Character Development - Blog Posts

Did I ask to be attacked this way???? CUZ THIS FEELS PERSONAL

me, with a vague plot idea, 1 (one) character name, and an outline that consists of mostly question marks:

Okay alright so... I've been curious for A LONG ASS TIME. Did you have some character/person in mind when you were creating Neikea???

Well helloooow ~ :DAAAHAAA!! I’m so glad you’re curious about my baby!! And yes, I did have some characters, as well as tropes in mind while I was writing down her story. There are two in particular that inspired me greatly:

Morgana Pendragon : The Vengeful One

When I was writing down Neikea’s story, I had in mind a young girl who had had her childlike joy and innocence ripped from her and who, due to betrayal of her trust and love, became a cunning woman who wasn’t afraid of tearing down any person that would dare threaten her or the ones she calls her own. A woman who would watch every person’s moves, silently observing before taking any actions.

Morgana was the main inspiration for Neikea’s development. When you first discover her character, she’s this kind, caring young woman who tries her best to do what she thinks is fair. She is loved and cherished. Then you see how ruthless she becomes once her trust was betrayed, once her friends have turned foes. Vengeance becomes the only thing that drives her.

Daenerys Targaryen : The Chosen One

As I was going further into Neikea’s backstory, the fact that she would be a “gifted” child of Eris appeared naturally and I decided to explore it a bit further. Despite having a twin brother, despite being of the younger generation, she was the Heir of Eris. She was an “Adelfí” before being her own person. Her fate had already been decided since her birth. 

Daenerys came imediately in mind. While Daenerys only has her name and the history of her house behind her when you first meet her, she grows into this woman who chose her Destiny for herself as soon as she could. She was an heir, she decided to follow what she thought was her fate. Her family word’s became her own and she crowned herself Queen.

act iii: final notes

edit: 4/9/2024: added some more stuff!!! i'll put this emoji 🫧 next to the new things so u know where to scroll.

AHHHHHHHHHHHH I FINISHED MY FIRST FULL LENGTH FIC HOLD ON LEMME JUST THROW UP IN THE CORNER REAL QUICK

i am sooooooo normal rn anyways let's get into it thank u for having me on the show, mr. kimmel. i've had a raging headache all day so the content underneath each sections will be kinda short. i'll go through and add more to it once i recover but i wanted to get this up before the week got too busy!

krolia

guys…. im so sorry for the angst….. it was necessary for the plot…….

maybe it’s just me projecting but in the actual show, i kind of wish we had seen more of the emotional fallout that occurred after krolia revealed that she was keith’s mom. because let’s be real here, there’s no way that keith’s traumatized ass would just willingly accept her back into his life. he’d have questions. he’d be in disbelief. it’s hard for him to open up to others and he carries a lot of hurt from being abandoned.

it was crucial in the course of this fic to have that confrontation between krolia and keith. it's not always going to be rainbows and sunshine, and even though they both missed each other deeply, you don't just automatically connect and forget everything that's happened. even if keith hadn't gone into the foster system, he definitely would have carried a lot of anger and hurt towards krolia when she shows back up. i'm sure that things won't just be smooth sailing and they'll need to hash things out multiple times as they rebuild their relationship but that first fight was a big hurdle to get over.

if you’re curious, i have a whooollleeee backstory for what happened with krolia and why she couldn’t get back to her kid. i couldn’t really fit it into the fic but i’ll put it right here for those who are interested:

2000: krolia in the US on student visa, first year of of PhD program

krolia meets heath and they fall in love

2003: krolia gives birth to keith

2008: krolia finishes grad school/PhD program/doctoral degree and applies for a work visa 

2009: she and heath and baby keith are living their life but krolia’s parents find out and are like girl you need to come home NOW or we will disown you 

krolia’s family are really wealthy and powerful 

krolia: i’ll come back for you guys idk how but i will 

krolia goes back to the states

2009-2011: she and heath write letters but then the letters start getting intercepted by the family and eventually peters out

krolia in arranged marriage and thinks her partner forgot about her or didn’t care

meanwhile heath doesn’t know what happened to krolia but can’t do anything about it bc she’s in a diff country and he doesn’t speak korean

2011: heath and keith move to texas for job or whatever

heath tells keith all about krolia and how she loves him but can’t be there and obvi that fucks keith up bc he misses his mom but where tf is she? how does he know she loves him if she’s not even there? he's a little kid

2013: heath dies and keith is put into the system

heath has no other family members

krolia put her english name on the birth certificate and so ofc she doesn’t exist in the US

texas social services try to reach out to krolia along with some friends but letters are intercepted

2016: someone reaches out to krolia after she finally gets facebook 

friend: thinking of you. miss you. so sorry about heath

krolia: …. what the fuck about heath?

friend: uhhhhhhhh

krolia goes on rampage to her family like wtf u mean u didn’t tell me that the father of my child is dead

cousin shows up with the intercepted letters (official notice from social services, heath’s letters and pictures, keith’s little notes and drawings)

krolia starts the process of legally and financially emancipating herself from her family (she basically was Britney’d)

2017/2018: finally is free and able to get a job in the states

starts tracking down heath (they only had a forwarding address for krolia so they’re like wtf who is this bih)

at this point, keith has already met the shiroganes and changed his name

krolia is in a different state and can only do so much 

spends the next few years trying to find him, hires P.I., again keep running into blocks bc social workers and case managers are NOT going to budge on giving up keith's personal information

2023, winter break: krolia reaches out to keith through facebook but it goes into his spam since they’re not facebook friends

allura

what better allegory for sacrificing yourself to save the universe is there than graduating college? in all fairness, i felt like sticking to the notion of allura saying goodbye and leaving the group had its merit, just y’know, i wanted to take a step down from the whole dying thing. i tried to pay homage to the canon material as much as possible while also providing my own spin on things.

one thing that’s been important to me is depicting allura as a college student. sure, while i think most iterations of allura as a kind and a great leader and intelligent are great, even in modern au fics, i just wish there had been a bit more... silliness? outside of her being like the girlboss, the hell yeah supporting character or love interest or bone-tired leader, i always wonder what she would have been like if she hadn't had to save the universe and was just trying to heal on her own terms. yeah, i nerfed her parents in this universe but i tried to showcase her doing normal college things as well, like presenting at research conferences, getting a bit messy drunk, having pizza nights and group hang outs. the funny thing about grief is that life does not stop for it, so you have to just figure things out along the way.

i also didn't want to elaborate too much on her relationship with lotor. she didn't magically heal from that one conversation with lance in chapter 8 but i wanted the readers to get a taste of what was going on in her head through their dialogue. plus, it was a little moment to show how she was allowing herself to open up to other people like lance. no one woman is an island, no matter how much of a bad b!tch you are.

🫧 also, i wanted to include it somewhere but basically, keith knew allura and romelle were hooking up since chapter 14! keith caught romelle sneaking out of allura's room early one morning and he just kept it to himself because snitches get stitches.

pidge

they are so precious to me. they're an amalgamation of 2 of my closest friends, and well, me.

i always knew that pidge was going to be a super important piece in klance development. while lance and keith are great friends, i think pidge played a crucial role in bridging them together in the beginning, before the two of them had cleared up their misunderstandings and made that truce. sure, allura asked them to be on the paintball team but pidge really forced the two of them into close quarters. lance might have extended the offer to keith to hand out without pidge or he might not have. honestly, i'm not really sure. but pidge inviting keith to hang out in chapter 4 was a quiet but big moment because both keith and lance are friends with pidge and will set aside their differences long enough to tolerate each other's presence in a shared space. pidge just has #babyofthefriendgroup privileges.

