character statues

  • <p> <b>me on a date:</b> so you said you like star trek?<p/><b>them:</b> yeah! i love kirk, and spock, and the enterprise, and all the aliens-<p/><b>me, slowly standing up:</b> i'm sorry, i have to-<p/><b>them:</b> and bones! i love bones so much. a lot of people seem to forget him, but he's very important.<p/><b>me:</b> *sits back down* continue<p/></p>

Thinks about all the little make-the-wolf-statues’-eyes-glow puzzles Solas set up for the Inquisitor to solve in Trespasser - (that one where you light the Veilfire torches in front of the god statues in the order a riddle says, the one where you light the torch that Fen'Harel is looking at to reveal a secret passage, the one where the Fen'Harel statue turns when you aren’t looking, the one where you light the torches under a time limit, etc etc)

Some of them even give you special, excellent weapons for solving them - Solas created these little puzzles, and put those weapons in the boxes as rewards in case you put in the effort to engage with them and solve them. (I got emotional when my Lavellan equipped the Arrowwood Bow he gave her)

It’s like the Inquisitor is always rewarded for the most negligible efforts of engaging with or humoring Solas. Talking and listening to him like an equal, doing his little puzzles… just do these minimum things, and he’ll give you information and good weapons to fight him with. He’s genuinely arming you, while rewarding you the more you humor him.

So in conclusion 1) Solas gives moderately engaged Inquisitors weapons 2) Solas likes to communicate through little puzzles 3) Solas would probably make a great Dungeon Master

some advice

so, you’re joining the hamilton fandom and want to produce content? great!! scared of the unofficial etiquette in this mess? let me help.
(disclaimer: this is an UNOFFICIAL guideline. i’m aware that this fandom is a problematic mess that’s full of discourse and the only adult ones tend to be actual legal adults. don’t fuckin @ me saying that hur durr i’m wrong and should rot in hell. this is based off personal experience.)

-SHIPS
•Most pairings are accepted. The main ones are Hamilton/Laurens, Hamilton/Burr, Hamilton/Eliza, Jefferson/Madison, Jefferson/Hamilton, Washington/Lafayette, Maria/Eliza (or any Schuyler sister rly) and Mulligan/Lafayette. These usually have the most content, but also contain the most discourse. There’s also some major minor character ships out there; Lee/Seabury, Lee/KG3, Seabury/KG3 etc. I found Eacker/Philip H smut once. This fandom is literally the reason why Rule 34 exists. If it exists, there is porn of it.
•Polyamorous ships are widely accepted. I don’t ship any personally, but a few big ones are Hamilton/Eliza/Laurens, Laurens/Hamilton/Lafayette/Mulligan, Hamilton/Jefferson/Madison, etc. Basically, a lot of people like the idea of Hamilton’s cheating being converted into a happy, consensual relationship that’s polygamous, and that’s okay. (Please note I’m not equating cheating with polyamory. Hamilton being a dirty cheater doesn’t necessarily have anything to do with poly ships if you don’t want, but to me it seems particularly common, especially with the ships containing Hamilton and Eliza.)
•And I know you want to ask; what’s not accepted? Hard question. This fandom loves its angst, so there aren’t many ships that seem untouchable. For the love of God, though, don’t write anything that’s incestuous. I’m talking father/son, sibling/sibling. Don’t make any of Hamilton’s kids end up with the characters in the show. No, Washington/Hamilton doesn’t count as incest, although I personally can’t stand it.
•BASICALLY, don’t be a dick. Also, bear in mind that James Reynolds is the Umbridge of this fandom. If you portray his relationship with Maria as anything less than abusive, there will be riots. I’ve yet to see an (educated) James Reynolds apologist.

