We need two TD characters that barely interact with each other and have neutral reactions/responses to one another but it gets revealed in the finale that they’ve been dating for like four years and actively avoided each other on the show because they didn’t wanna become the new Bridgeoff
.
19 notes
·
View notes
The girls experimenting continues with Vexx surprising Marimoo by having the two swap bodies, funnily enough they still ended up retaining their usual pred and prey dynamic - so now Mari knows what it's like if she were to eat herself
68 notes
·
View notes
my very serious writing advice for people who are trying to write more morally complex characters is to stop caring about their morality and focus instead on their individual motivations
it’s hard to articulate exactly what I mean, but the essence of it is basically: when a character does a murder, not only do I not care about whether they’re justified in doing so, it’s straight-up irrelevant. a character’s moral standing from some nebulous universal standard has no bearing on the plot or their interactions with other characters and has no use in the story for me as a writer. what does matter is why the character thought they were justified and then if it comes up to other characters, what they think about it.
you can obviously think about your characters’ morality but it’s not your job as a writer to interpret your stories for your readers and tell them how to judge your characters. your readers can see the evidence for themselves and draw their own conclusions. your job is just to understand why a character is motivated to act in a certain way and have it make sense
focusing on character motivations is a much more versatile framework than trying to give them specific personality traits or moral alignments, and frankly more useful to understand why a character would do a certain thing instead of just what they do. that way when something fucked up happens and your character starts acting differently, there’s an actual logical reason for it that isn’t you forcing characters to do things because it’s what’s required to make the plot go
when you write your characters with the understanding that people are not static and they act differently under different circumstances, complexity in character and morality follows naturally.
910 notes
·
View notes
When it comes to Penelope I feel like a lot of her fans take any valid criticism towards her and turn it into hate, which does her character a disservice. While some people do hate on her, a lot of it holds valid reasons. Admitting that she has hurt many people isn't wrong because she has, it's been shown on throughout the show and the impacts it can have. From labeling Daphne as "unmarriageable" during her first season and events that followed, her labeling Eloise as being part of a group of rebels, the terms she used to describe Kate [and Simon]-- which carried racial undertones no matter how you try to spin it, who didn't even know personally at that point, what she did Marina. All of these were very harmful and to say that none of these characters should feel angry, that they should just forgive Penelope without any work put into it is very laughable (especially because she's still writing as Whistledown and put many, namely women, at risk during a time where reputation is everything--something in which Penelope herself faces). With this being said, criticizing her actions, at least for me, doesn't come from a complete place of hate but more so from believing that she can be better if she puts in the work. By ignoring all that she's done and having her get her happily ever after so easily in the end, to be honest, would ultimately feel lackluster. I feel like she still has room to grow, but it will take a lot of work and, I personally, think seeing her renavigate who she is with who she wants to be outside of Lady Whistledown would be very interesting.
82 notes
·
View notes
i can fully understand the gripes with certain misogynistic tropes/writing issues that are present in the execution of some of cersei’s writing, but i will never understand the “she should have a redemption arc” or “she should be more likeable/less morally dark” perspective. that is not what her character is or has to be to make it great. wanting more female anti-heroes or “redemption arcs” with moral greyness and complexity of the level that asoiaf gives to primarily male characters is entirely understandable, but do some of you people even like cersei as a character, like at its core? like this is not about criticising the execution of certain things when it comes to this character, this is about taking issue with her as a villain fundamentally, which i just do not agree with at all
88 notes
·
View notes
au where no it wasn't misinformed zuko and aang who created republic city, who decided they knew what's best for the people living in the colonies despite no one in the gaang having experienced the fire nation's colonization of the earth kingdom, it was jet, jet who survived the violence against him by both his fire nation oppressors and the earth kingdom's secret police that served the interests of the government, jet who lived through the fire nation's colonization of the earth kingdom, jet who has had enough of it all and leads a revolution in his home against the fire nation who's oppressed them for 100~ years and the earth kingdom's ruling class. this of course would result in a very different republic city than in canon though.