🫧 i honestly think that after the main two, pidge has undergone the most growth (physically and emotionally) throughout the fic, even though they're a supporting character. we can all benefit from community and friendship but i think pidge needed it a little bit more.

🫧 i partially wrote pidge to represent my younger self, especially when i first attended college. i was scared and alone and i had never been away from home and it was a struggle to form new relationships (and figure out my gender identity. mannnnnn fuck that). it was nice to see pidge find their place and niche among the greater social fabric of college, kind of like comforting my younger self for all the loneliness and uncertainty i endured.

hunk

i love hunk so dearly. ngl, i wanted him to have a bigger arc than he did but hopefully i did a decent job at making feel more well-rounded as a supporting character. i decided to actually kind of lean into this distance in the later chapters as well, esp from lance's pov, as they both got busier. at the end of the day, though, i knew that those two would come back together. hunk is a kind and sympathetic friend and his and lance's friendship will persevere because they're good communicators. their little talk in chapter 17 was me talking to myself and to anyone else who has went through a similar thing where they find themselves drifting a little farther from a friend.

people get busy and that's okay! there will be ebbs and flows in every relationship. even though shared history is a crucial part of a friendship but it can't be the only thing that will keep it going. you need to nurture it and tend to it in order for it to keep it alive and flourishing. hunk understands this and he and lance will be just fine after their talk. hunk is probably the most emotionally intelligent person after adam in the group, and i'm glad he was there to help both lance and keith out when they needed it.

adam

this man!!!!! got i have gotten so fucking attached to adam throughout this fic. he is so dear to me. i know in chapter 10 i wrote from adam's pov and he's a goofy guy in his twenties who's just trying to be a good dad friend but somehow he ended up being a voice of reason and comfort for klance in this fic. lance misses his family a lot and i think adam can not only relate to lance with the homesickness but also lance has started to rely on him a bit like he would with his siblings.

i wanted to try my own spin on adam and keith's relationship. i've seen fics where adam and keith hate each other, don't interact much, or adam takes on a parenting role towards keith as a kid. i wanted to look at keith and adam in the context of two people who both love shiro and then grow to be good friends/surrogate brother-in-law? idk. long story short, adam is very emotionally intelligent and i think he genuinely wanted to get to know keith outside of his connection with shiro and was patient enough to coax keith out of his shell. i tried to write in small ways adam takes care of keith like giving him LactoJoys because Keith likes the taste better than Lactaids, being there for him for his panic attack, adding food to his plate. things that won't draw too much attention, because we all know how keith is about receiving acts of kindness.

i mentioned this in a comment under one of the chapters but all of the advice adam gives keith is either advice i personally received myself or something i wish i could tell my younger self. i hope those words bring you comfort as well!

shiro

i had a lot more planned for shiro but goddammit i had no fucking time or space at this panned out. it's more so klance's story than shiro's.

look, there's a small moment in chapter 18 where shiro is very pleased (and a little surprised) that keith has talked about him with krolia. it has less to do with his faith in keith and more with how he sees himself. shiro has already acknowledged that he has heavy imposter syndrome and deals with his own struggles with self image. it's just always a jolt to your system when someone (could be your own family or your partner of years) validates your relationship.

shiro loves keith very much and just wants to be the best big brother. he has such eldest child syndrome, where he tries to pretend that everything is fine even though things are actually crumbling around him. the thing is, though, you can't build intimacy— real, lasting intimacy and depth in a relationship— without being vulnerable. shiro understands that even though he wants keith to work on opening up, he has to do the same and reciprocate the actions, or else neither of them will really get anywhere and be stuck in that loop of "are you mad at me/i feel like you're hiding something from me/i don't really know who you are."

i tried writing a bit from shiro's pov but i quickly realized that that would drastically change the tone of the fic so i had to scrap it. i might post a little oneshot in the distant future with adashi, though.

keith

🫧 i've talked about this before but although i think keith grew the most as a character in the canon show, that shit was WAY too fast and off-screen. also, i know that the whole found family trope is what drew a lot of fans to voltron in the first place (like me) but is the found family in the room with us rn? i felt like they all started to fall apart or at least weren't as close as the show wanted us to believe. it felt a lot like telling with no showing. other than some occasional moments in the show, the whole #teamasfamily felt hollow.

🫧 i wanted to build on this potential found family for keith's character. he's never had a support system before and he's used to pushing people away but now he has a whole ass friend group that's ready to fight for him if he gives the word.

🫧 initially, when i was writing keith's pov and trying to get a feel for his voice and tone, i struggled a bit. keith is one of those characters that i liked and sympathized with, but getting into his head was a whole different story. i'm more of a lance kinnie but once i got the hand of keith's voice, it was a lot easier. some of my best pieces of writing are from keith's pov! i tried to be as cognizant of keith's development as much as possible as i wrote (think me having various checkpoints for his journey whereas with lance i could just coast on vibes), and i'm pleased with how far he's come.

🫧 although both keith and lance's progress can showcased through their consciousness and thoughts (like duh ur reading from their povs), i leaned into keith's behavior as a way to portray his progress a bit more than lance. things like him being more open to physical affection, not sitting on the outskirts of group dynamics and sticking to shiro, and allowing himself to collect things, which by the way:

🫧 i like the idea of keith's room, once being so empty and ghost-like, is now full of stuff, mementos of his relationships that he's built. i tried to sprinkle in some relics from past chapters (paintball flag, polaroids, ticket stubs), as well add some new tidbits, like shiro giving him a cacti and that korean cookbook!

proud of u, keith bby <3

lance and marco

no i did not just torture lance for the sake of torturing him i would never do that to my boy.

i know this is a fanfiction, but from the start, i wanted to ground this fic in reality and breathe some life into it. lance's little arc with his brother having a substance abuse problem was loosely inspired by events in my personal life.

🫧 i'm not saying that everyone goes through something as drastic as a loved one going to rehab, but as young adults, when we leave home for uni, jobs, other opportunities, etc, there's this worry that something bad will happen while we're away. and often times it does. someone gets sick, a beloved pet passes away, it's all bound to happen. your childhood becomes a thing of the past, and things that you thought would stay the same just won't.

i projected a lot of my feelings onto lance ngl, and writing him work through his own grief and guilt over not being able to be with his family when they're going through a crisis helped me process a little bit more.

although lance had a happier ending than a lot of families might get in reality, i still wanted to show lance having a support system at college and realizing that he has a second family to lean on, and people who love and support him. he doesn't have to pretend to be okay for anyone and that's okay.

black paladin lance or as close to it as i could get

it was so important for me to make lance the new captain of their paintball team, as a stand-in for the black paladin arc he could have had in the show. he’s always been a selfless guy who puts others first and really pulls up when he needs to. he deserves to be recognized for that. not only did every single one of his friends validate him, but the person he looks up to the most literally endorsed him. lance struggles with his inferiority complex and the election scene was a little feel good moment for me, personally, so that he could receive the acknowledgement he deserves, especially with his growth. he's gonna be an awesome team captain (he'll be shuffling down to shiro's room at 2am covered in hickeys and talking about paintball strategies).

wrapping up loose ends

i tried to wrap up as many loose ends as possible and give all the characters a proper send-off. originally i wanted lance and hunk to also move into the house in castle street, like repurpose the basement or something but i realized that that just wasn’t possible because most college basements don’t even have heating or like,,,, a livable arrangement.

ultimately, i think it makes sense for pidge to be the one to take up allura’s room at the house. pidge has lived a single during the academic year but they also had lance and hunk right fifty feet away so it’s not like they REALLY lived alone that year. there was also the logistics of the house having a vacant room, and as much as i would have loved to have all of voltron under the same roof (hunk and pidge sharing a room, keith and lance sharing a room), i think they would kill each other. pidge filling in the gap felt like the right move. and lance and hunk are gonna be over a lot anyways, so it’s not like much has changed in the trio's group dynamic.