-CHARACTERS

•In terms of physical appearance, this fandom is a little wishy-washy on guidelines, unofficial or no. Tip: don’t whitewash if you’re drawing/writing them as their musical characters. Just don’t whitewash in general. This fandom seems to be okay with historical-era fanart and fanfic, which usually involves the characters looking like they did historically, but don’t romanticise them. Don’t romanticise them in general, but especially if you’re making them historical-era.
•SPEAKING OF ROMANTICISING, these characters were BAD PEOPLE. Jefferson owned slaves, Burr owned slaves, Washington owned slaves, the Schuylers owned slaves, evidence points to Hamilton owning at least one slave. Don’t let the Alexander apologists fool you; they were bad people historically. Don’t refer to them, ESPECIALLY I HISTORICAL CONTEXT, as ‘cinnamon rolls’. They were misogynists against the rights of women and minorities. Don’t forget that, no matter how much you like their characters. The Jefferson you like is portrayed by a black Jew; the Jefferson in history was a racist with a history of sexual assault and a slavery apologist.
•KEEPING THAT IN MIND, personality-wise, what we get from the musical is a little murky. Peggy is a great example of this. Fanon Peggy is very outspoken, sarcastic and a typical millenial. In the musical, she’s shy, hides behind her older sisters and very cautious. This is because of the fact that a) Peggy’s vocals are only apparent in one song through listening alone and b) historically Peggy was very similar to fanon Peggy. THIS DOESN’T MATTER. PORTRAY THEM HOWEVER YOU THINK SUITS BEST. Don’t let the musical force you to make Eliza’s main trait be ‘nice’. For all you Laurens stans out there, it’s okay to let him have interests other than art, turtles and Hamilton. Feel free to give them depth, complexities, flaws. Not only is it fucking refreshing amongst the collection of bland chatfics and high school AUs that seem to reduce each character to a single trait, it’s good for original character practice as well.
•THE SCHUYLER SISTERS get their own section. If you’re doing something historical, remember that they had other siblings. It’s generally agreed that Angelica and Eliza were closest, but Angelica and Peggy and Eliza and Peggy are shown in the musical as being close too (see Angelica dancing with Peggy and hugging her in Satisfied, and Peggy helping Eliza put away her letters and being dragged along with her in Helpless and The Schuyler Sisters). Sometimes it seems that fics reduce them to plot devices, minor characters or love interests; I won’t go all 'SJW!1!1!1’ on you but they are their own people as well, and flesh them out. (This problem is not as common in artwork, since art of them tends to focus on them either as a trio or Satisfied and Helpless companion pieces starring Angelica and Eliza.) Also, fun fact that this fandom seems to have overlooked - all three of them could play instruments.
-REVOLUTIONARY SET AND DEMOCRATIC REPUBLICANS. Things to remember include Madison and Hamilton being friends before Jefferson showed up, Jefferson and Lafayette being close, Mulligan historically being Hamilton’s biggest hypeman (oh, I wish I was kidding) and Laurens and Lafayette being close friends. As for Burr, he’s traditionally relegated to the strange outsider by the fandom. This is more of a personal view, but Burr started off as a member of the Revolutionary Set, and progressed into a Democratic Republican, and this fandom likes to forget that.
-THEODOSIA JR. Theodosia is never seen, only mentioned, which basically means everything about her is fanon. Literally. The only confirmed thing about her are her parents. This means Theodosia is good for inserting an audience-type character into; she’s an empty vessel, essentially, so anything you do to her involves zero fact checking. BEAR IN MIND that Theodosia is usually shipped with Philip, and that some members of the fandom will have expectations of her. Ignore those people. Theodosia is a shell of an OC, so as long as you don’t murder her in childhood or something, there’s no real discourse you have to be wary of. (Apart from Philip/Theodosia discourse, which is apparently a thing? But there’s discourse in practically every ship, so by all means, ignore that too.)
•UNMENTIONED/UNSEEN CHARACTERS. I’m talking Ben Franklin, John Adams, James Monroe, Governor Clinton, them. John Adams appears to be universally hated, John Jay is often used as a filler or plot device, and the others are just used as names. Don’t bother about continuity with them.