818 notes
·
View notes
they honestly couldve done so much with junpei beheaded/dismembered and im disappointed that it ended up just being mira. so much of his character and his relationship with akane is characterized by his lack of bodily autonomy, and him being openly beheaded during the nonary games would be the ultimate example of this. its perhaps the most brutal death in the game, and it never really gets explained or developed beyond the one puzzle that we get with it. junpei has been shown repeatedly to be subject to akane's plans or follow her blindly and i just think that would have been a really interesting angle to approach his beheading from. junpei has willingly signed up for nonary games in two different timelines just because he knew he would see her. he was infected with a deadly virus trying to find her. he grew desensitized to death as he took underground jobs to try and find her. his safety always comes second when shes in the picture, and his beheading wouldve been a prime opportunity to 1. exploit his willingness to let himself die/be injured for her and 2. make akane confront the fact that her confidence that junpei will always follow after her is not necessarily a positive thing.
61 notes
·
View notes
concept
ok so time travel au
but like more then one person who have completely unrelated reasons for being in the past
For example
Draco goes back while trying to fix the cabinet in a freak accident and so gets sent back into his younger body
while Percy plans and plans and does it on purpose after the war in an attempt to save Fred specifically
so now both are just very confused about why the other is the only one not acting how they're expecting them too
like that conversation in the hallway in Draco's second year changes entirely and both are left going ????? about it because most other interactions happen more or less how their expecting with the caveat that they haven't changed anything about it so now their both going what the hell did I do??
35 notes
·
View notes
The Tendi and Rutherford fake dating episode really was one of the best things a TV show could do to cater to me, an aromantic person, because I generally do not like fake dating as a trope, but I do love taking tropes that are often considered romantic and applying them to characters who love each other platonically instead, and Lower Decks just did it so well.
The joke at the end of the episode where they're like "That was terrible, lets never do it again. Anyways" and then climb on top of each other in the Jeffries tube because they really are that close, just not in that way was such a perfect moment. They're inseparable best friends and also pretending to date each other was awful because it made them uncomfortable. And the joke for most of the episode isn't really that they are uncomfortable, it's that they're stuck in a weird contrived sitcom scenario and don't know how to get out of it.
Also I'm going to be thinking about the gag with Rutherford shouting "We got married at a wedding!" to the rest of the hotel lobby forever.
21 notes
·
View notes
wanted to post the royals and co. as a set for reference, though the only new things here are the king+queen and koe's updated design :p also most of them didn't get little infoboxes so those will be a first under the cut here ^_^
Name: Andromeda (Andy)
Name origin: The Andromeda Galaxy, named for the mythical princess
Pronouns: She/her
Age: 20
Title: Heir apparent
Weapon: Flamberge (Same as her mom's)
Ethos (Power): None
Flaw power is based on: N/A
Notes: She wants to go on adventures someday, and make a lot of friends, and be normal. So please drop the "Your highness" and call her Andy!
Name: Cepheus
Name origin: The constellation Cepheus, the king
Pronouns: He/him
Age: 54
Title: King
Weapon: Scepter
Ethos (Power): Authority (The ability to control people’s actions through his words, but not their minds)
Flaw power is based on: His controlling and paranoid nature
Notes: He prefers not to use his ability unless it seems necessary, but ends will justify the means.
Name: Cassiopeia
Name origin: The constellation Cassiopeia, the queen
Pronouns: She/her
Age: -
Title: Queen
Weapon: Flamberge
Ethos (Power): Alis (The ability to generate wings)
Flaw power is based on: Her overconfidence in her own abilities, ironically like a completely different winged mythological figure...
Notes: Before being the Queen, she was the Hero.
Name: Koeia/Koe
Name origin: The star Koeia, whose name literally means "Star"
Pronouns: She/her
Age: 20
Title: Maid/Andromeda's lady in waiting
Weapon: Twin Sickles
Ethos (Power): Blessing (She can make others more powerful through cheering them on)
Flaw power is based on: Her Obsequiousness
Notes: She assures you her devotion to the princess is strictly for non-homosexual reasons
Name: Perseus/Percy
Name origin: The constellation Perseus, the hero
Pronouns: He/him
Age: 21
Title: 1st Knight/Andromeda's personal guard
Weapon: Harpē sword
Ethos (Power): Divine swordstrike (An all-powerful swing of the sword with no limit)
Flaw power is based on: His incredible arrogance and show-offishness
Notes: He assures you that his showy devotion to the princess is as heterosexual as it seems. Also he's the cousin Io from Nova Stella
Name: Ursa
Name origin: Ursa major, the big dipper.