🫧 what was your favorite chapter to write?

i think i have different chapters in mind for different reasons, even if it's a copout answer. here are the chapters that are dearest to me:

chapter 4: recalibration this is the chapter where i really got to play around with character interactions. keith and lance's worlds were beginning to integrate in chapter 3 but in this chapter, i got to explore different friendships, like keith & pidge and lance & hunk, and the dynamics they entailed. you can see how important these friendships are to both lance and keith, and how their connection with others eventually helps them to reflect on their previous feelings toward each other, like "hmm maybe i've been too harsh with the other."

chapter 10: let's go to the beach the group dynamics were so solidified to this point, and it was so fun to write. i loved writing from adam's pov and being able to zoom out and showcase klance's relationship progression.

the winter break interludes i waxed poetic about these in a previous faq but to reiterate: i'm really pleased with the way each individual chapter turned out. i love a good character study, and it was a great challenge to my writing and characterization to dig deeper into their home lives and see how the past confronted the present, where their respective childhoods were brought into the light, and how long-held notions of belonging, home, and identity were challenged and remolded.

chapter 17: warm and light my beta reader drunkenguac said that this was some of my best writing and i've been coasting off of that validation for the past 4 months. keith's reunion with his mother was especially cathartic for me. as an adoptee, writing this chapter honestly helped me work through some of my feelings about my adoption as i pictured what it would look like if i was ever reunited with my birth mother. i'm very fortunate that i didn't have to go through the same experiences keith did, but i tried to imbue as much humanness as possible into his section.

chapter 18: moving on it just felt like a proper send-off, the one that we never got from s8 of voltron. i wanted the last chapter to basically have this vibe of "hey, things won't be the same but it's going to be okay because we have each other." when shiro tells matt in the end, "we'll still be here," that's me as the author, telling you, the reader, that this fic will still be here whenever you want to revisit it. it was a comfort to write and i've heard that it's a comfort to read, which is so so so gratifying. when i set out to write this fic in august of 2023, i didn't have any plans of grandeur or even expect like more than 100 people read it— it was just a passion project that i decided to share, and i'm glad that others have sought safety in it. outside of fandom, this fic is a love letter to my own college experience. i remember reading a college au fic when i was still in high school and lonely and closeted and repressed and wondering if i would ever be able to get out of my hometown and find a community as tightly-knit as the fic portrayed it. in a way, i got to reflect on my college experience by writing looking out for you. i find solace in this fic when i read back over it, and i can see aspects of my adventures throughout my freshman and sophomore and junior and senior years, waving from behind a thinly veiled curtain. this fic is dedicated to all the people who made my college experience.

anyways that's me rambling for now! thank you again to everyone who has tuned into looking out for you. this is the first piece of creative writing i've done in a long time, and i never expected to actually finish it. i'm so happy with the way it turned out and the love it's received. until next time!

happy holidays have some keith kogane development

hello whats up icymi: keith solo chapter keith solo chapter keith solo chapter. here's your highlight reel: broganes having a heart-to-heart, keith realizing he's loved, and a hint of klance.

i hope everyone has had a happy holidays :) im taking a break from posting updates to write the next few chapters of act iii of the fic but im gonna upload an faq/brain dump for act ii on friday (it's gonna be rlly long lol). if u want me to ramble about something in particular (where is the fic going, talk about a scene or characterization) just lmk privately!

I don't understand why Hirano just denies his feelings for Kagiura when he is so attached to him! Like everyone can see how WHIPPED he is for Kagi except him. Even Kagi can see how whipped he is! Hirano does things for Kagi that he won't do for ANYONE ELSE. He is just really dense and it sometimes pisses me off like how can you pin someone to a wall (MULTIPLE TIMES) and still say you don't like them back! And he blushed when Kagiura confessed to him and told him I love you and he still turned him down. I'm not good with feelings or anything like that but I'm not THAT bad, at least I don't think I am. But it's all just character development so it's fine.

IM SORRY WHAT

im literally a woman and I didn't pick up half of these mannerisms n things omg

well new writing guide is here guys

Ways I Write a Woman...

➤ Who’s Tired of Being Talked Over

You ever watch someone hold in a scream behind their teeth? That’s her, constantly.

✧ She starts choosing her words like landmines. Each one is sharp, controlled, and timed like a threat. She’s learned that being polite won’t get her listened to, but sounding like you might flip a table will. ✧ She’s mastered the art of the silence that feels loud. Doesn’t fill awkward gaps. Just lets the discomfort sit in the air like smoke. ✧ She explains things with forced calm, the kind that sounds like a teacher asking a second-grade class why the hamster is missing. ✧  She notices interruptions like bruises. She doesn’t react to them anymore, not out loud. But you can bet she counts them. ✧ She repeats herself less. Not because they understood her the first time. Because they never listened anyway. ✧ She’s learned how to weaponize eye contact. Not in a sexy way. In a “I will set this boardroom on fire with my mind” way. ✧ Her voice only shakes when she’s deciding if it’s worth the explosion.

➤ Who’s Been Called ‘Too Much’ Her Whole Life

She isn’t too much. She’s just tired of shrinking for people who were never going to make room anyway.

✧ She says the thing you’re not supposed to say. Then stares at you to see what you’ll do with it. ✧ She’s loud with her laugh, loud with her grief, loud with her love, because if she’s going to be punished for being “extra,” she might as well be honest about it. ✧ She over-explains. Over-apologizes. Then catches herself and stops halfway through the sentence. ✧  She tries to “tone it down” and ends up sounding like a censored version of herself, bland, miserable, unfinished. ✧ She edits her texts four times, deletes the paragraph, sends “haha ok :)” instead. ✧ She keeps her hands busy because otherwise they’d be doing something reckless. ✧  She overcompensates with sarcasm and then goes home and wonders if everyone hates her. ✧  She’s loved fiercely. Regretted it more fiercely. ✧  She walks into a room like she owns it, and then spends the entire time wondering if she should have stayed home.

➤ Who Wants to Be Soft but Doesn’t Feel Safe

She's gentle, but that gentleness lives under twenty layers of armor. And most people never even get past the first. ✧  She’s careful with her compliments, she knows how people weaponize kindness. ✧  She keeps her vulnerability behind locked doors and guards them with jokes, sarcasm, and “I’m just tired.” ✧ She’ll comfort others like she was born to do it, but flinch if someone offers her the same. ✧ She avoids mirrors on bad days. Eye contact on good ones. ✧ She cries where no one can see. Car bathrooms. Locked bedrooms. Grocery store parking lots at night. ✧ She doesn’t ask for help. Not because she doesn’t need it, but because the last time she did, it came with a price. ✧ She’s soft with animals, with children, with strangers, but not herself. Never herself. ✧ She daydreams about being taken care of, then immediately gets mad at herself for wanting something so “weak.” ✧ She wants love, but she’s terrified of being known. Because if someone really saw her? What if they didn’t stay?

And if you’re sitting there reading all of that thinking, “God, I don’t even know how to write women like this…” Please know: you’re not alone. Like, really not alone.

Writing female characters in a way that feels true, nuanced, and unapologetically real isn’t just about avoiding clichés. It’s about unlearning everything you were taught about what women are “supposed” to be on the page. It’s about getting underneath the polish. Past the performative strength. Past the “she’s not like other girls” and the “strong but broken” tropes. Past the idea that softness is weakness and rage is unlikable.