-SOME COMMON AU IDEAS
•High School/College Modern AU. This is a big one. There are flaws in it, namely romanticising too much and relegating major characters to 'minor’ status, but it’s so widely used that it’s good to know if you’re new here.
•Modern Government/Law AU. Another big one. Not as commonly used because ugh, research and maturity, but there’s a massive pro to them - more complex themes and 'child’ characters can be added because the main lot are usually older. My personal favourite.
•Chatroom AU. What it sounds - no real fic, just usernames and text speak. Good for laughs or plain fights, but bad for complex emotion, fluff, angst, or major plot. Also, they clog up the tags of less major ships, especially on AO3.
•Soulmate AU. A variety of soulmate AUs exist, but essentially boil down to having some kind of matching mark, etc. Amazing for angst, fluff, plot and character development, but not so great for humour or multi-chapter fics.
•Domestic AUs. Exactly as they sound. Massive fluff traps, no real substance but they’re amazing if you’ve had a shitty day and need something to cheer you up. Fan favourite.

So there you go! Everything you need to know if you’re entering the Hamilton fandom, give or take a few things. Don’t bash ships, don’t romanticise them too much, and take Ron Chernow’s content with a pinch of salt (he’s known for 'not finding’ easily accessible content regarding the women of the Hamilverse). Good luck!

This girl is in serious need of more love. In and out of universe. Like she doesn’t even have her own group of friends like a lot of the other characters in the series. I find that so sad.

Do not edit/use/repost without my permission

Legit’s Character Development Worksheet

There are lots of character development worksheets out there, but in my opinion nothing that really examines a character’s growth and development, which is what I’m aiming to do with mine. You can use this to better understand your character, spot “holes” in their development, or to build a character from scratch! 

_____________________

Ancestry

  1. What is this character’s lineage? 
  2. Are there any genetic factors that may affect them? (Mental illness/disabilities that run in the family, magical lineage, etc.?)
  3. What is/was their parents’ social class? 
  4. What are their parents/caregivers like prior to their being born?
  5. If not raised by their parents, then by whom? Are their caretakers of a different social class than the character? How are they treated as a result?
  6. In the case of non-human characters, what is the status of their “kind” prior to their birth/construction/etc.? (E.g., are they the first generation of a new AI? Are they the first generation of vampires to live in the light?) 
  7. Are there changing social values between prior generations and their own that may affect them?

_____________________

Circumstances at Birth

  1. What is their parental status at birth? (Single mother, both parents, etc.)
  2. What social class is your character born into?
  3. What is expected of your character based on the social class that they are born into? By their parents/caregivers? By the society they live in?
  4. How are they advantaged/disadvantaged at birth? Disability? Poverty? Etc.
  5. Are there any circumstances surrounding their birth that may affect their early childhood? (For example, they were unwanted by their parents/caregivers, they were the long-awaited heir to a kingdom, or they were born (assigned as) a girl when the parents were hoping for a boy?)

_____________________

Childhood 

  1. If they lose a parent/are orphaned/adopted/parents divorce, etc., at what age does this happen? a.) How does the age at which this happened affect them? Do they remember this change? Are they affected by the change?
  2. Does their social status/class change at any point during childhood? Why?
  3. What is their relationship with their parents/caregivers like? How do these interactions affect them in later life? (For example, a perfectionist character may have only received approval from their parents for big achievements.)
  4. Do they have siblings or other close relationships with family members of a similar age? (Do bear in mind that early relationships with siblings can play a strong role in the way that people approach friendships in later years.)
  5. If they have siblings, what is their birth order, and how does this affect them?
  6. What are some of the most impactful moments from their childhood? How do these moments affect them? What do they learn from these experiences? (E.g., “authority figures aren’t to be trusted).
  7. Was their childhood a happy one? If not, how do they see their childhood as an adult? Does this make them angry, do they try to ignore it, or have they moved on?
  8. What are their typical social interactions like as children? Do they have a lot of friends, are they shy, etc.?
  9. Do they exhibit expected behaviors or have difficulty conforming? (Conforming to gender roles or not, for example.)
  10. What are their primary interests as a child?

