No scene between two people in the history of television or cinema has or will ever be as pure, tender, organic and raw as the scenes shared by Colin Morgan and Bradley James in that last episode of BBC’s Merlin.
Hi Ann, look at what you’ve done. Thank you for the pain.
1. “I used Corruption because I trusted you”. All this scene is sort of heartbreaking. Chuuya trusts Dazai so much it physically pains me. He hasn’t used Corruption in FOUR YEARS, and then Dazai comes and says “let’s do it like the old times” / “yes, why not, I’ll just put my life in your hands like I did countless of times despite the fact that you betrayed me and I haven’t heard from you in FOUR FRIGGING YEARS and I could literally die in front of your eyes”. WHO DOES THAT????????? Chuuya Nakahara, apparently. That being said, I can’t believe my favorite skk moment is also the moment that makes me raging THE MOST. Of course I’m still outrageously bitter because Dazai literally called him partner, folded his clothes (yes, I’m bringing back the vintage receipts here), washed his face from the blood and then…left him there??? WHAT THE FUCK DAZAI???
2. When they pull the power couple aesthetic. When they actually work together as a team, they are mesmerizing to watch. You can see that the roots of their partnership are still there, that they know each other so much that sometimes they don’t even need words to communicate. They are not Soukoku for nothing, after all.
3. When Chuuya fake killed Dazai (aka, Soukoku in a nutshell). Ah this is such a powerful moment, the cherry on top of a scene where Dazai did everything he could to push Chuuya on the verge of murder, just to see him almost doing it. I can’t help but think how liberating this gesture must have been for Chuuya, he finally let out a little bit of his frustration (that’s why he was there in the first place. After four years he’s still bugged by him, he still wants some sort of revenge, he still needs a closure Dazai is not willing to give him). But that’s it. You can say you’ll kill him all you want, my little Chuuya, but will you really? I don’t think so, because you care and love him so much it’s almost painful to watch. And if you, Dazai, could stop toying with him every chance you get, I’d really appreciate it. Thank you very much.
4. Every time Dazai reminds Chuuya that he knows everything about him. Tell us more about those moves and those thrusts Dazai, we’re all ears.
5. DORKS. First of all, I want Dazai saying “CHUUUYAAAAAA” as the sound people hear passing next to my grave. Second. I feel so robbed because in the manga Dazai actually laugh his ass off at Chuuya’s “little rich girl” impression.
- bonus: all the official art involving them is a blessing sent from the gods, I think that Bones ships them as much as we do if not more (remember the park date one? HONESTLY). But there’s one that has has a special place in my heart:
LISTEN. L I S T E N. I could talk about this art literally for two days straight because ??? You can try to convince me all you want, but this is made to be somehow romantic. Look at the way Dazai is tilting his chin up, it looks like he’s waiting for a kiss. And Chuuya is looking in our direction but if he was to look down he’ll be right above Dazai’s lips and ???? WHAT THE FUCK??? Not to mention what’s probably the most fucked up thing here that is THE FLOWERS. It’s a Camellia Japonica, or Japanese Quince, and they are the symbol of love, temptation, passion and deep desire. That’s it y’all. I’m out. I don’t even know what to say anymore. Soukoku might not be canon, but sure as hell they are baiting it…a lot.
I feel like tsukishima and yamaguchi are both terrible at communicating in different ways. I know tsukishima is one that’s usually considered bad at communicating (and I can totally see how) but please consider that yamaguchi…
has yet to share his internal turmoil about not being a starter with anyone
went off the team to an outside, rather unaffiliated adult for help instead of to his upperclassmen or teachers
shares more about tsukishima than he does about himself and subconsciously uses tsukishima as a social shield
clams up after losing to seijoh
held off on talking to tsukishima about real ass things that bothered him until his emotions boiled over and he ended up just screaming his emotions to his best friend in the middle of the night in a rather public place
(and as it turns out, tsukishima actually had no problems accepting yamaguchi’s words and heard him out with minimal resistance so all of yamaguchi’s internal reasons for not speaking up sooner just kind of flew out the window)
will 100% say nothing is wrong when everything is going to shit
has never ever verbalized his emotions in any serious context to any of his teammates
won’t talk to his best friend about Important Things™ sometimes because he’s afraid it’ll annoy him enough and he’ll presumably stop being friends with him despite not having any evidence supporting that theory
is super competitive but rarely shows it
is the kind of guy that you look back and realize you know very little about personally
is the kind of guy who blows up at people for not knowing things he didn’t actually communicate or suddenly bursts with boiled-over frustration and leaves you going “um where did that come from?”
