designer question

an important question:

let’s say you’re trapped, trying to puzzle your way out of a situation, find & solve clues, and interact with others to try to… escape.

would you rather your partner in solving the game circumstances be Sans or Papyrus?

reply below! bonus points if you explain why you’d prefer that skeleton.

why yes, this does have an actual impact on a thing i’m doing, why do you ask


i understand. you found paradise in tumblr. you had some good posts, you made a good blog, the blacklist protected you and the tags were plentiful. you didn’t need a friend like me. but now you come to me and you say “outofcontextarthur, they’re not monkeys, muffy was a hippo”. but you don’t ask with respect. you don’t offer friendship. you don’t even think to call me godfather. instead, you come into my blog on the day my daughter is to be married and y

Creating Likeable Characters

Sometimes it’s difficult to make your characters likeable as they are tested and are pushed to further and further lengths. Sometimes they have to make hard decisions, and sometimes the pressure gets to them and they mess up, hurt another character or an innocent bystander. How can you keep them likeable throughout the whole plotline?

- Keep their motivations pure.
It almost always comes back to the heart – if their heart is pure, and that’s established early-on, the audience is more likely to root for them.

- Give them flaws – make them human.
Not every character has to have some huge problem, like an addiction or a traumatic past or a disability – if your entire cast does, it’s no problem, but it’s not necessary. But every character has to have some flaw(s), whether it’s cheating at card games because he can’t stand to lose or being too-closed minded or closing off when she gets too emotional. If your character doesn’t have a flaw, they start to come off as too perfect, too angelic, pretentious.

- Give them permission to mess up.
This ties in with flaws – if your character is inclined to make a bad decision at any point in the plot, don’t steer him away from it because “oh no he’s my protagonist and he must be Good and Whole and Pure and All-Knowing”. Let him walk into that ambush despite the sick feeling in his stomach and get half his army killed; let her rush into a confrontation with a bully and get into a fight with another girl who has a switchblade. Let your characters mess up – it shows that they’re human.

- But if your character messes up, let them own up to it eventually.
The general who killed half his army by ignoring the unease in the back of his mind might cry over their makeshift graves long after the rest of the platoon is asleep; the girl sitting in the infirmary might feel remorse for knocking her opponent’s block off. Or your characters might argue and might be stubborn and might not apologize for weeks. But let them apologize eventually. This goes back to the heart, and what the character knows is right.

- Relationships with other characters are vital.
That’s not to say a loner character can’t be likeable – but the audience’s perception of a loner character is determined by the thoughts/words of other characters. Characters all color each other and define parts of each other, just like people do to each other in real life. If your character is a jerk to other characters and other characters don’t like him (especially if the characters who dislike him are likeable), the audience won’t like him either. The character’s image depends not just on himself, but on his supporting cast.

Hope this helps! - @authors-haven

OC “Most Likely To”

1. most likely to clean up everybody’s crap without asking

2. most likely to get in a fight

3. most likely to fall asleep literally anywhere

4. most likely to get a crap-ton of tattoos

5. most likely to get a really crappy tattoo and immediately regret it

6. most likely to survive the zombie apocalypse

7. most likely to be two hours late to their own event

8. most likely to flirt to get what they want

9. most likely to laugh at a funeral

10. most likely to look really good in a kilt

11. most likely to steal free samples

12. most likely to take selfies at inappropriate times

13. most likely to ruin everything

14. most likely to have a shotgun wedding

15. most likely to laugh until they cry

16. most likely to get into an argument with an animal

17. most likely to use any and all excuses to take off articles of clothing

18. most likely to prank call people

19. most likely to binge-watch Netflix for absurd lengths of time

20. most likely to sing better than expected

21. most likely to get attacked by a bird

22. most likely to sleepwalk/talk

23. most likely to drop obscure references nobody understands

24. most likely to go to a party just for the food

25. most likely to make questionable fashion decisions

26. most likely to be talented in surprising ways

27. most likely to listen to one song for four days in a row

28. most likely to eat cake for breakfast

29. most likely to go bridge/cliff-jumping

30. most likely to have had an embarrassing middle-school emo phase

You know, why is it that Japan seems to go waaaaaay weirder for monsters even in “serious” works than US authors do in the crowd pleasers?