So many people struggle with this, not because they don’t care, but because no one ever really taught them how to see women as people first.

A lot of us grew up reading female characters written through a lens that flattened us. Made us background noise, love interests, plot devices, or emotionally bulletproof when we weren’t emotionally unstable. It’s no wonder we’re all trying to figure out how to do better now. I write a Book about How to Write Women that feel Alive... For you.

In the chapters ahead, we’re going to unravel that mess, together (Promise). We’ll talk about...

❥ Tropes — the ones worth reclaiming, and the ones you can toss into the fire. ❥ The psychology of a woman — how conditioning, survival, identity, and inner conflict shape her from the inside out. ❥ Female vs. male conflict — not in a “boys suck” way, but in a “our emotional battlegrounds are different and that matters” way. ❥ Expectations — society’s, her own, and how characters shrink or shatter under them. ❥ Emotions as strength — especially the ones she was taught to hide: fear, grief, longing, joy, rage. ❥ Female anger — what happens when she finally stops holding it in. ❥ Archetypes — and how to subvert them without erasing the truths they come from. ❥ Female friendships — no more cardboard “bestie” side characters. ❥ Romantic relationships — what it means when she’s finally seen. Chosen. Or rejected. ❥Mothers, daughters, and sisters — because female relationships deserve more than being backstory. ❥ Dialogue — how she speaks when she’s safe vs. when she’s scared. ❥ Inner conflict and development — her arc isn’t about fixing her. It’s about letting her evolve. ❥ Writing exercises — to help you get past the noise and write from a place that feels real. ❥ A full checklist for writing female OCs — layered, powerful, contradictory, alive.

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This isn’t a rulebook. It’s a guide. A toolbox. A comfort blanket. A callout. A reminder that writing women doesn’t have to feel impossible, you just have to be willing to look a little deeper.

So if you’ve ever felt stuck writing a female character… If you’ve defaulted to tropes because you didn’t know how else to make her “interesting”… If you’ve erased her emotions to make her “strong”… Or if you’ve stared at the page wondering why she still doesn’t feel real...This book is for you.

And I promise, by the time you reach the last chapter? You’ll not only know how to write her. You’ll understand her. And maybe even see a little of yourself in the process.

Love u All!!🖤

Chat help why is developing a character so hard like how tf would I know what makes this pathetic piece of shit angry in an instant 😔

Does your character bite?

unless they specifically asked, you don’t get to tell a fanfic writer you think they mischaracterized the character by the way. because the second someone writes a fanfic about a character, that character becomes the writer’s own version of the character. canon is only a suggestion, but whether or not an author will follow it / how much of canon an author will take is entirely up to them. you don’t get to stick your nose in their world and tell them “hey this is not to my liking therefore I think you’re doing it wrong” when you can simply leave quietly and move on to something else you may enjoy

Emotional Walls Your Character Has Built (And What Might Finally Break Them)

(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.

✶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) ✶ Hyper-independence. (Break it with someone who shows up even when they’re told not to.) ✶ Stoicism. (Break it with a safe space to fall apart.) ✶ Flirting to avoid intimacy. (Break it with real vulnerability they didn’t see coming.) ✶ Ghosting everyone. (Break it with someone who won’t take silence as an answer.) ✶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) ✶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) ✶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) ✶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) ✶ Pretending not to care. (Break it with a loss they can’t fake their way through.) ✶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) ✶ Turning every conversation into a joke. (Break it with someone who doesn’t laugh.) ✶ Being everyone’s helper. (Break it when someone asks what they need, and waits for an answer.) ✶ Constantly saying “I’m fine.” (Break it when they finally scream that they’re not.) ✶ Running. Always running. (Break it with someone who doesn’t chase, but doesn’t leave, either.) ✶ Intellectualizing every feeling. (Break it with raw, messy emotion they can’t logic away.) ✶ Trying to be the strong one. (Break it when someone sees the weight they’re carrying, and offers to help.) ✶ Hiding behind success. (Break it when they succeed and still feel empty.) ✶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) ✶ Focusing on everyone else’s healing but their own. (Break it when they hit emotional burnout.)

Enemies to Lovers Energy

❥ "Get out of my way." – "Make me."

❥ "You’re bleeding." – "It’s just a scratch. Don’t get soft on me now."

❥ "I don’t need your help." – "Tough. You’ve got it anyway."

❥ "I hate you." – "Yeah? Then why are you still here?"

❥ "You think you're better than me?" – "No. Just smarter."

❥ "Stop looking at me like that." – "Like what?"

❥ "I’ve had worse partners. Slightly."

❥ "Try not to die, okay?" – "Touched by your concern."

❥ "If you betray me, I’ll kill you." – "That’s fair."

Ways I Show a Character Who Believes They’re the Villain in Everyone Else’s Story

╰ Behavioral Red Flags

They assume the worst intentions in themselves, even when they act out of love. They brought you coffee? Probably just guilt. They helped you move? Must be manipulating you so you "owe" them later. (They just care. But they can't believe that's true.)

They over-apologize for existing. You bump into them and somehow they’re the ones apologizing, looking like they've personally inconvenienced your entire bloodline.

They self-monitor everything. Every joke they make. Every word they say. Every look they give. Constant little glances at people's faces, desperate for signs that they’ve messed up again.

They let people treat them badly because they think they deserve it. Rudeness? Sure. Being overlooked? Of course. Public humiliation? Absolutely par for the course. Standing up for themselves feels wrong, like a thief demanding a refund.

They preemptively distance themselves when things get good. Got a close friendship brewing? Time to pull away before they find out I'm terrible. New romance? Better end it now before they hate me.

They assume jokes about "bad people" are secretly about them. "You know those selfish jerks who never change?" someone says. Their inner monologue: That’s me. They mean me.

They play up their flaws. Self-deprecating humor, but not cute self-roasting, deep, almost aggressive, like they’re trying to hand you the knife before you even think about stabbing.

They struggle to accept forgiveness. Apologizing feels natural. Being forgiven feels alien. Like wearing shoes on the wrong feet.

╰ Thought Patterns That Wreck Them

"Even when I try to do the right thing, I mess it up." Trying doesn't absolve them. Trying just delays the inevitable hurt they’ll cause someone else."People are nice to me because they don't know who I really am." Kindness isn't acceptance to them — it's a ticking time bomb, waiting to explode when the "truth" comes out.

"If someone is angry at me, they must be right." They don't even question it. Anger directed at them must be justified. They deserve it.

"If I succeed, it's by accident. If I fail, it's because I suck." Zero credit for wins. Full credit for losses. The math of their self-esteem is so rigged it should be illegal.

"If I ask for help, I'm manipulating people." Needing something feels like emotional blackmail in their mind. Better to suffer in silence than risk "forcing" someone to care.

╰ The Tiny Physical Tells

Laughing after their own serious statements, as if to soften the blow of speaking honestly.

Keeping their hands visible when talking (subconscious "I'm not a threat" behavior).

Flinching when someone raises their voice, even if it’s not directed at them.

Making themselves physically smaller—shoulders hunched, arms crossed, shrinking into themselves like they can disappear if they just try hard enough.

Dropping eye contact when complimented.

Holding their breath without realizing it when waiting for someone's reaction.

╰The Relationships They Gravitate Toward (And Why):

Fixer-Upper Friendships: They think they have to earn affection by being useful, by helping, by being "the strong one."

Unbalanced Dynamics: They let people use them because "at least I'm being helpful, even if they don't actually care about me."

