short, this method is simply a way to look at your story from a different perspective and it might be helpful.

Another way to go at it is to talk about your story with someone you trust. This person might tell you what they like about it and which are the aspects they find more interesting. By starting from these aspects you might be able to develop these ideas more and you might make progress.

I hope I was of some help and good luck with your story!

#writing #miscellania #asksfullofsugar #anonymous

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