Game of Thrones Predictions- House Stark

Back with more Game of Thrones posts, today we’re going to focus on the Starks and go more in depth with the fate of our favorite and most sorrow prone family.

The Starks have had a rough series run. The majority of Starks have been killed off, and those who haven’t were put through the ringer. Bran was crippled in episode one and now appears dead inside after taking on the responsibilities of the three eyed raven. Sansa has been married or engaged to plenty of terrible people, beaten, raped and generally tormented. And Arya endured abuse as a servant for the Lannisters and later as a trainee assassin, even having her sight stolen from her for a time. It is not easy to be a Stark. So how are they going to come out of this story? Will they have a triumphant ending or will their journey end in tragedy?

I should mention that for the purpose of this post I am NOT going to be talking about Jon Snow. While I consider him, personality wise, more of a Stark than a Targaryen, I am still going to save him for the Targaryen post, just so I don’t have so much to write.

That said, let’s focus on the true remaining Starks: Sansa, Arya and Bran.

Game of Thrones has garnered a reputation for killing off main characters with no mercy. However, there was never a doubt in my mind that these three would make it this far. Because these are characters that suffer rather than die. That is the hallmark of their journeys: Suffering great personal losses and having to change to overcome the world around them. They are children who had to grow up very quickly to survive and they all developed into very different people. This is significant because none of them are a plot device in someone else’s story.

Take Shae, Oberyn and Tywin for instance. Each of these characters was killed off in season 4. But their deaths were not culminations of their own arcs but rather, Tyrion’s. Oberyn had to die so that Tyrion was forced to leave Westeros. Shae died as Tyrion’s tragic love interest, breaking his heart. And Tywin’s death was a long time coming and showed Tyrion finally standing up to his father. These characters, while all very interesting, were never going to be major players because they were tied to a different POV character.

On the other hand: Arya, Sansa and Bran are each a part of their own story. Therefore, they had substantial plot armor throughout the show. It’s not a knock against the show’s quality. All fictional stories have characters with plot armor. Some characters are necessary to the plot.

But now we must ask what the culmination of all this Stark suffering will be. After losing so many family members and spending their days in hellish environments, how will this madness end? With triumph or tragedy?

I think the answer is different for each of the Stark children, so I’ll cover each of their arcs separately before talking about them and their family as a whole.

Bran

Let’s start with Bran, the youngest surviving Stark and the plot device that started it all. Bran’s fall from the tower is one of the great inciting incidents of Game of Thrones and it sends him on a journey of self-discovery. He learns more about his magical powers with the help of friends and, after being kicked out of his home by Theon, goes beyond the wall to the tree he saw in his dreams. There he becomes the new Three Eyed Raven, ascending to a higher form.

In many ways, Bran is already dead. His wolf, Summer, has been symbolically killed and he is a shadow of his former self. Really, he’s a plot potato, showing up to give exposition when needed but not doing much of his own volition. Because of this, his arc as a character seems to have ended already. He is no longer Bran. He is the three eyed raven, and more of an accessory to other’s stories now.

For this reason, his journey will likely end in tragedy. His suffering has culminated in his rise as the Three eyed raven, learning to fly. But as he is so powerful, the plot cannot allow him to live. It’s too easy to have an all seeing person around and that can open up a lot of plot holes if the all-seeing person doesn’t dispense much needed information.

Thus, Bran will fall in season eight, coming full circle from season one. His first death scare came in the first episode, so I wouldn’t be surprised if he lives up until one of the last episodes, maybe even sacrificing himself to help defeat the Night King. He does have one of the most personal relationships with the Night King because of his visions, so it would not be surprising if he was key to taking him down.

Alternatively, if Bran does live, he must find himself again and divorce himself from the three eyed raven. I don’t know if that is even possible, but I am open to possibilities. Maybe he could lose his memory again in an echo of the first episode. Right now, however, it seems like he will follow his wolf to the grave.

Sansa

Next we come to Sansa, one of my favorite characters, and also my candidate for most likely to survive this damn show. If someone asked me to bet my money on ONE character who I thought would survive Game of Thrones, I’d bet on Sansa. I would have bet on Sansa since the end of season one when we see her first true moment of strength.

Sansa’s arc has been marked by suffering, suffering and more suffering. She has arguably suffered more humiliation than anyone else on the show, being engaged to Joffery, beaten and psychologically tormented, married off to Tyrion, the member of the house that killed her family, engaged to another prick shortly after escaping while Littlefinger creepily preys on her, sold to the Boltons and tortured and raped by Ramsay. I could go on. But Sansa is the example of a character who started off naïve and slowly but surely learned to play the game.

