such a great character yes

anonymous asked:

honestly eskild is one of my favorite characters???? idk he just knows when to be supportive and when to joke around and is such a great LGBT+ icon i love him. if next season is about even, i hope we get concerned!eskild talking to even ab isak honestly

yes!!!!!!! its so great to have a character that fills some of the classic Tv Gay Best Friend stereotypes, but still is a fully fleshed-out, three dimensional character who has different sides to him!! definitely would fucking love to see more of him, i’d honestly miss him so much……what a guy! also! eskild being someone isak can go and talk to, a sort of ‘guru’, thats so important ! and im so happy that we got to see a bit of that!!


Endless List Of Favourite Characters: Noah (Total Drama series)

‘Life, why do you hate me so?’

anonymous asked:

In general, what are the biggest pitfalls in creating a Kaiju oriented series in your opinion?


1. “It’s Like Godzilla But…”
I’ve touched on this before, but there’s a strong predilection in kaiju media to simply create another Godzilla. And it’s boring. There’s a reason that Godzilla has persisted and everyone else like him, even the relatively unique Gamera, have fallen to the wayside: if people want Godzilla, they’ll go to Godzilla.

2. “I’m only in it for the monsters”
I cannot tell you how many time I’ve nearly gone blind from eye-rolling after hearing someone say “I don’t watch kaiju movies for the human characters, it’s not like there are any good human characters anyway.”
While I’m sure there’s a really excellent Kaiju-Only-Perspective-Series to be made, part of what make kaiju into kaiju is their relationship to humanity. And yes, there are great human characters in quite a few examples of kaiju media: the Gamera trilogy, at least a dozen Godzilla movies, and that’s not counting the more Monster-on-the-loose films like Jaws. You see, here’s the thing about genres: while they operate on different rules, that’s no excuse to just write bad characters or not write them at all.
Oh and I’d better not fucking see the humans standing on a goddamn rooftop at the finale and passively observe the monsters fighting. Give them something to fucking do. Make them commanding the attack, make them active participants in the battle, make them frantically trying to save a group of children on a island that the monsters are fighting on for no reason JUST DO IT GODDAMMIT.

3. Say something.
This is the last beat I have for the moment but…just making another kaiju story, even if it’s well-crafted or fun, will only be “good enough.” If you want to make a kaiju story that people remember, say something. Make your story about something, make it resonate or mash it up with another genre. If your story is literally just about giant monsters that rise and break stuff, I mean, that’s fine and fun and we all like that. But we should also all try to consider how we can make our story something more. What kind of twists haven’t been explored to death already? Where can you go with your new story in order to make it transcendent or make it about a certain theme?
Obviously, not every kaiju story needs to be Watchmen or try to subvert the genre in some exciting and new way. I just want to encourage you to think outside of the box a little.

Yes its cool that Vegeta risked his life to save his son. It’s a great wrap around, considering how he used to treat his fam and everyone else. Yes, Vegeta has great character development throughout Dragon Ball. But like…. I kinda am a bit taken aback by the level of response to this episode? Because… him risking sacrifice for his family… it’s not new? He did the same thing during his last major character arc in the Buu saga, but actually, knowingly died for it? And in a bigger way? Like… glad you guys are digging it, but… why are people so super duper stoked for a rehash of what we’ve already seen?


I honestly don’t understand all this disappointment everyone is feeling. In my opinion, it was great; I don’t agree with Sherlock “forgiving” and trying to build a bond between him and his sister and I can’t understand those who think she’s great because yes, as a character (and the mind behind her) it’s amazing, but hell no, she’s a psyco.

I partially understand Sherlock wiping away his mind about his sister, I mean, I’m not a psychologist but I think that’s quite what happens when someone is seriously traumatised, especially at a young age, even if it doesn’t really fit, considering Sherlock’s abilities.

For what concerns Johnlock, the only way to make it perfect would have been for them to just make out but Mofftiss did a great job in giving us all the best ending: all blurred lines between friendship and romance and everything is so unclear that we can either make theories about the next season or just write tons of fanfictions without inventing anything but just “going on”.

Seriously guys, it was great, a bit dark but brilliant and i don’t think Mofftiss deserved all the hate messages they received because the plot didn’t turn the way each individual in the whole fandom wanted to. So just chill out, admit how smart the whole thing was, pat yourselves on the shoulders and go to see it all again, because it was GREAT.


Text posts & Enlightenment, my favorite Classic Who episode (so far).

Hairstyle swap!
Which one wore it better?

anonymous asked:

Do you like Ace Attorney

I tried the play the games but so many 😭😭😭. But yes i like it!! The characters are great and super cool. My fave character is the dude in the blue suit and the bara police officer…

laughing-maleficent  asked:

Hello! I saw your post saying that people could send you writing questions, so I wanted to ask you one, if that's ok. I'm in the middle of creating my dragon age character's personality and backstory, but I'm a little lost on how to go about it properly. she's been through serious trauma, and is slightly emotionally unstable becuase of it. How can I portray this realistically without it being too dramatic or inaccurate?