apologizes the next day and insists you forget about it and that he’s just fine and nothing is wrong haha dw about it
has really only cracked jokes with tsukishima and (very recently) hinata
tends to dance around topics or questions that he doesn’t want to answer
sucks at communicating despite being so bubbly and talkative
Don’t get me wrong, tsukishima has his own issues with communication to be sure, but they’re different. Tsukishima simply refuses to communicate on important things 90% of the time, especially if the issue really bothers him because that’s getting into emotions and that’s not what he’s here for. He’s embarrassed and a bit awkward about sharing so he cages off instead, and he doesn’t do well with approaching people who don’t approach him first. But on the flip side, he seems to own his lack of skill better and has less hang ups about it. At the very least he doesn’t seem bothered when people don’t know much about him because no duh, how could they understand him or his feelings if he doesn’t share? That’s tsukishima’s take on it and he’s got it on the nose there. Also, when directly confronted or when he actually decides to open up by himself, tsukishima’s words are very honest and blunt and they invite little room for misunderstandings.
Yamaguchi’s communication problems stem from a different place. He’s a great communicator… to an extent. Whereas tsukishima’s hang up is just that he’s a very private person who feels uncomfortable opening up, yamaguchi’s stems from the fact that he wants to but is simultaneously too embarrassed or afraid to. He’d like to both communicate how he’s feeling and keep his cards close to his chest, and since he can’t actually have it both ways his emotions end up being turned into some sort of ticking time bomb. He holds anything he feels is too important to share at bay until that’s no longer an option and he blows up at someone or something very suddenly. Like he kinda wants people to know about things but my god he doesn’t want to have to tell them. And even when he is opening up he’ll often stall or dance around the issue a bit. Yamaguchi is a good talker and he’s more of an extrovert than tsukishima, but that doesn’t make him a master communicator by any stretch of the imagination.
Sometimes being alone is okay.
Then I be myself and not be judged, I can laugh as loud as I want, I can cry, I can dance, I can sing, and I can be who I want to be. I don’t have to do what is expected of me, I’m me. I just wish the world wasn’t so judgmental because everyone has flaws and everyone is perfect in their own beautiful way.
I think we’ve all been in the situation where we want to write about a specific character but have no idea how to approach it. For some reason, despite them being your own character, you have no idea how they would act or what they would say in a certain situation. Sometimes, if you even write about your character(s) at all, when you read it back they seem fake or 2-Dimensional. Unrealistic, if you’d prefer.
In this post, I am going to give you some exercises to get past hollow characters and help develop your writing.
1) Empty Their Pockets
Pretty simple. Think of what your characters would have in their pockets on a day-to-day basis. It doesn’t have to be anything super extraordinary, of course. Just start writing some everyday items down and think about whether your character would have these items in their pockets.
Let’s take a look at one I did for my characters earlier. (sorry that just sounded like something from Blue Peter)
Character A’s Pockets Contained:
pack of gum, empty pack of cigarettes, library card, NOKIA brick phone
So, here a few things you can tell about Character A simply through the items in their pockets. They visit the library often, meaning that they probably have a high interest in reading (this also could be a sign of intelligence). Judging by the fact Character A has both a pack of gum and cigarettes this could indicate a potential smoking habit, chewing gum is a known way for helping people quit smoking. The pack of cigarettes could show that they are not very good at restricting themselves and could in fact be addicted and finding it hard to cope with smoking. Finally, the NOKIA brick phone shows how they may want to feel connected to people or want to allow their friends/family members/whoever to be able to contact them but have no desire to get the latest model of phone or perhaps believe that having such a device would distract them unnecessarily.
When doing this exercise, think about key objects which portray certain details about your character! Try not to overthink it too much, write whatever comes to mind and put it down on the page! After writing down a couple objects, go back through them and feel free to edit out items you think are unnecessary or add items which you think would suit the character.