_____________________

Adolescence

  1. Is there a turning point that moves your characters from childhood and into a more “mature” perspective? (For example, the death of a loved one.) 
  2. Does their social status/class change at any point during adolescence? Why?
  3. How does their relationship with their parents develop from childhood to adolescence?
  4. Do any major changes occur in their life during adolescence? How do these changes affect them?
  5. In the case of MOGAI characters, at what point does your character realize they are “different” than the expected social norm? What are the circumstances surrounding that?
  6. What is your character’s attitude toward sex and sexuality? How does their interaction with their parents/caregivers affect them?
  7. How much independence is your character granted as an adolescent?
  8. Does your character have more/less responsibility than the typical adolescent? In what ways? (For example, having to take care of a younger sibling.
  9. How does their social life change (or not change) from childhood to adolescence?
  10. How are they prepared for adulthood as an adolescent?
  11. When in their society are they expected to become an “adult”?
  12. How do their interests evolve from childhood to adolescence?
  13. Is there a defining moment that transitions them from adolescence into adulthood? (Joining the military, moving out, etc.) 

_____________________

Adulthood

  1. What is their primary attitude towards life based on their experiences in childhood and adolescence?
  2. What kinds of events would be necessary to change these attitudes? 
  3. Does their social status/class change as they reach adulthood, or at any point after? Why?
  4. Are they generally independent as an adult? Why/why not?
  5. Do they retain their relationship with their family on reaching adulthood?
  6. Do they retain their social group from adolescence?
  7. How/where do they meet new friends/love interests?
  8. What is their attitude toward romance/love/family? What are their main goals regarding this as they enter adulthood?
  9. What is their main goal as an adult? (A high-paying career, romance, family, to have fun, to survive, etc.) 
  10. How do their goals change over time? As they meet old goals and set new ones?
  11. How do their interests mature from adolescence to adulthood? (For example, an interest in writing as a teen may lead them to a career in publishing.)

_____________________

Older Age

  1. Do they accomplish their goals as set out in earlier adulthood? How do they feel if these goals are not met?
  2. As they approach older age, what is their social class?
  3. Do they build a family in their adulthood? What is this family like?
  4. If they become a parent, how is their relationship with their children affected by the relationship they had with their own parents?
  5. What do they want to “leave behind” in the world?
  6. Do they become a mentor/teacher to others?
  7. As they grow older, how do they feel about the concepts of aging? Weakening? Death?

Think outside the box as you answer these. Remember that if you bend and stretch them enough, these questions can fit into virtually any world. 

Cold Marble Lips AU

Character A lives and works at a temple of Character B, the deity of the moon/the seasons/death/etc., and while cleaning the marble statue of Character B, Character A is struck with the overwhelming desire to plant a kiss on Character B’s cold, marble lips. Upon kissing the statue, it immediately begins to grow warm, and Character A watches in rapt fascination as the statue of Character B begins to move and animate, looking more and more human by the second.

Character B is a deity that has been trapped in a marble statue for decades. Supposedly, the only thing that could bring Character B out of their state as a statue would be to receive a kiss from their soulmate.

vintagemidnights  asked:

I'm planning out a "short story" where my main character is a rich girl with a dad who buys her golden cars and stuff and she's an incredibly talented cheerleader and is super smart but I'm having trouble making her less 1 dimensional. I want her to be more than just the rich-bitch and I want to give her flaws but I don't know how to approach it. Any advice?

Hello there!  

This is one of my favorite types of characters, so I’m really glad you asked.  First and foremost I’ll direct you to my Traits of a Likable Hero post, as it talks about the foundation stones that I’ve observed almost all protagonists have.

For this particular archetype, however, here are my personal rules of thumb: 

1.  Make sure she cares about others!  

Think Charlotte from Princess and the Frog.  Nothing screams “rich girl with a heart of gold” more than one who unabashedly plays mama bear to all of her friends, particularly ones less privileged than her.  

Let her care about their feelings, treat them to lunches they wouldn’t otherwise be able to afford, ride her ponies, go for joyrides with her in her expensive cars.