Romantic Partners Who Validate Their Worst Fears: They often fall for people who treat them like they’re a burden—because it matches the script in their head.

Or... Relationships That Terrify Them: Because if someone genuinely loves them, they’re always waiting for the moment that person "wakes up" and sees the "monster" they believe themselves to be.

╰ How They Might Heal (If They’re Lucky)

(And if the author isn’t an emotional sadist. 👀)

A relationship where mistakes are allowed, not punished.

Someone calling them out, not for being bad, but for being unkind to themselves.

Tiny acts of trust that stick over time, slowly poisoning the idea that they’re inherently toxic.

Learning that being flawed and being villainous are not the same damn thing.

Being told, over and over, "You don't have to earn love by being perfect."

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

Emotionally reserved characters

Instead of openly sharing their emotions with others, they keep their feelings locked inside, letting their inner thoughts do all the talking. You get a glimpse into their mind, where a storm of conflicts, doubts, and desires brews quietly beneath a calm exterior. This internal monologue allows readers to understand what’s going on inside their head, even if they don’t show it on the outside. It’s like seeing the world through their eyes, where every little thing stirs up a wave of emotions that they never express out loud.

For these characters, actions speak louder than words, but even their actions are restrained. They communicate their emotions through the smallest of gestures—a slight tightening of the jaw when they’re angry or hurt, a brief flicker in their eyes when they’re surprised, or a controlled change in posture when something makes them uncomfortable. These tiny, almost imperceptible movements can say so much more than an outburst ever could, hinting at feelings they would never openly share. It’s about what they don’t do as much as what they do.

When they do speak, every word is carefully chosen. Emotionally reserved characters don’t ramble or spill their feelings in a flood of words. Instead, they speak in a measured and controlled manner, always keeping their emotions in check. Their sentences are concise, sometimes even vague or indirect, leaving others guessing about what they’re really thinking. It’s not that they don’t feel deeply, they just prefer to keep those feelings close to the chest, hidden behind a mask of calm and composure.

For these characters, what they do is often more telling than what they say. They might not say “I care about you” outright, but you’ll see it in the way they go out of their way to help, the quiet ways they show up for the people they love. Their actions reveal their emotions—whether it’s a protective gesture, a silent sacrifice, or a kind deed done without expectation of recognition. It’s these unspoken acts of kindness that show their true feelings, even if they never say them out loud.

They often have strong personal boundaries. They keep their private lives just that - private. They don’t open up easily and are cautious about who they let into their inner circle. They might deflect conversations away from themselves or avoid sharing personal details altogether. It’s not that they don’t want to connect, it’s just that they find it hard to lower their walls and let others in, fearing vulnerability or judgment.

When they do show vulnerability, it’s in small, controlled doses. These characters may have moments where they let their guard down, but only in private or with someone they deeply trust.

Sometimes, emotionally reserved characters express their feelings through objects that hold special significance to them. Maybe it’s a worn-out book they keep close, a piece of jewelry they never take off, or an old letter tucked away in a drawer. These symbolic objects are like anchors, holding memories and emotions they can’t express in words. They serve as tangible reminders of their inner world, representing feelings they keep buried deep inside.

When these characters communicate, there’s often more to their words than meets the eye. They speak in subtext, using irony, implication, or ambiguity to convey what they really mean without saying it outright. Their conversations are filled with hidden meanings and unspoken truths, creating layers of depth in their interactions with others. You have to read between the lines to understand what they’re really saying because what they leave unsaid is just as important as what they do say.

Despite their calm demeanor, there are certain things that can break through their emotional reserve. Specific triggers - like a painful memory, a deep-seated fear, or a personal loss - can elicit a strong emotional response, revealing the depth of their feelings. These moments of intensity are rare but powerful, showing that even the most reserved characters have a breaking point.

Over time, emotionally reserved characters can evolve, gradually revealing more about themselves as they grow and change. Maybe they start to trust more, opening up to those around them, or perhaps they experience something that challenges their emotional barriers, forcing them to confront their feelings head-on.

Even my new characters can give off nostalgic vibes by... allowing them to rest and stop for a moment. Stories fulfilled with action are great, but small moments like resting in a peaceful meadow, spending time with friends or doing any other similar activites - it's something human about that. I was so stressed by my whole life and I hadn't many chances to rest, so I like to think about my OCs in such cozy, stres-less way. First idea that pops into many of people heads while talking about nostalgic stuff is mix of media/items/sounds etc. associated with their past events, years. And yes, that's completely true, but I can't think of 'nostalgia' without feeling that warm-connected-to-the-feel-of-relaxation 'something' inside of me. Fav games or movies from my childhood (or just years ago!) although having a lot of great moments, hits stronger when I'm remembering the chill scenes, sometimes off the main plot.

what makes your oc nostalgic?

One of the funniest activities to do with your OCs is to color pick they palette and check out the color names

For example, mine are:

- Eyes #6A341E - Hereford Cow Brown

- Hair #806F4C - Outrigger / French Bistre

- Skin #C0977C - Egyptian Pyramid

I love my OC's eye color. It's brown, but looks reddish. Color theory is wild because that color is brown, but when compared to her hair and skin tone, looks like a vampire eyes. Since she's regular human, it looks unique on her.

I started reading a lot about brown eyes and I found out that this color may be called chestnut.

Random fact: Before changing her eye color to the current one, she seemed just "ok" for me. Chestnut eyes gave her spark ✨

share a physical feature of your oc's that you like a lot!

OC content! Heaven for your original characters

In this post:

OC focused yt channel - No gatekeeping content - Talking about OCs - Tutorials - Suitable for all OC owners

Hi! I'm an OC owner and maker myself. "So you have a lot of characters, right? Right?..." ...but because of huge artblock, I have only one OC which is just a few days old.

My head is full of ideas, and tbh - most of the time was - but some day I just stopped feeling 'creative' anymore. Thanks to that mentioned OC... I feel good again. Making her was chaotic for sure, but now I'm feeling like a few years ago, when I made my first ever OC. I feel joy and happiness again.

That's nice - having head full of fresh ideas - but coming back to all my socials weren't. Why? Because I left my OC-focused social profiles completely desolated. I haven't any characters on toyhouse, my tumblr and youtube were dead. It was... sad there. After returning, I had no one to share my new character, no one to talk about being complete OC freak. I was offline since months.

Which gave me an idea of jumping onto OCs again!! I want to fully develop Daria, draw, write, make her in character makers and much, much more. But that's not only about me.

I want to give you as well the fun of making OCs. From this day, my tumblr will be focused about developing original characters. I want to talk to you about my plans, show you tutorials, give you ideas. It's gatekeeping free zone. Everything will be credited + you can interact with me by comments and private messages.

I want to make content suitable for all types of OC owners. No matter if you are an artist, writer or cosplayer or none of them - you will find here something for yourself.

My plans for future:

➜ Yt channel about OCs - tutorials, speedpaints and more

➜ More posts on tumblr

➜ Developing my toyhouse

➜ Opening characterhub account

➜ Next post idea: yapping about Notion and my other ways to store & back-up characters

Credits corner:

➜ toyhouse

➜ Video made in Canva (rest of the credits are at the bottom right corner)

Let's look at teaser of my work in progress video! It's project for future weeks. I have plans to make it with dubbing (voice reveal lol)

Ideas of fatal character flaws? :3

Hi :)

Fatal character flaws

Aristotle calls this ‘Hamartia’ - a tragic flaw or error. It can be anything happening to good or bad characters, even otherwise good character traits and with good intentions that ultimately lead to the character’s demise. They are often traits that don’t neccessarily lead to someone’s downfall, but can if they’re done to an extreme. So think of these otherwise normal ‘flaws’ as extremes.

ignorance - not seeking helpful knowledge

selfishness - not thinking about others

curiosity - getting involved in things they shouldn’t get involved in

impetuousness - being too passionate/ not thinking before acting

pride - not giving in/ not taking help from others 

hubris - exaggerated opinion of oneself/ thinking nothing can get to them

lack of self-control - can’t help/stop themself

indecisiveness* - not being able to make decisions

confirmation bias - only taking in information that supports one’s own belief 

arrogance -  thinking they are superior

Have fun!