2) Go Through Their Daily Routine
Again, another easily explained exercise. Go through a regular day in your character’s life, try and do this exercise as if it was happening before whatever events occur in your story or novel. This way it makes it easier to understand your character before they met a secondary character in the novel or before whatever events happened in your writing which may affect their routine. You don’t need to include every single detail in your description, just brief notes or key events which occur during their day would be fine. You can make it as short or as long as you wish, maybe don’t just do it for one day in your character’s week perhaps do it for multiple days.
Does their routine change during the week? What time do they wake up? What time do they go to sleep? Are they punctual with going to work? Do they do any other activities outside their day-job? These are the kind of things you may want to ask yourself when writing it.
3) Give Them Fears/Phobias
Everyone fears something: whether it be a phobia of spiders or oblivion, everyone has a fear. Giving your character a phobia makes them seem more realistic, it allows your reader to easily relate to your character.
However, just having a phobia for the sake of it doesn’t help develop your character at all. If you give them a terrible phobia of snakes and they come across a snake and suddenly within moments are able to get over their fear just like that, it’s not a phobia. It’s more of a mild inconvenience than anything else. The reader needs to feel convinced by their fears, they would feel more dissatisfied with your writing if they felt the character could dismiss anything and everything than knowing them being confronted by their fears could be a possible problem. Besides, it would give them no reason to motivate or encourage the character if they knew it was impossible for them to be defeated by anything. Still, this does not mean that your character has to be destroyed by their fear. There is a very big difference between simply dismissing your character’s fear and perhaps overcoming it in the future.
An easy way to write your character possibly overcoming their fear in the future is that when they first encounter that fear, add an element of chance or fate into it. For example, if a character were to move to get away from the creature which may be coming towards them; in the process of getting up, they could slip which could cause their legs to lash out towards the creature. The sudden movement may just be enough to scare the creature away, this way it does not appear to the reader as ridiculous or uncharacteristic courage but instead accidental bravery. This sudden revelation that the character’s horrible fear may not be as all powerful as they first thought could be the first step for them to slowly overcome that fear.
Don’t believe me? Let’s think about this for a moment. Imagine your character, let’s call them the Protagonist™, is stuck in a terrible situation. It doesn’t matter what the situation is but let’s say it’s something which involves them being trapped in a room with a snake. I’m going to give you two examples, both involving the same situation.
Protagonist watched with wide eyes as the snake slowly slithered towards them. The snake paused for a moment, it hissed lowly as it waited for Protagonist to move, waiting for the right moment to strike. Not hesitating for a single moment, they suddenly realised how dire the situation was and jumped to their feet. Their heart pumping wildly as their body was filled with adrenaline, they were terrified yet they had to do something. Protagonist grabbed the nearest thing to them and stepped towards the snake.
“Get away!” They threatened, “Get away!”
Protagonist watched with wide eyes as the snake slowly slithered towards them. The snake paused for a moment, it hissed lowly as it waited for Protagonist to move, waiting for the right moment to strike. The blood in Protagonist’s veins ran cold as the snake grew closer and closer, Protagonist couldn’t move. They begged and screamed on the inside to move away, to get away as far as possible. They had lost all control of their movement, their fear had consumed them. They were frozen to the spot and could only watch as the snake widened it’s jaw, ready to bite down on it’s prey. It widened it’s jaw once, twice - suddenly, Protagonist gained back their instincts. Fleeing seemed like the only realistic option and seconds before the snake could chomp down on their ankle, Protagonist stumbled to their feet. They stumbled backwards into a puddle of water which had pooled behind them and their ankle rolled as they slipped, their legs accidentally lashing out towards the predator. The snake recoiled backwards in shock before deciding that the risk wasn’t worth it: it quickly retreated back to it’s nest, disappearing from Protagonist’s view.
Now, hopefully you see what I mean. I think we can all agree that the second example is a lot better than the first one.
4) Create Their Flaws/Bad Habits
No one is perfect, this includes your characters.
If you’re finding it challenging to think of any flaws, try to think of some bad habits. It doesn’t have to be anything so terribly bad that’s it’s illegal. Think simple when it comes to this exercise. It can range from anything between chewing their nails to swearing.
It might help to try and develop these bad habits into possible flaws or weaknesses. If your character keeps biting their nails that might be a sign of nervousness or anxiety. So, creating bad habits might be a good way to show a certain trait your character may possess.
Flaws are important as well. Let’s be realistic, if no character had any flaws then every single book we read would be filled with a bunch of characters which are exactly the same. Besides, what’s a hero without it’s villain?