Also, allow her to extend empathy and friendship to people of a lower status than herself:  let’s say there’s a new chubby, nerdy, or socially awkward girl who’s being bullied.  A person of your character’s status could easily make that character’s life a lot better, so allow her to do so.  It will instantaneously make your character more sympathetic and likable.   

Just be sure said less-privileged character is an equally three-dimensional and lovable character, otherwise it will come off as a charity case. This will also give your readers a lovely friendship that they can root for.    

(On a side note, Rich and Privileged Character who Openly Cares About Her Loved Ones is legit one of my personal favorite tropes of all time.)

2.  Show how hard she works.

One of the main obstacles to making wealthy, privileged characters likable is the fact that they can come off as entitled, lazy, and often spoiled.  To combat this, show how hard your character works to get where she is. 

Cheerleading, for example, is a difficult sport, at least as much so as the football games they cheer on.  Pyramids, backflips, synchronization, etc. requires a lot of time and effort to master.

So give your readers a glimpse of your character while she’s practicing!  Be sure to describe the sweat, sore muscles, and fatigue that goes into doing what she loves.  This is also great, because female-dominated sports such as cheerleading are frequently dismissed as being less chalanging, so it’s a wonderful opportunity to show the reader otherwise.

Similarly, you mentioned your character to be smart.  So give the reader a glimpse of her studying!  Better yet, show her tutoring other students in her free time, as this will also make her more likable to the reader as well.

Other ways to make her more sympathetic would include her doing volunteer work, for example, contributing to charities, killing vampires, et cetera.  The more you show your character earning her status, the more likable she’ll be.

3.  Remember your character doesn’t have to be perfect!  

Thus far, we’ve established that your character is beautiful, wealthy, accomplished, and kind.  

This does not mean, however, that she’s automatically perfect;  your character will make mistakes, and these mistakes are integral both to creating a compelling plot, and to making her sympathetic and personable to your readers.

Maybe she makes slip ups based on her status, and then has to learn from them (e.g. assuming poor people are lazy because she heard it from the adults around her), or perhaps they’re completely unrelated.  Either way, don’t be afraid to let your character make gaffs, big or small;  just so long as she learns from them and emerges a better person because of it.  

This not only allows the audience to relate to your character, but may just help them grow as well.

(I had to include at least one Asami gif, as she’s one of my all time favorite Rich Girls With a Heart of Gold and also my gilfriend.  Don’t tell Korra.) 


Aside from that, treat her like any other character.  Her archetype doesn’t necessarily need to impact her quirks, her likes or dislikes, and it would probably be boring if it did (you know those cheesy old sitcoms where all the jokes revolved around the character’s “type?”  Yeah, you don’t want that.)

So for further reference, I’ll direct you to my How to Get to Know Your Characters post here, and my Female Characters to Avoid Post here.   

I hope this helps, and happy writing!  <3

Yusuke canon traits masterpost

After I flowded my friends with headcanons I decided to put together all of Yusuke’s canon traits that I found really interesting based on facts in the game, the manga and the artbook (and a good reference for him) without any plot spoilers:

Also, thank you @mizuouji for helping.

Last edit: March 28, 2017


- it’s common for people to be attracted by his good looks at first and this can led them to mistake him by someone who has a cool personality (when in reality he is actually a pretty random and weird guy).

- doesn’t like to be called weird and is triggered easily by that.

- can eat a whole buffet alone and still feel hungry.

- practices kendo.

- loves snacks and likes to hide them inside his phantom thief costume (in his cleavage, don’t ask me how this works it just does).

- is easily distracted and can often change the subject of a conversation in the middle of it or simply walk away uninterested.

- is perceptive over other people’s actions and if they are troubled he can sense it, but if they feel something towards him (love, hate, etc) he is slow to catch.

-  grew up reading manga and is familiar with classics (Naruto, Dragon Ball).

- can become self aware if is too close of someone and is awkward with physical contact.

- speaks in a very polite way and is actually pretty good in expressing himself through words.

- can snap easily if someone insults his artwork, but he can’t manage to insult people.

