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.
Some thoughts I’ve been mulling over for a while...
SJM Haters: “No diversity!” *Shoving aside canonically black High Lords Tarquin and the bisexual Helion, Thesan, Nesryn, all of the Southern Continent, etc*
SJM Haters: “Everyone is white!” *Punching the non-white Illyrian races, not to mention about 90% of the Summer Court*
SJM Haters: “They’re all heterosexual!” *Throws Thesan, Mor, Aedion, the Blackbeak Matron, Thea and Kaya off of a cliff* (Actually, feel free to throw the Matron off a cliff lmao)
SJM Haters: “Rowan is abusive” *blatantly ignores the fact that Rowan was literally tied to a queen who forced him to do terrible things, and he still found it in himself to love Aelin unconditionally*
SJM Haters: “She doesn’t tackle any important issues!” *Stepping on Rhysand’s history of sexual abuse, not to mention Lysandra’s history of sexual abuse, oh and also Aedion, whose nickname was literally ‘Adarlan’s Whore,’ and the slave trade, and the treatment of ‘lesser faeries’ in comparison to ‘High Fae.’*
I’m not trying to say that the ACOTAR/TOG books aren’t without their flaws. Every book, every movie, every song, every piece of artwork that has ever been created has a flaw in some way. Often, there are multiple flaws. It is okay to acknowledge these flaws. It is okay to even criticize them. What is not okay is discrediting the immense amount of work that SJM puts into these books. She released two (2) fantasy novels longer than 200,000 words in a single year. I don’t pretend to know everything that goes on at Bloomsbury Publishing, but I honestly believe that she did that for her fans. She started writing Throne of Glass when she was 16; she got it published 11 years later. Books take time; lots of it. Ask George RR Martin, who also tackles the heavy genre of fantasy, but he’s been working on Winds of Winter for six years. Do you think SJM would have wanted to go over these books for another year or combed through them just one more time before she published them? Yeah, probably. Every author, writer, fanfiction writer, artist, or whomever, wants just a bit more time to add those final details, to keep chipping away (because let me tell you, even when it’s done, we don’t feel like it’s done). But you know what else? She’s probably damn proud of them, too. As well she should be. The amount of times I find myself laughing with these characters and crying and screeching, it says enough.
- its phycological horror - It’s not cliche - no fantasies in it - It’s mature/for adults only - The characters are crazy/psychos/unstable but a lot of people can relate to them - It has tragedy in it too - It plays with your emotions - it keeps you hocked - Mostly every new chapter leaves you in shook or confusion - Plot and Characters development - Your predictions are mostly WRONG - Sometimes you can understand the characters behaviour sometimes you try but you just can’t .
- the fandom makes a lot theories 💖 - No one is 100% evil yet no one is 100% good - The reader may switch sides - The art work is HQ - The detailed story telling through the panels - It’s like 70% horror/thriller and 30% BL
Many of us have watched a lot of anime through the years, but there will always be that one list of anime in the back of your mind that become timeless and close to your heart. No matter how many years have passed they still remain the best of the best, because let’s be honest, anime is not what it use to be.
This will include series/movies/OVAs. there are also many series in this list that i couldn’t decide which i love the most, so there isn’t a particular order.
Ghost in the shell
I really like the Ghost in the Shell franchise, but the 1995 animated movie was my favorite. the execution of the animation and the story/plot was definitely something special, and no matter how many years have passed it still remains one of the best. The fact that the Matrix was inspired by the GITS 1995 movie supports my point.
The music for stand alone complex by Yoko kanno was awesome.
Rurouni Kenshin - Trust and Betreyal OVA mini series. (the franchise better known as Samurai X)
You guys have no idea how much i love this OVA, because not only am i a sucker for symbolism and everything that has to do with Feudal Japan, but because this mini series did a wonderful job at conveying so much wisdom and depth. It has something poetic about it. to me it’s a masterpiece.
i have the DVD somewhere around my house, but, i can’t find it and i’m freaking out about it, cuz from what i’ve heard you can’t find that original version anywhere anymore since it was discontinued , so basically it’s a rare relic. 3 :’D
i once read a text post that the problem with mcu tony is that the writer made him feel guilty of everything but they did not show it as tony's flaw, instead they make it to gain sympathiser/so that audiences sympathise for tony, what do you think?