Yes!! Thank you! Great question.

Writing Emotionally Complex Characters

I think the true difficulty here for the writer lies in staying true to character without getting caught up in, as you say, “dramatic” portrayals, which can tend to feel cliche, or generic, and therefore unrealistic. A lot of what we see and know when we think of “traumatized” characters will come from popular media, and there is often an accompanying coping mechanism, like alcohol or drug abuse, and/or pain tends to manifest in the forms of “flashbacks” and nightmares that seem to serve more as exposition tools for the audience than actual moments of deep characterization. These characters will inevitably influence us, of course, always, but they’re not always the best examples when it comes to complexity.

For me, personally, the best places to go to read very believable, well-handled characters who have experienced trauma, will be with short story writers. Granted, I am a short story writer, so this is just my area of expertise. Robert Stone writes excellent post-Vietnam war stories (”Helping” comes to mind), and Joy Williams, whose heroines tend to feel particularly traumatized by the sheer impact of living (”Woods” and “The Farm” are both excellent and in the collection called Taking Care). These writers are very good at locating the coping amidst the denial and sometimes the anger and the fear, and from there, drawing out a lot of intricate and painstaking action that illustrates a character’s pain without removing their agency. They’re complex, layered human beings who inhabit many roles during their day-to-day lives. One of the reasons Sherlock Holmes or Dr. House are such compelling heroes is because, despite their trauma, they’ve adapted in ways that enable them to be in control during very specific contexts. Yes, they both use drugs as coping mechanisms, but their coping is an entire complex. It is not the drugs alone. It is communicated through their routines and interactions on a daily basis. They are true characters who are sometimes villains and sometimes very difficult to like, but that’s their reality. That’s who they are.

In terms of writing characters who are experiencing some sort of emotional volatility based on coping (or really anything), one can almost think of it as magical realism, only rather than magic, the newly integrated element into everyday reality is the coping in and of itself. In magical realism, magic and fantastical elements are not pointed to or announced as being special or otherworldly. They are merely accepted as rule. It’s the same with writing any sort of complex emotional state for our characters. One of the mistakes writers make when writing characters with coping mechanisms is to point to them, constantly. “Billy is a drunk. Billy wakes  up in the morning to a pile of empty beer bottles at his feet. He yells at his wife and stumbles out the door.” But it’s not like that. I mean, it can be like that. But in writing, it can’t be ONLY that, if that makes sense. Coping is not momentary nor is it extraordinary. It is a means of breathing, and so, it is constant, thus, it must appear as a constant in our writing. It is a layer that never goes away. This is why generic coping mechanisms or things like nightmares and flashbacks can be hard to truly earn in fiction, because it lets us think that, just because a character has a certain backstory and then is drinking heavily or smoking a ton of weed, or acting out and yelling at their partner or family members, that communicates their pain. And sure, it does, but if that’s all there is, that character is incomplete. How they “act out” is just one small piece of their complicated emotional life.

So in order to truly communicate that life, a writer must show and explore their character in the small moments, the off-moments, doing things, interacting with people in the mundane, the truly quotidian aspects of life. Making breakfast, talking on the phone, going grocery shopping, hanging the curtains, etc. The more you do this, the more you’ll find yourself braiding these actions and feelings into their entire emotional complex, and the easier it will become to write them, especially during BIG moments, when something comes to a head. When they must, in their way, “act out.”

And in terms of emotional instability, that can come in so many different shapes, it’s important to establish exactly how and when that manifests for your character, and again, to not let portrayals of emotional instability in popular media influence you too much. Find the details. The inventory of their lives. There is no one right way to make characters complicated. They are like people. Their quirks, habits, and compulsions are entirely unpredictable. So as always, my advice comes down to: stay true to your character. In the writing itself, let your characters actions and decisions speak for themselves. Show, rather than tell, and trust your readers to get to know and sympathize with your character from their own perspective and at their own pace. Writing emotionally complex characters can take a lot of time and practice, but it’s really rewarding when you find yourself in the throes of understanding, of empathy, writing a person who you truly love. <3

Final note: A really wonderful way of visualizing characters through their ENTIRE trauma is to think of their backstory from the perspective of Joseph Campbell’s Hero’s Journey. A lot of what we think of as “coping” can be thought of as the hero’s “Return” to ordinary life, their attempt to reintegrate, despite having been changed irreversibly by some major experience, positive or negative. From the craft perspective, reading and learning about the Hero’s Journey has done TONS for me, in terms of teaching me about writing the complexities and sort of chimeric state of character psychology. I’ve applied it generously to how I write Solas (who, in my fiction, is quite emotionally unstable) and more recently, Mythal, who is dealing with traumas that have gone unsolved for thousands of years.

I hope this helps! ^_^

Ask me writing questions! My ask box is always open.