so da

10

God I’m finally done with this comic I don’t care if it looks like shit just. Just take it.

I started working on this comic in September but due to personal health problems and inktober I wasn’t able to finish it until now. Like with all my comics, I don’t like the final results but goddamn it I spent a long ass time working on this comic and you’re gonna look at it! Or not. I can’t force you to do anything. At the very least I’d appreciate if you look at the line art. That shit took the longest time.

Most of comics I think up of are just scenarios I think are interesting or a particular image I wanted to draw and I conjured up a comic around it to provide some sort of context. For this one, I was inspired by the paneling in Houseki no Kuni manga and I wanted to draw something like it, so if you’re wondering why the paneling looks different than my average comic than that’s why.

This comic is entirely hypothetical, with Fi being around for the past events of Breath of the Wild. If Zelda is so tsundere for Link for being the chosen hero, I think Zelda would fear Fi because she thinks she is disappointing Fi by being such a failure.

The love in this comic isn’t intenderd to be romantic love (although you can view it that way if you want to it’s not like I can stop you), but more like the kind you feel when you want to die but hearing some kind words is enough to save you. Yeah.

NCT - cherry bomb theory 🍒

i was trying 2 uncover anything about cherry bomb but kept hitting a dead end??? like rip it was impossible to create a theory ,,, on a pair of cherries ,,,,, & a bomb ,,,,,, UNTIL.

Keep reading

I see a lot of writing advice, particularly about giving characters flaws. The main advice is “everyone has flaws! make sure to give your character flaws or else it’s not realistic!” And after thinking about it… I would like to challenge this.

It essentially posits a view of human nature that there are good and bad traits, and that these traits can be neatly diagrammed into separate columns, one set of which can and should be eliminated. It tends to go along with a view that posits character development should be about scrubbing away of “flawed” traits until the character achieves more a higher level of goodness, or else the character doesn’t and falls into tragedy. This is not untrue, necessarily. There are definitely some “flaws” that are 100% bad and sometimes a good arc is about slowly losing them. However, I could call this advice incomplete.

Consider thinking about it this way. Characters have traits and often whether or not that trait is a flaw is purely circumstantial.

For instance, fairy tales I read as a child. In some, when an old beggar asked for money on the road, it was a secret test of character. The prince who gave the old man money or food would be rewarded. But in other folktales I read, the old beggar would be malevolent, and any prince who stooped to help him would be beaten, punished for letting his guard down. Now, in a story as well as in real life, either of these scenarios can occur–a stranger who asks for help can be benevolent or malevolent. So which is the flaw? Is it a “flaw” to be compassionate? or is it a “flaw” to be guarded? 

Trick question–it’s purely conditional. Both traits are simultaneously a strength and a weakness. Either has an advantage, but either comes with a price as well. And whether the price is greater than the advantage depends on circumstance. The same can be said for most character traits, in fact!

An agreeable character who gets along with everyone will be pressured into agreeing with something atrocious because it’s a commonly held viewpoint. A character who’s principled and holds firm even under great pressure will take much, much longer to change their mind when they are actually in the wrong. A character who loves animals and loves to shower them with affection will get bitten if they try the same on every animal. As the circumstances change, flaws become strengths, and strengths become weaknesses. And even a trait that’s wholly virtuous, such as compassion, comes with a price and can be turned for the worst.

You don’t have to think about inserting flaws into your character. Your character, even the most perfect “Mary Sue,” is already flawed the moment you give her any traits at all. The problem with Mary Sue isn’t a lack of flaws, it’s a lack of circumstances to challenge her properly, to show her paying the natural price. Your job as an author is to create circumstances in the narrative that 1) justify why these traits exist in your character 2) show what your character gains from these traits and then 3) change the circumstances to challenge her. 

Make your character pay the price for their traits, for their choices. And then, when challenged, you can make a hell of a story by showing us how they adapt, or why they stick to their guns anyway.

10

Everyone has a youth. A time that’s more beautiful because it’s awkward and clumsy, a time that shines brilliantly. A time when you’re not afraid of anything because you have nothing to lose, and a time when you’re excited because you can have anything, everything. That’s now, age 24, my youth. Although I’m still uneasy and nervous, I’m perfect without needing anything else.