- Jana

*Interesting example: Chidi from The Good Place. A morally great character who is so extreme in always trying to make the right choice and therefore not being able to make a decision until it is proven to be right, it basically lands him in hell.

Rosa Illustration by Dazhkaclaire    https://www.instagram.com/dazhkaclaire/

www.claireobrienillustration.com

A little Vietnamese Girl 

THE MAJOR ARCANA

a collection of character development questions based on the arcana and their themes !! this is part of a collection of tarot-themed asks. if multi, please specify which muse(s) the question is directed toward !!

[THE FOOL] - Do they weight their options when making a decision, or do they impulsively make a choice?

[THE MAGICIAN] - Are they resourceful? What skills do they possess that help them navigate the world around them?

[THE HIGH PRIESTESS] - Do they meditate? Would they be considered "in tune" with themselves, or do they struggle with personal growth?

[THE EMPRESS] - Do they participate in or have a self-care ritual? If so, what does their routine look like?

[THE EMPEROR] - Is your muse a leader? If so, what kind of leader are they? Do they take a hands-off approach, or do they micromanage?

[THE HIEROPHANT] - What are important traditions to them, if any? Do they stay true to these traditions, or do they adapt them to fit their current situation?

[THE LOVERS] - What do they consider to be the "perfect partner", be it romantic, platonic, alterous, etc.? Is there someone like that in their life?

[THE CHARIOT] - Are they confident? If so, what makes them the most confident in themselves/their abilities?

[STRENGTH] - What are they determined to accomplish the most?

[THE HERMIT] - What does their inner voice sound like? Is it self-reflecting and introspective, or domineering and judgmental?

[WHEEL OF FORTUNE] - Do they believe in destiny/fate? If so, what do they believe their "purpose" is in this life?

[JUSTICE] - Are they a mediator, or do they prefer to step away from potential conflict?

[THE HANGED MAN] - Would they sacrifice themselves, literally or metaphorically, for those close to them? If so, what kind(s) of sacrifice would they make?

[DEATH] - What is their view on the cycle of life? Do they believe in reincarnation?

[TEMPERANCE] - Are they a patient person, or do they tend to act on impulse?

[THE DEVIL] - Which of the capital vices is your muse tempted by? (Pride, Greed, Wrath, Envy, Lust, Gluttony, Sloth)

[THE TOWER] - Are they a destructive individual (be it literally or metaphorically)? If so, how?

[THE STAR] - What is their health like? Do they consider themselves healthy, or do they feel like they could make improvements to better their health?

[THE MOON] - If they had to choose one trait to describe themselves, what would it be? Is it a genuine answer, or the illusion/persona they put on for others?

[THE SUN] - What makes them feel good? This can be happy, energized, revitalized, etc. It's all about good vibes, so what gives them to your muse?

[JUDGMENT] - What was an epiphany/awakening they recently had? Did they realize something that they've been naive to? Did they discover something about themselves? What happened?

[THE WORLD] - How would they define a utopia? What would it consist of, and do they see it as something achievable?

Good Traits Gone Bad

Exploring good traits gone bad in a novel can add depth and complexity to your characters. Here are a few examples of good traits that can take a negative turn:

1. Empathy turning into manipulation: A character with a strong sense of empathy may use it to manipulate others' emotions and gain an advantage.

2. Confidence becoming arrogance: Excessive confidence can lead to arrogance, where a character belittles others and dismisses their opinions.

3. Ambition turning into obsession: A character's ambition can transform into an unhealthy obsession, causing them to prioritize success at any cost, including sacrificing relationships and moral values.

4. Loyalty becoming blind devotion: Initially loyal, a character may become blindly devoted to a cause or person, disregarding their own well-being and critical thinking.

5. Courage turning into recklessness: A character's courage can morph into reckless behavior, endangering themselves and others due to an overestimation of their abilities.

6. Determination becoming stubbornness: Excessive determination can lead to stubbornness, where a character refuses to consider alternative perspectives or change their course of action, even when it's detrimental.

7. Optimism becoming naivety: Unwavering optimism can transform into naivety, causing a character to overlook dangers or be easily deceived.

8. Protectiveness turning into possessiveness: A character's protective nature can evolve into possessiveness, where they become overly controlling and jealous in relationships.

9. Altruism becoming self-neglect: A character's selflessness may lead to neglecting their own needs and well-being, to the point of self-sacrifice and burnout.

10. Honesty becoming brutal bluntness: A character's commitment to honesty can turn into brutal bluntness, hurting others with harsh and tactless remarks.

These examples demonstrate how even admirable traits can have negative consequences when taken to extremes or used improperly. By exploring the complexities of these traits, you can create compelling and multi-dimensional characters in your novel.

Happy writing!

Why must Horikoshi include this grape?

We love character development, but Mineta has only shrunk in my eyes. Bkg isn't perfect, but how dare Mineta call someone that always does his best work a delinquent!

Bakugo was raised in a house were being loud was how you were heard and that is how he learned to express himself.

Man, Mineta annoys me. I don't even know if i'm spelling his name right but I do not care enough to check.

I raise you: Actual good person whose circumstances lead them into an unethical lifestyle. They’re dangerous because you can’t see through their manipulation—there isn’t one. The concern they show for others is genuine, and the things they do are because they actually want to help. But when push comes to shove, they will betray you (they won’t like it, they do care for you) because they have to in order to survive. The betrayal hits harder because it wasn’t a ruse.

I am, as always, talking about Kate Austen.

10 Traits That Make a Character Secretly Dangerous

❥ Disarming Humor. They’re the life of the party. Everyone’s laughing. No one’s noticing how much they aren’tsaying.

❥ Laser-Sharp Observation. They see everything. Who’s nervous. Who’s lying. Who would be easiest to break. And they don’t miss.

❥ Unsettling Calm. Even in chaos, they stay still. Smiling. Thinking. Calculating.

❥ Weaponized Empathy. They know how to make people trust them. Because they know exactly what people want to hear.

❥ Compartmentalization. They can do something brutal, then eat lunch like nothing happened.

❥ Controlling Niceness. The kind of kindness that’s sharp-edged. You feel guilty for not loving them.

❥ Mirroring Behavior. They become whatever the person in front of them needs. It's not flattery. It’s survival—or manipulation.

❥ Selective Vulnerability. They know how to spill just enough pain to make you drop your guard.

❥ History of “Bad Luck”. Ex-friends, ex-lovers, ex-colleagues… they all left under “unfortunate” circumstances. But the pattern says otherwise.

❥ Unshakeable Confidence in Their Morality. They don’t think they’re the villain. That makes them scarier.

Let's talk about Tidus and Yuna, shall we?

As someone who enjoys FFX, this probably should have come a long time ago. Tidus and Yuna's characters in the original Final Fantasy 10 are excellent.

Tidus successfully portrays a seventeen-year-old boy in this fantasy situation - slightly annoying, slightly arrogant because of his famous father and his own famous Blitzball career, and utterly overwhelmed by being thrust into an entirely new world without knowing if he can go home.