So, to give you a few ideas, let’s go back to superheroes. Maybe a hero is so set on doing the right thing that they lose sight of what they want? Perhaps it gets to a certain point where they can’t handle that hollow feeling inside of them that they grow arrogant, selfish or even stubborn? There’s a story for you right there.
Not only that, by giving your characters flaws it is possible that you could work that into your story somehow. This way, not only will you get to show off your amazing character development, but it could also be an exciting point in your storyline.
Write down some ideas, think of flawed personality traits and just write them down! Try to write down at least five straight off the bat, for each one you don’t like you should think about why it doesn’t suit your character. You’re bound to find one flaw you’re happy with!
5) Write Some Scenarios
Now that you’ve developed your characters, go ahead and write them in your story! If you think you still need a bit of practice, try writing something about them being in a certain scenario. It could be anything from ordering their favourite coffee to being trapped in a prison: just write it! Try not to think about it too much, just do whatever feels write (I unintentionally made that pun but i’m not deleting it).
It doesn’t have to be long either, just a couple paragraphs would be fine. Try to focus on body movements and interior thoughts, it would be ideal if your character was on their own in the situation: that way you can get to know the character on their own a lot better. No other characters means no distractions. It’s just you, the wonderful author, and your character - there is an endless amount of possibilities for you!
Have faith in yourself too! Nobody knows your brilliantly developed characters better than you do, so here’s your chance to show them off! If you’d like a second opinion, write something about them and give it to a friend/parent/random stranger etc. to read! If they don’t want to, make them read it anyway!
I hope this helps you all in developing your characters!
Like can we talk about how Jughead is a sarcastic asshole to everyone, he doesn’t even spare Archie, like that comment abt the stealth operation how the Scooby gang could compromise them (i’m seeing innuendo everywhere!), yet he’s so gentle with Betty, he’s distressed by her calling herself crazy and immediately jumps to comfort her and she does calm down and that’s the beauty of bughead
So, we all know the drill. When you’re creating a character, you want them to be balanced. Your character should have both strengths and flaws. You’re not making a perfect person, nor are you making a complete monster.
However, sometimes you can find yourself just going for a random assemblage of flaws, as if picking them out of a hat. That’s one way to go about it, but I think the much better way is to look at the strengths you’ve given your character, and see what flaws may correspond to them, what characteristics are often found together. For example:
Definition: able to adjust to new conditions
Flaws: overly compliant, blindly obedient
willing to take risks or to try out new methods, ideas, or experiences
In her breathtaking young adult debut, Flawed, bestselling author Cecelia Ahern depicts a society where obedience is paramount and rebellion is punished. And where one young woman decides to take a stand that could cost her everything.
I get that a lot of people really like the “we need to consider the consequences of science” theme in fiction, and I do as well.
However, I get very uncomfortable that innovation that can be twisted into something evil, must necessarily and inherently be evil.
Fitz did not create The Framework. He created a Virtual Reality training exercise, in order to help train new agents without anyone getting hurt. (Which, as far as I recall, was an approved and sanctioned SHIELD project that Jemma knew about and liked.) And we currently have Virtual Reality technology that exists in our world, and as I understand people are using it for all kinds of really good things:
helping terminal patients get to do things on their bucket list
help people terrified of flying disconnect from the world
create beautiful fictional worlds for people to immerse themselves in as a way to enjoy their time (just a step above 3D movies??)
possibly teaching first responders how to deal with really traumatic situations
And those are just current applications that people are trying to improve and develop. There are TONS more applications that involve HELPING and improving people’s lives. Because you can potentially create an evil Matrix with virtual reality doesn’t mean the technology is inherently evil.
If I recall correctly, Fitz’ job in SHIELD is to keep creating things that protect SHIELD agents and improve the way that SHIELD runs. Nobody complains about the containment module he created to help protect Inhumans? Or any of the other countless things he’s invented to help SHIELD? (Even though I’m certain if someone thought hard enough, they would be able to find an evil version of all of those.) The reason Radcliffe was able to build AIDA is because Fitz developed a realistic prosthetic hand for Coulson to improve his life. Should he not have done that?
Yes, of course, it’s important to consider the consequences of the technology you create. But blaming a character for having someone else completely make a new, evil version of their technology with a mystical evil book that didn’t exist when the character made that technology is a bit far-fetched.