With each passing season she got better at lying and hiding her true emotions, developing a mask worthy of even the best manipulators. She has become a powerhouse much like Dany and Cersei, but in my opinion, she’s a smarter politician than Dany and has a kinder heart than Cersei. She has become the game’s best player.

And since this show is called Game of Thrones, this means good things for Sansa. Now that she has finally cast off her so called ‘mentor’ Littlefinger, she has really come into her own. Not only that, but she is back at Winterfell where she belongs, along with her surviving family. This is a well earned victory for Sansa. And while season 8 will no doubt be a hard road for her, the only satisfying ending for Sansa Stark is her survival.

If she suffered so long only to die, it would feel excessive. This show has not been building to Sansa’s tragic downfall but her rise. When all the soldiers and fighters lay dead on the battlefield, she will outlive them all and be the one to bring the Stark house into spring.

Arya

And last we come to my dearest Arya. The treasure of my heart. While I grew to love Sansa, Arya has been a favorite of mine since day one because I’m biased toward tomboys. Which is why I’m extremely nervous for her in the upcoming season of Game of Thrones.

But let’s reflect back on Arya’s journey first. Our pint sized Stark daughter has been through her fair share of suffering too. She watched her father die, then narrowly escaped the castle dressed like a boy. Soon after she fell into the hands of Lannister men and was forced to serve the patriarch of the family who destroyed hers. She survived travelling with the Brotherhood without Banners and the Hound and, after months without seeing her family, thought she might finally reunite with her mother and brother. Instead, she bore witness to the red wedding. This started her on the path of a killer, which eventually led her to Bravos where she endured the ruthless training regimen that one day even left her without her sight. Still, after all of this, she could not become faceless or abandon her family. She is still a Stark through and through.

At the beginning of season 7 was worried that Arya may have fully changed into an assassin when she did not immediately return to Winterfell. However, it is clear that by this season’s end, Arya has chosen her family over her vengeance, even making up with her sister Sansa. Her list is nearly exhausted and she just wants to protect the loved ones she has left.

Arya has had one of the journey’s most independent from other characters. She didn’t see any of her family since season one and wasn’t even in Westeros for two whole seasons. Now that she has returned with bad ass fighting skills and come into possession of a Valyrian steel dagger, it is clear she will play a big part in the war to come.

I stated in a previous post that Arya was one of my 50/50, live/die characters. Because there are a few ways I can see her story going.

1. The tragic revenge plot- Though she wants to become a Stark again, she has gone too far down the dark path and cannot leave the assassin life behind. She decides to go after Cersei herself and ultimately loses her life.

2. The sacrificial hero- Now that Arya is back with her family she will do anything to protect them, including sacrifice her own life. When one of her loved ones is in danger, probably Jon, she will step in to defend them. She can’t watch one of her siblings die again without doing something about it.

3. The survivor- Arya has already suffered a lot and proved herself a survivor. If she makes it through the Game of Thrones, she will experience more loss, but ultimately become stronger for it.

Whatever the result, Arya will never be a player of the game. She will not be a lady in a castle but rather her own person, following her own path. If she survives the war, she may even travel to get away from Westeros for a while. Now that she has seen so much she can never fit into a mold again. Her ending will be bittersweet no matter what. Though I would not complain if she and Gendry got a sweet resolution.

The Starks as a whole

Whoever lives and dies, the Stark family must survive. After suffering so much, the name Stark will continue one way or another. It will be the finest revenge against their enemies: enduring. At this point, either Sansa will be the lone survivor of her house (not counting Jon if he lives), or the two sisters will live on. It is up for debate.

Let me know what you think in the comments. Next week we’ll talk about the Lannisters.

Game of Thrones- Who Lives, Who Dies, Who Tells Your Story?

BEFORE we jump into this post, just a quick plug- the sequel to Hour of Mischief, SEASON OF WIND, has a giveaway on goodreads right now so pop over if you'd like to win a copy. It comes out September 19th. Cover reveal will come soon.

Goodreads Book Giveaway

Season of Wind

by Aimee Hyndman

Giveaway ends September 30, 2017.
See the giveaway details at Goodreads.

Enter Giveaway

Okay, now to todays post! The question of Game of Thrones has always been ‘who is going to die’? As a show that built itself a reputation for murdering beloved characters, with each passing season fans have prayed for the survival of their favorites. But with the last season nearing the question becomes: Who will live?

