Difficulty Levels: Git Gud, Heroes

You can’t just gradually farm enemies that get slightly stronger until you’re just one level behind a boss.

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In life, we know conflict. Strife. Difficulty levels.

There’s easy. Normal. Hard. Extreme. And Cuphead/Dark Souls. The measures which tell us just how hard a time the protagonists will have.

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While you, the writer, make this face.

And as it is the sacred duty of writers to give our characters a hard time, it pays to understand just how BADLY our torture devices/writing tools will hurt them.

Oh, and uh, how that reads for the audience. Of course.

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Story Patriotism: The Patriot Act…ors

So Major USA is defined by his love of freedom and refusal to use the metric system, while Captain Canada is unfailingly polite and considerate.

NAAAAAME-OF-COUNTRY!

EXPLETIIIIIIIIIVE!

TOTALLY UNJUSTIFIED PRIDE IN MY HOMELAND!

But what happens when you make a CHARACTER like that? What’s the deal with the guys who actually chant “U! S! A! U! S! A! U! S! A!”?

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Fabletop: Dungeon Day Jobs

What if…the monsters who only live to give you something to fight…had lives of their own?

A bunch of genocidal kleptomaniacs have just come back from a killing spree after breaking into private property, butchering the inhabitants and stealing their possessions.

They are praised and rewarded further for wiping out the hobgoblin menace.

But what if…the hobgoblins…had lives?

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Complex Villains: Apathy For The Devil

Unlike two-dimensional villains who can become UNINTENTIONALLY beloved, these guys are a DELIBERATE bet.

I’ve talked about empires and gods as villains. And I’ve talked about villains that you love to hate or love despite the fact that you should hate them.

But what about when loving them is EXACTLY what the writer is asking you to do?

What happens when they are given something that is OBVIOUSLY, UNAMBIGUOUSLY, meant to be ADMIRED? A story that is meant to be PITIED? Where sometimes you DON’T want them to pay?

That’s where sympathetic villains come in.

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Final Week Fables – The Clone Wars: Lone Wolffe and Cub

I remember a bright-eyed Padawan with a big mouth and a bigger heart.

Star Wars: The Clone Wars!

Revived for a finale season!

AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH!

Ahem. So I’m a fan of the series and of Star Wars in general, and of background Jedi ESPECIALLY. So naturally, I decided to take this time to pay tribute the best way I know how: By focusing on minor supporting characters and writing overly in-depth head-canon about them!

Huh. You’d think I’d be putting these on YouTube or something, I mean, that IS what it’s for, right?

Without further ado, I present a Star Wars fanfiction that is related to an iconic Japanese samurai film in name only! And, as opposed to writing a story for a picture, this time it’s finding a picture for a story!

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“No sign of our screentime this season, General.”

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Comic Relationships: Happily After Ever

You CAN, in fact, tell a good story that has…HAPPY RELATIONSHIPS.

Once upon a time, there were two fictional characters who were born under an unlucky star. For the fates known as The Executive Studio and their very own Creator had decreed that their lives would be intertwined in the most horrific of fates: To be locked into a romantic subplot.

After many a travail, first struggling to come to terms with it, then finally confessing it, then surviving the Extragalactic War and the resulting Time Disjunction, then crossing the boundaries of mind, body, and spirit, then splitting up over The Hoagie Incident, they found their way back to each other and lived happily ever after.

…WHAT?! HAPPILY EVER AFTER?!

NO! THIS CANNOT BE! AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHhhhhhhhhhhhhhhhhhhhh-

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Comic Relationships: They’re Off Again

“Sorry, I’m flattered, but I’m in a committed relationship. BEGONE, THOT.”

Love is in the air!

If you’re a writer, it means rich interpersonal drama for the heights or depths of emotion.

If you’re a fan, it means one thing: SHIPPING.

And if you’re a fictional character, well, love actually…sucks. If it’s not the love triangles, the deaths, or the fact that fictional characters are emotional wrecks, it’s the executive team deciding a breakup will boost viewership.

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