Like, US creators go “Oh, nobody will take the monster in our popcorn blockbuster seriously if it’s not another Grey Bioluminescent Retromammal Product” whereas in Japan it’s like “In our serious meditation on paranoia and escapism in Japanese society, we decided to make the final monster a giant cartoon dog made of human hate.”

Or like how in American superhero film it’s like “Clearly to articulate the struggle of man-against-man we need some big dude painted grey,” whereas in Japanese fiction it’s like “The forces our fascist organization in our work about the struggle of Man Vs Society include Ant Capone, Starfish Hitler and Ambassador Hell who is also a rattlesnake-monster.”

Character-Building Tips

- Unopinionated characters might seem likeable or diplomatic to you, but they’re boring to the audience. Your characters may choose not to take sides in certain matters (ex. their parents’ divorce, a fight between friends, etc), but they have to believe in some things. And opinionated characters make opinionated audiences, and that means interested and emotionally-invested audiences.

- Write any scenes that stumble into your mind and enchant you, even if you think (or know) those scenes probably won’t end up in the final draft. No matter what you do with them, those scenes will still tell you something about your character(s), and that will enrich the rest of your story.

- Make risky characters. If you think your character might offend your audience or a certain part of it, write your character anyways. It could be a bad character with good views about certain subjects or vice versa, but either way it will show three-dimensionality.

- If you’re having trouble with your character being realistic or 3D, get to the root of their person. Don’t ask “what drives them as a plot device?” but “what drives them as a person?” – if you know their motivations as a person, their purpose in the plot will surface.

- Stay away from stereotypes, unless you’re writing a comedy.

Hope this helps. - @authors-haven


if he took a human soul that must mean….. He’d adopt the ‘god’ looks- so something like thiiis(?) :’DDDD I shall call him;

GOD GOTH- #euh..

oh and Cake-senpoi, I can’t really imagine much how Goth’d look if he grown up– but maybe similar to his god version?? I mean I have a thought that Asriel’s god version must be like a spin-off of his grown up version lol XDD

Character flaws

- Self-image: arrogant // having low self-esteem.
The subtleties: the character getting him/herself into trouble because (s)he thinks (s)he can do more than (s)he actually can // a lack of confidence, which can be annoying to other characters & can possibly be dangerous, if it surfaces at a crucial moment
The extremes: narcissism or a god complex // self-destruction (either conscious or unconscious)

- Temperament: uncontrollable // so controlled the character goes numb.
The subtleties: irritable temperament, which causes conflict between characters // indifference that can be hurtful to other characters, which also causes conflict
The extremes: verbal or physical violence (possibly homicide) // being cold, calculating and ruthless

- Opinions: strong // weak. (Although weak opinions or beliefs make for flawed characters, strong opinions on their own are not necessarily flaws – it depends on what the character believes so strongly, and if they believe so strongly they are no longer open-minded.)
The subtleties: making enemies who have different beliefs than you // being seen as kiss-ass or wishy-washy
The extremes: radicalism or zealotry // untrustworthiness

- Loyalty: loyal // disloyal. (Again, loyalty is not necessarily a flaw – as long as it’s in moderation.)
The subtleties: annoying heroics // hesitation to help the protagonist(s), which, if the character in questions holds important questions/materials, can be problematic
The extremes: zealotry or being foolishly loyal (unnecessarily leading self/others to danger or destruction due to loyalty – particularly pointless if it’s only to prove a point, rather than a practical reason) // untrustworthiness

Please, feel free to reblog with your thoughts/add-ons!