It’s an exciting question, right? Whoever survives this season gets to live indefinitely in our hearts. We never have to watch their death scene. That’s the stuff dreams are made of. I certainly have favorites that I want to make it through, but I want to take a step back and think about this as a story teller. Putting my personal feelings aside, who do I think will make it through this season based on the needs of the plot? I have a few ideas.

1. There must be at least one survivor from each of the original houses

The original logo of Game of Thrones sported a wolf, a lion, a stag and a dragon, each symbolizing the houses of Stark, Lannister, Baratheon and Targaryan. These were our initial players. Obviously, there are other major families who have come and gone, but these four started it all.

With the arrival of Gendry, the one surviving member of the Baratheon family (literally the only one, the others have been out for a while), this old theory of mine becomes possible again. Many of the members of these houses are dead and gone. Certainly all of the original leaders are in the ground. But at least one member of each will survive to tell the story--and hopefully rebuild their family.

On the Baratheon side of things, there’s really only one option: Gendry. He didn’t come back from rowing just to get axed in the finale. I think this bastard son is going to make it through with his war hammer in hand. He’s been through a lot but he’s good at heart: brash like Robert but not a drunk or a war lord.

On the Targaryan side of things, it seems deceptively simple. Danerys has been the last Targaryan for a while. UNTIL of course, Jon Snow’s true parentage was revealed. Now there’s another Targaryan on the scene, which means Dany may not be safe. The more I watch the show, in fact, the more convinced I am that she is going to die. It has always been a little too obvious that she would be the one to sit on the iron throne. She’s been planning it since the beginning whereas Jon is a dark horse in the running. 

Jon could die. It’s in character for him to make reckless decisions and perish as a hero. But we’ve already had a death scare with him, so killing him at the end would lack punch (unless of course it happened in conjunction with Daenerys). There is a possibility they’ll both survive, but since George R.R. Martin has talked of a “bitter sweet” ending, I doubt it. If they do both die, you can bet that their child is going to survive. I don’t think there’s any question that Dany is going to get pregnant. The show has been a bit heavy handed with it’s foreshadowing in that department. But, whether that child will grow up parentless remains to be seen.

The Lannisters and the Starks have, oddly, the most surviving members, both standing at three. Let’s look at the Lannisters first. I don’t think there’s any question that Cersei is going to bite it by the end of this series. She will never bend the knee and with her children gone, she has no more love to give anyone. I don’t think she’s really loved Jaime for a while. She manipulates him and uses him, but she doesn’t seem to bare much true affection for her brother anymore, hence why he has finally left her. Loveless and cold, she will bend for no one and that will be her downfall.

As certain as I am that Cersei will die, I am equally certain that Tyrion will live. Tyrion is the underdog of his family and has also been close to death more than once. But, other than his sister, no one is out to get him anymore, and he’s established himself as important to many characters. Considering his arc, I can’t think of a satisfying way that the writers could kill off Tyrion. No. He is the dwarf who was underestimated all his life so he must be the one to survive.

And then we have Jaime, smack dab in the middle. Oh Jaime. He’s one of the only characters in the mix that I’m 50/50 on his chance of dying. On one hand he’s finally left his sister and his arc is headed in a positive direction. But will that result in ultimate redemption or a heroic death? Again, I can see either. If he’s going to die, I’d like it to be in the arms of Brienne as a small confirmation of my ship of all ships. But I’ll talk more about that in a later post. At the very least, Jaime will make it to the very last episodes, and if he does go, it will be fighting for the right side.

And then there’s my favorite family: the Starks. After losing so many Starks I am head over heels for all of the survivors. I want them to be safe and grow up strong. But I don’t think they’re all going to survive.

Bran is probably the Stark most likely to die at this point. The series started with him being crippled and now, according to the writers, he’s sort of dead inside. At least, he has moved beyond Bran Stark. But, simply put, he is too powerful to be left alive. He will likely play a huge role against the Night King, but in the end he will sacrifice himself. The show will come full circle.

Sansa is the Stark most likely to survive. If a character has been through enough, killing them is just excessive and not productive for their arc. And Sansa has been through a lot. She has grown from a naïve girl into a strong woman and I have no doubt that she will be one of the prominent rulers in Westeros at the end. Likely, the Queen in the North. She’s earned it.