I think the writing shows it as a both a positive and a flaw, because it is. Tony’s an inventor, and one simply has to look at his inventors to see the price of his guilt. The Iron Man suit, the arc reactor, BARF, Rhodey’s braces. But also endless weapons and Ultron (which yes, should have been a good but was a bad because Tony was messing around with things he didn’t understand but thought he could - the movie states this outright, so I’m not sure what the OP anon is talking about missed there.)
I mean, I don’t sympathize with Tony because of Tony’s guilt, I sympathize with Tony because of what he’s tried to do with it. Because even though it may end with negative results, he’s always tried to do something good with it. Tony’s guilt has made him overprotective and controlling but he’s also empathetic and hopeful because of it. The writers don’t always show it as a flaw because it’s not always a flaw.
I mean, would the same OP think that Steve’s sense of self-worth is a flaw, because it kind of is but it’s never written that way. Steve always thinks he knows whats best (ahem. same as tony, guys.) but Steve rarely gets called out for it, whereas the movies don’t hesitate with Tony.
There’s also a really messy gray area in the fact that Tony’s guilt has partially manifested in PTSD which the past three movies featuring Iron Man have not shied away from Tony having. So saying ‘they don’t write his guilt as a flaw’ is kinda of saying ‘they don’t write his PTSD as a flaw’ which, of course they don’t. Tony’s mentally ill. That’s not a flaw, that’s something he needs to get help for. (it does not excuse Tony’s actions, by the way. Just like Steve’s latent PTSD doesn’t excuse his.)
And one more thing: Sometimes Tony’s guilt isn’t written as a flaw because Tony doesn’t really have anything to be guilty for and the movie is trying to tell you that. It’s all in Tony’s head. Iron Man 3 guys, we create our own demons, I mean goddamn, it is RIGHT THERE in the opening and closing monologues.
god i don’t want to be annoying but i just find it so sad that so many people in the wlw fandom/s are ignoring the bold type. i mean i get it there are shows with wlw characters that aren’t for everyone but idk tbt is such a great show with amazing characters, diversity, women actually supporting each other and not bringing each other down, friendship, breaking stereotypes, the men on the show are not abusive toxic assholes etc it’s so refreshing and uplifting. it really is that one show so many of us were waiting for + the writers and cast are not baiting the fans they genuinely care for their audience and are so fucking supportive of the shippers. idk man i find it just so sad that a good chunk of you are not giving the show a chance and are supporting shows that fucked you over after you contributed to said show/s getting renewed but that’s another story. i understand that tbt has some flaws too (the cheating storyline) but what show doesn’t have it? that’s also not a factor to stop watching when we all know that there’s more to that coco thing and i truly believe it’s gonna be resolved in a healthy way at least nikohl indicated it that way. and let’s talk about the fact how kadena is the main ship on tbt and is getting the screentime and treatment like all the het couples on every single show ever. kadena is not sidelined even when adena is not it the episode she is mentioned, she is talked about, the writers assure us adena’s importance to kat’s journey even when she’s not present. also aisha and nikohl pretty much confirmed that kadena will be fine in the end. anyway tbt is amazing and if you’re thinking about watching it then please do. this beautiful show deserves to get a second season.
am i the only one who hates gardienne/Erika? she's so stupid
cut her some slack the poor girl has been imprisoned, lied to, used as a bait, almost chocked to death by a psychopathic plant, nearly drowned and died and she just lost her family and friends and her whole life basically bc the people she trusted betrayed her in the worst way possible
I think I know where Maeve is going. Where she is taking Aelin.
So I have four theories to where Aelin and Maeve are going to end up.
The first is that Maeve is going to Morath. That she will trade Aelin for freedom, ability to live in peace, some sort of white flag so that Errowan won’t kill her or her husband won’t kill her when Errowan opens the wyrd-gate again. Now, the fault in this theory is that Maeve wants to be as far away from Errowan as possible. She does not want to rule over the world by the side of a man, she wants to be in charge.