Pronouns: She/her
Age: 38
Title: Major
Weapon: None
Ethos (Power): Bear-handed (Her claws are unbreakable and can slice through any material)
Flaw power is based on: Her hyper-diligence. Her ruthless devotion and adherence. Literally nothing could ever stand in her way.
Notes: She’s the mama bear of Kochab (Ursa minor) from the timber scouts
25 notes
·
View notes
By weird dub, do you mean the 4kids one which like edited out guns and blood and made every character make puns all the time? Because that's the weirdest dub I know of and the one that most English speakers found first... Which has led to a lot of those same people thinking One piece was not a good series.... So if that's the one, I wholeheartedly understand why you couldn't get through it.
Yep that's the one honestly from what I remember it was like a pg version of an abridged series it wasn’t great
34 notes
·
View notes
I wish some people never had access to internet at all...
TW assault, TW r*pe
20 notes
·
View notes
139 notes
·
View notes
I honestly get a little annoyed that people will act like Penelope wouldn't be in the Fields of Punishment alongside Odysseus :P
Because she'd either go with him or literally be there because of her own things. I mean...She's not that nice either. They're literally "likeminded", all the war crimes he would tell her, she'd be thinking "Oh!!! Good thinking!!!" The only thing is, she just didn't GET to do those war crimes because she wasn't in the war. She would scold him for the stupid things he did acting like she's never done the same or wouldn't do the same.
Also as if she wouldn't also tell Polyphemus her name? Maybe not exactly, but she'd do something JUST as prideful/dumb eventually. BECAUSE THEY'RE SIMILAR. SAME MIND!!!
13 notes
·
View notes
u ever just despise the way a certain artist/artists draw ur f/o. like. can u just stop and never draw them again it makes me so upset thank you
13 notes
·
View notes
Crocodile having such an explosive debut in his early 20s and such deep trust issues could also point to him having an even EARLIER start a la Shanks as an apprentice or something to an older pirate and their crew as a child/teenager — doubling down on the humiliation factor from facing off whitebeard as also a failure to “come of age” and broader sense of betrayal in watching eager encouragement fickly turn to “what did you THINK would happen”s like the kid who gets egged on by their peers into doing something dangerous and then immediately abandoned when they hurt themselves
Can't say if he did have like an early start for sure, since we really don't know anything about Crocodile's early childhood
But simply considdering how Oda typically layers backstories, I absolutely agree, I do think it's more than likely he has somekind of pre-Whitebeard trauma, be it either unrelated childhood trauma or early-pirating-life trauma (or something else)
Like the way Oda structures backstories, although we always remember like The Big Life-Changing Tragedy that happens at the end of the flashback, more often than not the flashback already begins with something horrible to indicate the character's already had a rough life
Robin was already alone, abused and rejected by most of Ohara even before the Buster Call Incident (followed by a life of running in fear for decades)
Franky had already been abandoned by his family before he lost Tom and got ran over by a train
Law had already lost his entire family before Doffy killed Rosi
Etc etc. Like not all the flashbacks are entirely like this, especially the East Blue-saga ones, but the backstories have been growing in complexity and structure, adding layers to the tragedies (like 🧅 onions 🧅) as the story has gone on
And with Kuma, his backstory doesn't end at two layers of tragedy. Like there's the early childhood tragedy of slavery, then there's the tragedy of losing his loved one in the most cruel, inhumane way possible, and we know there's at least one more gut-punch of a tragedy coming in the next two chapters to finish it all off
So with Crocodile especially I feel like... Like yes, possibly getting betrayed once in his life and having his dreams crushed by Whitebeard could break the man's psyche. But considdering just how seemingly broken his psyche might be, I do absolutely believe there's more layers here. Like his trust must've been broken more than once for him to end up the way he has.
Which alone gives Crocodad a bit more plausibility in my mind, because being rejected by the person you loved and trusted the most would most certainly break your heart (even if it was understandable why). And that really would make for a fine Final Nail on the Coffin for Crocodile's ability to have faith in others
But to really get that broken trust to be an on-going theme in his life that just happens again and again.... yeah it needs to start earlier
Personally, I think some kind of early childhood trauma would make the most sense, at least to me, not just because it could help Crocodile get started "on the wrong foot", but also because Rough Childhoods is just. A General Theme in One Piece lmao. Of course, it wouldn't be The Key Life-Changing Tragedy (I think Dragon would be that), just a "bad start"
43 notes
·
View notes