Arya is another one of my 50/50 characters. As a fighter, she’s going to want to be in the thick of battle. That puts her in the line of crossfire. And though I dearly love her, there is a chance she could be killed, possibly protecting someone she loves. I think after reconciling with her sister, Arya is 100% on the side of her family. They are where she finds her identity and her name. She can’t deal with losing them again and would sooner die first than watch them go. But, on the other hand, she is a survivor and she could live on past the war and find her place in the world as a strong woman who no longer has to fight for her right to hold a sword. I am intrigued by both possibilities.

Those are the major families, but what about the other side characters? I’ll give you a quick rundown of their possible fates.

Theon- 50/50. He has been through enough at this point that killing him, again, seems excessive. However, he may die heroically, saving his sister, finally surrendering his cowardice.

Yara- 50/50. They’ve kept her alive for the last season for a purpose. Possibly just for Theon’s redemption arc, but who knows. If she dies, it will be fighting but I can see her living on. And wouldn’t it be great if a Lesbian actually lived in this show? That’d be rad.

Euron- He’s gonna die. Absolutely gonna die. No way he won’t die, hopefully at the hands of Yara or Theon.

Brienne of Tarth- 50/50. The other half of my ship is a warrior who will fight to the bitter end, but she does have a Valyrian steel sword. She’s gonna make waves and I do think, if Jaime dies, she will outlive him. Likely one or the other of them is going to die. Because happy endings never happen. Not that I’d complain if they did.

Davos Seaworth- Davos is going to live. It wouldn’t feel right to kill him. He’s one of the old characters who lives to a ripe old age and surprises us all. He will survive to adopt all the lost children of Westeros.

The Hound- If he goes, the Mountain is going first. I think he might live. He’s already had a death scare.

Tormund- Probs gonna die. They keep faking us out with his death, but since he doesn’t make much of a difference in the story anymore, the writers can let him go whenever they want to make us tear up.

Jorah- It’s amazing to me that he’s lived this long. I put my money on death. He will die fighting for Dany and have no regrets.

Lyanna Mormont- My girl is gonna live and be awesome. No question

Bronn- Another character who is...somehow still here? He’s either going to die in battle or get his castle.

Berric- Doesn’t have much of a point anymore and he’s on his last life with Thoros dead so...yeah, his days are numbered.

Melisandre- She has to die in this strange country and she will before the end.

Varys- Considering Melisandre’s foreboding line, Varys will likely die before the end. But he outlived Littlefinger, so he won that game.

Greyworm- Much as I love him, I doubt that D&D will let him live. He’s a loyal soldier and commander and we know what happens to loyal people in this show.

Missandei- She will live, even if Dany dies, and remain in an advisor role. She seems too smart to get herself killed and if she has to live with Greyworm’s death that would be more tragic.

The dragons- Obviously one dragon has already gone down, and I think Drogon will join Viseron before the end, just like his namesake. I think Raegal might be the dragon to make it through if any do.

And then, last but not least, Samwell Tarly. If I were to name a character for ‘Most likely to survive Game of Thrones’ it would be this boy. He’s the one you never expect to get this far but he has. And he is the reason for the name of this post. There’s the question of who lives or dies, but Samwell Tarly will be the one who tells the Song of Ice and Fire, which will be told for generations to come.

Those are my predictions. We’ll see if they’re right or wrong. Let me know what you think in the comments! I’ll be posting more detailed prediction posts in the coming weeks about the various families so stay tuned.

Happy Game of Thrones drought everyone and see you soon.

Game of Thrones Season 7: A Review

And so the penultimate season of Game of Thrones comes to an end, leaving us with a possible year and a half wait for the conclusion of the epic fantasy series. Before I start a long series of posts containing my season 8 predictions, I think we need to look back at season 7. Because boy do I have a mix of thoughts.

Season 7 was a messy damn season, no doubt. The writing quality was up and down and the pacing set at light speed compared to previous seasons. Plus, because the writers are very far off of the book material now, they don’t have George’s writing to fall back on which gives us a mixed bag.

Before I start ragging on some of the writing, I think I should say something: I don’t hate the show runners. Shocking I know, since everyone seems to these days. Considering the massive project they have on their hands, I’m not surprised that there were mistakes and low points. Remember George has taken decades to write these series, whereas the show runners are working on a tight deadline of a few months to get scripts written and sent in. As a writer myself, I know that’s not a lot of time. This past season was also probably the toughest to pull off as they had to trim the fat of unnecessary characters and bring this huge world together in order to prepare for the final battle. This was a mammoth writing project, so I give credit where credit is due: they did try.