While FFX tries to fake you out into thinking it's a time-travel story where he has been thrust 1000 years into the future, the city of Zanarkand is a physical location in Spira that just requires you to be made of pyreflies to enter (aka dead or a summon). This makes Tidus essentially a summon, which is an interesting theory for another day. This means Zanarkand is just a place that hasn't changed in 1000 years, likely in some infinite loop imagining and reimagining people who had once lived there - warping them slowly over time, but ultimately just trying to keep the city alive (which is how we got Tidus from Shuyin, I think, idk I really don't care for 10-2's plot). The fayth were trying to imagine what would happen if Zanarkand was never destroyed, but I think they simply would have started running out of ideas for new people who lived there, so it did end up looping old characters into slightly newer forms. Like fanfiction characters, honestly.

But it's so great to see Tidus's journey. He starts the game a confused outsider just trying to survive, someone who doesn't mind speaking up about how he feels and what he believes. His outsider perspective provides a means for the audience to be introduced to Spira's world building as well, and we also get to see an unbiased point of view to Yevon's religion - and not necessarily a disrespectful one. Tidus, though he doesn't preach Yevon as a devout follower for his entire life, still tries to make an effort to be respectful of the good parts. When Shelinda corrects him, "That's MAESTER Seymour, or LORD Seymour", he says "Sorry, I'll be careful."

He dashes into the Cloister of Trials to save the summoner who might be in danger, regardless of the rules or presincts, because he's got a childish outlook life and a good heart despite his many inital arrogant qualities. He wants the best outcome, he's willing to believe in doing the right thing even when it's hard, and yeah it's unrealistic at times, but it's a breath of fresh air for the people of Spira who live rather docile lives always in fear of Sin and dedicating themselves to the kindness of Yevon's teachings. He admits "Maybe this wasn't such a good idea" after he breaks the rules for the first time, and watching Yuna on her pilgrimage and how she interacts with the people who admire her for her father and her own summoner status allows Tidus to humble himself while still remaining fundamentally defiant to anything he doesn't agree is right - aka Yuna sacrificing herself.

Religion isn't always a bad thing, and FFX makes a point to emphasize this. The people of Spira are kind and respectful, banding together in the hard times and unting together to have hope. Yuna is initially a beacon of hope - all summoners are - making people smile and flock to her wherever she goes, and she gives people respect and encourages them to have faith not only in her, but in themselves as well. Even when she's branded a traitor, a significant number of people recognize Yuna's dedication to the people and immediately believe the next tale about it all being an evil Al-Bhed rumor.

Yevon's corruption is just a few people abusing their power, twisting a good message into a cult-like dedication. Wakka is the most notable case, but technically all of the characters go through a period of blindly believing in the teachings and Yevon and eventually finding their own path. Even Tidus, who didn't grow up believing in Yevon or knowing its teachings, finds that the people's way of life living in rightful fear of Sin has them NEEDING Yevon and the messages of kindness and compassion it preaches. Maybe they shouldn't believe in everything the Maesters say Yevon is, but he can understand the intentions behind it and how the regular, uncorrupt people just live their lives trying to be good.

Now that I think about it, the parallels between Yevon and Blitzball actually make a lot of sense - Blitzball is the entertainment people go to in order to forget about the fears of Sin, and Yevon is the religion people worship in an effort to band together and have hope against Sin. Huh. No wonder a Blitzball sign for victory became a religious thing.

Anyway, Wakka eventually apologizes! He recognizes that the Al-Bhed are just people. They don't believe in Yevon's ways BECAUSE they care, just from a different perspective. Just because they don't believe in Yevon doesn't mean they're savages, and when their Home is destroyed by merciless Guado, he hears them singing the Hymn of the Fayth to respect their fallen as well. Wakka admits he didn't want to hear anything he didn't agree with, that he was a jerk, and Cid agrees that he's hated Yevonites just for being Yevonites too.

Here's a Wakka glare just for our collective amusement.

Who were we talking about? Ah, Tidus.

Tidus is indeed a whiny character, childish, toeing the line between humor and annoyance. But he matures throughout the course of his journey, caring for the entire crew but Yuna especially. When they reach Zanarkand and learn the truth about the Final Summoning, Lulu tells him, "If you want everything, you'll end up with nothing," and he replies, "But I want everything!" His unwavering hope and optimism even when everyone is telling him it's impossible is necessary for the story, to tell the characters that yes, your sacrifices will be pretty and give temporary relief, and you'll be dead and martyred and remembered - but how can it be right? It's not.

From his basic, outsider, new perspective on this world he only just joined, it's not right. He didn't grow up with this being normal, so even in comparison to the Al-Bhed, he knows that it's not.

There's a saying somewhere that I forget the source, but basically it goes like "Children are raised to believe the world is good and fair but are outraged when they grow to learn it is not." Tidus asks what an ADULT would do, sacrificing a summoner and just moving on with their lives like it was fine to give one life for many, just happy it wasn't them. Adults are indoctrinated into a way of life and a way of thinking, and it's extremely hard to get people to change their minds - but not, as FFX proves, impossible. Both he and Yuna are still kids, kids who are still able to grow up to see the world for what it truly is.

Yuna was betrayed by Yevon, all her beliefs torn down and the hope she had placed on the system shattered. But she continued her pilgrimage. She dreamt of all the fun things she could do if she quit, knew that all of her friends and Guardians would accept her choice, but she knew she could never let it go. She stood up to the Ronso saying that she was fighting for the people, not the temples or Yevon - impressing Kelk Ronso who says she has an iron will that towers over Gagazette's peaks.

She has given her everything to this trip, but it's not fair. Just because it's the right thing to do doesn't mean it's right - and you need a character like Tidus to put his foot down and say no. Everyone is willing to sacrifice themselves, everyone is willing to be the one to die so that others can be happy. But it's not fair. It's not right to let anyone die, even if they're willing, even if it's one for many. It's a temporary fix, it's feeding an endless cycle of lies and false hope. It's not real.

But it is YUNA who ultimately makes the choice to say no. All this time, she's been insisting she keeps going despite both Rikku and Tidus's protests and desperate attempts to get her to change her mind. She's been the most resolute out of all of them to go through with this, but in the end, it's not Tidus or Rikku who kill Yunalesca before she can get the chance or present her a stirring enough argument or some alternative. No, it's Yuna who asks directly what the cycle of the Final Summoning and Sin mean, hearing that the hope they offer is false, and when asked who will be her fayth, everyone is silent, waiting for her answer - because it is Yuna'a choice, Yuna's pilgrimage, Yuna's story. And she says, "No one."

She would have gladly died for the people of Spira, but she is done. She isn't going to join into this cycle of death and lies. Her father chose to become a summoner and defeated Sin, but it was because he truly believed that it would make a difference. He died because he had hope, and maybe it was indeed false hope, but somewhere deep down, he really did want to find a way to stop Sin for good. He and Jecht went into that battle hoping that Jecht and Auron would find a way to break the cycle. And let's be honest, they did. Tidus and Yuna were brought up differently, but they end up seeing each other's sides of the story and agreeing on so many things. The people are worth fighting for even when they're being misled.

Yunalesca's argument is that sorrow will always exist, and false hope is all anyone can offer to soften the blow. But Yuna is ready to live with her sorrow and brave whatever comes from it. She will find her own hope, even without knowing there will be another way, and she knows she will conquer it. She proved it long before she reached Zanarkand, after enduring Yevon's betrayal; now her methods have changed, but her end goal is as resolute as it's always been. She's going to defeat Sin, and she's going to give people REAL hope, even when it's hard.