My second theory which also could happen but has some flaws is that Maeve is taking Aelin to Mala’s temple to retrieve the third wyrd-key. The problems with this one are that Maeve does not want to be anywhere near fire because of what she is. As well as the fact that I believe that that particular wyrd key had already been taken.
My third theory is that Maeve is going to take Aelin back to Wendlyn as a means of protection. That she will get into Aelin’s head and make it seem like she was always meant to protect her aunt and her aunt’s people. This one, however, is purely rooted in speculation and guessing.
And my fourth and final theory which I think is a bit more plausible is that they are going south. That Maeve is taking Aelin south because that is where the gate that Maeve went through initially is, and she wants to go back through it whether it be back her her realm or another one. But she needs Aelin because she believes that Aelin has the keys and that she will also be able to close the gate when Maeve goes through. Now, another reason that I think this is that at the end of EoS Elide said something along the lines of “the wyverns will accompany us to the end of the continent.” Now, this is speculation, but I think this is SJM giving us a hint that they are not going to be staying on the continent, that they will go somewhere else. And it makes sense that they would go south because that is where the gate is. The only problem with this thought is that EVERYONE IS NOW GOING NORTH!!! Chaol, Nesryn, Yrene, Sartaq, EVERYONE is going north thus leaving Aelin’s survival up to The Cadre and Elide.
i’m not saying all gay media has to be perfect. some of my favorite gay media has some glaring flaws in its sensitivity and social awareness. and i’m certainly not going to judge anyone for enjoying dream daddy. the currently-known-to-be-playable content of the game seems really sweet and wholesome, and lord knows the gay community always needs more sweet and wholesome media as opposed to media where every gay person dies or gets their life otherwise ruined.
HOWEVER, it really does upset me on some level to see non-gay-men telling the mostly-gay-male body of people who are criticizing it that they’re being performative, or overreacting, or whatever else. just like you’re allowed to enjoy the game, we’re allowed to talk about how we feel this game wasn’t made for us, or how we’re insulted and upset by the stupid grimdark Cult Ending that’s a slap in the face to gay religious folk and gay cult survivors, or how we don’t like that money made from this game that bills itself as diverse is going to racists, or any number of other things. try to understand how we feel, or try to understand that just because you DON’T understand how we feel, doesn’t mean how we feel is fake or stupid.
Robert isn’t as sweet as we’re making him out to be.
NOW BEFORE YOU GO BALLISTIC ON ME, I want to preface this with an admittance that I love Robert to death. He is a beautifully written character that portrays some pretty serious themes in a great way - not to mention that his good ending is very positive message for people who are currently depressed/in a bad place in life. He’s funny, he’s got some great qualities, and we all know that Mothman is a total THOT.
However, I find it kind of telling that the entire fandom has somehow collectively agreed that this is just a misunderstood man that’s 100% a sweetheart and has no flaws at all. I understand why, of course. He resonates with a lot of us out there that are struggling as well. I get that, but erasing the fact that this man has some pretty serious flaws is almost as bad as erasing half of his character entirely.
Now that I’ve settled that, I went and played through Robert’s route a couple of times (one perfect, one not so perfect where you leave instead of listening to his problems, and one on the ‘bad route’ that you unlock if you sleep with him on the first night) so that I could write as in depth of a post that I can on this character that acknowledges his flaws while still making sure it’s clear that he isn’t a bad person. I have done the same thing for Joseph and Mary and intend to write longer, more in depth posts on them in the future as well. But, for now, Robert;
Edgeworth loans his cravbot to Kay instead of giving it to her to help keep her promises to her dad.
In contrast when you consider Gumshoe:
It makes perfect sense when you think about Edgeoworth and Gumshoe’s occupations.
Gumshoe is expected to hold the law, by befriending Kay he does exactly just that.
In contrast, Edgeworth’s occupation strongly relies on what is both explicit and implicit. His work around to Kay’s wishes is to go with what’s implicit in the condition “Never take things from a stranger.” It’s explicit to never take anything whether given or stolen from a stranger; but it also implicitly suggests there’s no problem with borrowing something.