- the above fact doesn’t mean he can’t be rude without noticing since he is painfully honest.

- doesn’t like to depend too much on people and often rejects help if he feels he can conquer something by his own hands, but if he ever needs any help Akira is the first to come to his mind.

- is the strongest character (in status), but can’t carry people for a long time.

-  doesn’t really understand why being naked is embarassing and would take his clothes off anywhere (this include public places too).

- he can understand parental love, but what he knows about romantic love is very basic and has more to do with the aesthetic of it, so he can’t understand confessions or be flirty for the sake of it.

- doesn’t like summer and becomes agitated during it, hanging out more frequently by this time.

- can’t take physical pain well and can often vocalize it.

- is very skillful in preparing low income food in a short period of time, but let him get creative with expensive ingredients and he will forget he is cooking and flip into artist mode (and only god may knows what will come out of it).

- knows how to drive, but is so slow that even a turtle can reach him (can’t take anything related to speed very well because he likes to feel safe).

- is the character with the least luck.

- has the habit of drawing doodles on the back of his tests.

- doesn’t feel sexual attraction towards anyone (he knows what it is), seeing only the aesthetic in a naked body.

- sees beauty and romantic love as a form of art (he can’t understand very well the last one).

Supervillains AU

Characters A, B, C, and D are a group of “supervillains” that started off as superheros – albeit slightly misbehaved ones that didn’t get along with the city’s other heroes – but they didn’t live up to the “family friendly” image standards that are required to maintain a hero status, so Characters A, B, C, and D now live a life of petty revenge or slightly illegal whims.

  • Character A however is an honest to goodness eldritch being who was accidentally summoned by Character B and is now bound to do their bidding.
  • Character B used to be a harmless magic user, but now they’re the caretaker of Character A.
  • Character C is convinced they’re the sole voice of reason in the group and leads most of the missions.
  • Character D quit their hated part time retail job for a life of villainy and now works as the group’s secretary. Their paycheck doesn’t always come on time – depending on how good of a week the villain’s had – but it pays better than minimum wage.

The group is actually pretty harmless in real life and are all the sorts of people to give people directions or rescue a stray cat or help out a confused old lady, but when the city’s superheroes start acting up and using their hero status for devious deeds, it’s up to the supervillains to save the city.

Now, we’re getting “God’s Own Country” and “Call me by your name”. “Blue is the warmest colour”, “Carol”, “The Imitation Game”, and, of course, “Moonlight” - we are really blessed with good movies in the last couple of years. On a smaller scale, you could add “Tinker Tailor Soldier Spy” and “Pride”; to some extent, “The Handmaiden Tale”. And “Laurence Anyways”, of course (I refuse to name the other one).

And those are only movies.


And we did not only saw “queer stories”. Sure, all movies above had queer characters and relationships; some had better queer repesentation than others; some with sad, some with open, some with good endings. However, look at all the genre we tackled: thriller/spy story, drama, historical/period drama, literature adaptation, war story, coming of age, biopic, comedy…



But what one article wrote about “God’s Own Country” while mentioning some of the above film titles, is that now, in 2010s years, we don’t hide anymore. Those movies are gay love stories. And they come out & state proud: we ARE going to tell you something universal. We are more than a gay love story - but we ARE a gay love story while doing it.

(I would prefer the term ‘queer’ btw. Because gay, for me, is male homosexual. And not all movies fit those discription. And I mean queer as an umbrella.)

Title: The Bride Price
Author: Robe a la Anglaise
Word Count: ~2,000
Rating: General
Status: Complete
Summary: Higurashi Kentaro, a brand-new father, gets a surprise invitation from his boss: Sesshoumaru is tired of waiting, and Kentaro isn’t going to like what he has to say.

“In fifteen years your daughter will fall down the well on your shrine grounds and through a rip in time into the past. When she falls back through the well for the final time this Sesshoumaru will be there to catch her. Do not make the mistake of thinking I am asking your permission—I am telling you what will be. Kagome will be mine. I will catch her, I will sooth what is broken, and when the last of childhood is behind her I will make her mine.”