I have a character that lost his daughter through his own action saving the world. He then goes to save her through karmic, space-time bullshit. When she is saved, she doesn't even remember her own father. And the character should go a separate way from her because of karmic connection that will make her died again.
I don't think so. This is actually a good way to portray tragedy and the inability of humans, you know? I like this very much. He prevented the tragedy of someone else, but met his own in the process.
Lmao, being spider-man are suffering.
Suffering is Spider-Man at this point. Btw, what site do you post your work on?
The correct answer is infinte +1
Ayyy, I have a character that is the son of Shub-Niggurath. In name, anyways. But he is a relatively normal character with no tragic backstory. He is just a human who was shown love by an eldritch All-Mother.
There must be a good reason for tragedies if that's the central theme of your work.
Their relationship isn't revealed untill volume 3, even then their relationship is not made clear. Yoggy works as a neutral ground for humanity and the outer Gods, staying true neutral. Meanwhile, Shubby is there to oppose the idea of eradicating humanity. Magic originated from Shubby as well, giving it the potential to oppose the old ones. Making magic akin to a warm embrace form a loving mother.
Interesting...so I'm guessing the main conflict of your story is that the Outer Gods seek the eradication of humanity, but certain Outer Gods like Shub-Niggurath are opposed to the idea? That's an interesting concept, especially since Shub has a more intimate connection with humanity due to your OC.
Yeah, his name is Akira. I am reworking my web novel right now. He is basically the bastard child of the sea (reference to Hebrew mythology). Akira even has to solve a conflict between two titans (Leviathan and behemoth) by bringing Ziz, the primordial sky-monster at the ends of time.
He pushed his opponent off the ring. Mf was so weak, he had to use the other party's strength against him. I don't know why I made him so weak in the start, but it's fair Ig since he was fighting a second year while being a first year.
Which one? I have like 12.How memorable was your MC's first fight? My character had to utilize dirty tactics to win
Your favorite.
Yeah, pretty much.
You ever read Invincible?
Yeah. But I haven't finished it yet. Too thick!
I didn't see this, and I absolutely agree with you.
Totally get it, dude. I have trouble writing emotions too. The reason why I don't write romance...
That's why, at the moment, my OC's only form of tragedy is that he's the son of Nyarlathotep. See my headcanon is that due to how evil and malicious Nyarlathotep is, both in Lovecraft's original and the expanded universe, it causes any of his children to be born with the same malice and chaos. But my character is stuck in this middle ground where he wants to act human, but his eldritch half occasionally makes him go through moments of insanity and become extremely vicious.
Dexter Morgan... Sorry, just got reminded of him.
As with most writing advice, I think it just depends on the intentionality of your work—the reason you are writing a story with such a protagonist—and how conducive the protagonist's experiences are to exploring or inspecting that initial motivation, at least insofar as you can reasonably justify including it to begin with. When I am writing a character, I never consciously think about how "traumatized" I should make them, as if that is even some measurable element of one's personality. I am only thinking who they are, who they were, and who they will or want to become, and anything that happens to them across the entire narrative, traumatic or not, are liminal experiences which delivers them from one state to another. (Though, even this method of thinking is a little too modal for my tastes, as it implies people can be reduced to particular, static states from different points in time, and I'm honestly trying to restructure my thinking in that regard, but that's another conversation.)
Being real, every character in any story is just the OC of their creator, so there's no "genuine" or "not genuine" writing.
I don't mean it that way. There is a big difference between someone who writes simply to show how cool or tragic their character is, and someone who understands how to develop a character through different stages of their work.
Narratively and psychologically speaking, I think it's because we, the audience, have this instructive expectation to see a character who is suffering to overcome said suffering and find happiness as a reward for getting past it. But in bad writing, specifically anything involving fanfiction, there's this stigma involved where characters tend to suffer not for the sake of personal development or for the sake of the plot but for the sake of suffering itself.
While that is true, I think it's also important to understand that this dichotomy of "good writing which subjects its characters to suffering to some greater end" and "bad writing which forces its characters to no purpose" doesn't really exist. Those who suffer do not owe anyone, especially an audience, growth. Maus by Art Spiegelman, while obviously a retelling of actual history, depicts suffering in a meaningful and deliberate way, without having its "characters" necessarily become better off of that alone.
Yeah I totally get that, I mean I'm a fan of HP Lovecraft so I know not all stories are going to end with characters overcoming their suffering/tragedies, but I'm more so referring to the psychological aspect of how humans perceive tragedy.
Ugh, Akame Ga Kill...I think AGK should be an example used in literary classes to teach students what well written tragedy is and what horribly written tragedy is.
It was my first anime after three years.. wasn't expecting the end. And the first anime movie I watched (except for Doraemon) was 5cm per second. Came for the romance, got an heartache instead. 10/10.
Is that Joshua Van Radcliffe I hear?
How banal.