Yuna says no to Yunalesca. She joins in the fight to destroy the Final Summoning forever, and slowly she learns that she can function beyond Yevon's teachings. The team who made 10-2 seemed to think that Yuna needed to toughen up and become some kind of badass (which they failed at portraying, Yuna is an utter wreck in that game and let's not talk about how Rikku devolved), but she was already a freaking strong character! She stood up for herself the entire game as a strong-willed summoner willing to give her life for the cause, but she also stood up for herself by declaring she would LIVE. It's entirely in character for her, even when she's changing her mind and broadening her horizons. Yuna was the character who smiled even knowing she was on a long, slow journey that would end in her death, who was willing to do it if it would make others smile too. That is a strong character right there.

I do agree that she might not know what to do with her life now that she doesn't plan to die, but come on, don't make her into a wanna-be who tries to pretend like she doesn't care only to reveal yup she cares, what a pushover. Her caring nature is what makes her great to watch! Frustrating when she tries to do everything on her own with the Seymour thing, but entirely in character. Empowering when she makes her own choices and decides for herself. I don't know why she does nothing for two whole years during Eternal Calm but okay maybe I can see it. But for her to try doing a 180, respecting no one and no one respecting her even though she DEFEATED SIN was such a mistake. Plus the mini games in 10-2 are utterly atrocious. Anyway, tangent over.

But then the script has flipped at the end of 10. Tidus is the one that realizes Zanarkand is what Sin is protecting, that defeating Sin will make the whole city and everyone made from the dream disappear. He is the one who has to sacrifice himself for Sin to be defeated. Unlike summoners, however, Sin won't come back if he does this. He's grown across the journey just like Jecht did, following a summoner and learning what it means to want to give your life living in hope that it'll save everyone else.

Yuna has to sacrifice the Aeons she's forged her own bond with - which, remember, every summoner makes a unique bond with the aeons. She has to say goodbye to Auron, see Sir Jecht only one more time as he gives his life as an Aeon and uses the last of his power to give his sword for the final battles to fight on (did ya notice that?). Then, in the final tragic scene, Tidus becomes intangible and tries to say a cheerful goodbye, apologizing for not being able to show her Zanarkand like they had pondered when Yuna was dreaming of the things she'd do if she abandoned her pilgrimage and lived. Now, Yuna is the one having to say goodbye to the one sacrificing their life. The soft piano, the wailing of the colorful pyreflies as they disperse with all the dead, it's freaking beautiful man.

Yuna's final line hits hard too, her speech about how everyone has lost homes, dreams, and friends. They can build new homes and new dreams, even if they can't get back lost friends. "The people and the friends that we have lost...or the dreams that have faded...never forget them." Get it? Be...Because Tidus is a dream that faded? Anyway I'll just be crying in the corner over here don't mind me.

In the end, it's sort of understandable why Yuna just sits around in Besaid after the end of 10 during Eternal Calm. Maybe. Not only did she have no plans for her life after Sin was defeated (thinking she would be the one to die), but she lost her entire purpose in life AND she's reeling from the fact that even though she made the choice not to sacrifice herself just for everyone else's false hope, someone still had to give their life - Tidus. Someone still ended up dying for the cause, even after all she went through deciding to live.

The ONLY moments I actually respect Yuna from 10-2 is during the end, when Nooj volunteers a plan to give his life to win the battle (which was already stupid even before Yuna's speech because we're talking about an Unsent, Nooj your plan does nothing to stop someone who's already dead, idiot). Yuna's lines are extremely good and well voice acted too: "'We had no choice.' Always 'We had no choice.' Those are our magic words. We repeat them to ourselves again and again. But you know... The magic never worked! The only thing we're left with is regret. No. I don't want this anymore. I don't want friends to die...or fade away. I don't want battles where we have to lose in order to win."

It also demonstrates better than that stupid minigame how difficult it was for Yuna to have destroyed the aeons she had forged a bond with. What I'm saying is, fuck Beclem and everyone else who dares disrespect Yuna, summoners, and everything they went through. Even though that time and age in Spira might be over, that's NO reason to immediately scoff in the face of everything all those people went through - everything YUNA sacrificed and endured for the sake of these ungrateful whelps.

Both Tidus and Yuna were excellent protagonists of X, despite both of them having a lot of growing to do. In conclusion, let me make use of this fun poll feature if you made it this far down:

Their growth is something that can be so personal

Okay but like,

In the beginning of the game, Nora (Estheim) is killed by a Skytank explosion behind her while she's kneeling to help Snow after saving his life.

There are those who hate on the scene for quickly killing her off, but like man that's a woman who just went on vacation with her son and ended up in the wrong place at the wrong time, who was brave enough to join the other Purge victims in trying to fight back because yes, she's a mom, but she'd rather go out fighting with the people actually willing to help keep them alive in this desperate situation where there own government and entire planet turned against them for no reason other than bad luck.

Snow failed to save her because he didn't manage to keep his grip on her; Nora was injured and she gave him her last request because she had given up at that point. Snow looks at his hand in the aftermath because letting Nora fall alone was his biggest mistake.

Some point out that Snow survived the exact same fall as Nora, but barring the fact that he's a 6 foot 7 inch man who is also a fit fighter and she is a mother who lives in a peaceful city, the idea is actually supposed to be that if Snow hadn't let her go and had shielded her body with his - MAYBE SHE WOULD HAVE SURVIVED.

We don't know, certainly, and Snow is definitely still injured after his fall and stumbles as he gets up. He's traumatized by all of the people who died under his command; NORA the gang is equipped to fight, but they've never fought in an actual war before, much less against their own government. But Nora is the one who died closest to him, to the point that she told him she had a son she wanted him to protect. He needs to keep going for Serah, but he and Gadot specifically go and check to make sure all the kids are okay - under the logic that if he instructs his crew to keep all of the kids safe, that'll keep Nora's son safe by default. He can't do any more than that for her, and it's killing him, but he has to shove it down because there are more people - especially the one he loves - relying on him to keep going.

And then he has to keep going. He uses Serah's wishes to give himself a reason to keep going. No time to process his guilt because he has to keep going.

But then, the beautiful scene in Palumpolum happens.

Hope is blasted by a Skytank explosion from behind as he's kneeling to end Snow's life, a direct parallel to how Nora DIED.

In that moment, Snow doesn't care that Hope is trying to kill him. This time, he doesn't hesitate to dive off the ledge after Hope to catch him and shield him with his body and make sure that Hope isn't falling out of his grip. The fall is brutal, Snow is nearly crippled from the damage, but Hope is ALIVE, and can you imagine how that makes Snow feel?

Sure, the drop was probably shorter than in the Hanging Edge, but beyond the regular reaction to Snow finally facing his guilt and acknowledging he was running, still picking himself up and dragging Hope up a ladder back to the apartment levels, I just love the parallels in that scene. Snow finally got to save Nora's son, and he's fully willing to face the consequences of his actions.

Then, Hope is able to come to terms with his own running and denial. He had admitted multiple times that killing Snow won't bring her back, but he needed to keep going. And Snow knew his optimistic attitude led people to their deaths and smiling even in horrible situations was awful from other (Hope's) perspectives, but he had to keep going.

Don't ever tell me that there aren't great character arcs, developments, and nuances in FF XIII.

PEDRO PASCAL

Sundance Film Festival 2024 // "Freaky Tales" premiere in Oakland, California, 2025

Best: whatever resonates with your audience.

Because some people will read the second sentence and complain it’s too abstract.

Bad: "Her eyes were as blue as the ocean."

Better: "Her eyes were the kind of blue that makes you forget storms exist."