Now that we have that out of the way, let’s start talking about the bad bits of this season.

The Low Points

I remember when people used to complain about the pacing in previous seasons. They would whine about how a conversation was ‘slow’ or had ‘nothing to do with the plot’ or was just ‘filler’. And yeah, maybe some of those convos were filler, but I loved them. They gave us a chance to breathe and get to know the characters more. They built relationships between them before sending them into the fray. But, to those people who were complaining, CONGRATS. You got your wish! There is no time to breathe in this season.

Everyone has their hands on a teleporter now and ravens travel at the speed of light. It’s a real shift from the first season where they make a point that it takes one month to travel vis caravan from King’s landing to the North. Now, people can get from Dragonstone to the wall in a jump cut. This wouldn’t be such a problem if they showed time passing. But time is, frankly, a nebulous thing in Game of Thrones now. How old are the characters? We don’t know. How long did Arya stay in Bravos? Don’t know. How much time passed over the course of this season? Not a damn clue. It’s odd that the concept of time requires more suspension of belief than the dragons or white walkers.

That being said, the time thing doesn’t really detract from the story. It speeds it up and it’s hard to accept, but, whatever. We want to get to our good content right?

The problem is, while Game of Thrones rushes some things like no one’s business, it moves at a snail’s pace for other things. Which brings me to the most frustrating stories this season.

Did you know the Stark sisters and Jaime Lannister are among my top five faves in the series? They are! Do you know how frustrating they were to watch this season? EXTREMELY.

Jaime Lannister has been on a long game redemption arc for several seasons. He’s trying to go toward the side of the good but Cersei just keeps yanking him back with her manipulative ways. The problem is, it takes him too damn long to figure it out.

I get what the writers are trying to do. They’re trying to show inner conflict in Jaime and give weight to his relationship with his sister. He can’t just shrug off a manipulative relationship like that quickly. It takes time. But when Jaime has pretty much dropped his sister in the books (or so I hear. I haven’t read that far), it’s annoying to see him continuously serve her. ESPECIALLY after she blew up the sept. That should have been the thing that sent Jaime running so seeing him linger at her side for the entirety of the season was exhausting.

Obviously, they wanted him leaving her to happen at the end of this season. They couldn’t just do it in the middle because that doesn’t fit with TV pacing. The culmination always comes at the end. But they could have written more resistance on his part. More arguing with her. More pulling away. Calling her out on her blowing up the sept. But because this was all subdued, perhaps in effort to trick us into thinking Jaime is going to stay with his sister, it just ended up frustrating. And yeah, seeing him walk the hell out was one of the most satisfying scenes in all of scenedom. But that doesn’t mean the process wasn’t excruciating.

You know who did an arc like Jaime’s better? Avatar the Last Airbender. Yeah, remember when Prince Zuko went on a redemption arc but then at the last second turned back because he was pressured by his manipulative sister and driven by his desire to rejoin his family? That was really sad and heartbreaking. But then halfway through the next season he figured things out and left the family for good. They didn’t drag it out. His arc had its ups and downs but it made sense. I really wish they did something more like that with Jaime but *shrug*, at least he got there eventually.

Jaime’s arc is the example of slow writing but Arya and Sansa’s story is just an example of bad writing. Episode five and six were just painful to watch. Let’s break down why.

It is implied, in episode seven, that Arya and Sansa have been plotting together in order to out Littlefinger. Arya is clearly in on the plan, as is Bran. But there are a lot of questions here: how long have they been in on it? When did Bran tell the sisters what was going on? And why wait so long to kill Littlefinger if they figured it out?

Let’s say that the Stark sisters were never against each other. Let’s say that they had a plan from the start. That is the solution I would like to believe. But there are a lot of issues with that idea. Sansa and Arya aren’t always arguing in public. One time they have a conversation with the door open and another time outside in the courtyard. Theoretically Littlefinger could be listening in (though they don’t show him there, which is a problem). But the most emotionally dramatic of their scenes happens behind closed doors. No Littlefinger in sight. If the writers wanted to get across that this was a show for Littlefinger they should have shown him being nearby or snooping or something.

But this story wasn’t about fooling Littlefinger. It was about fooling the audience. The writers wanted to make the audience think that the sisters hated each other so they could have their big twist. And what a cheap twist it was: an ending we all saw coming because of the totally forced nature of the conflict between the sisters. The death of Littlefinger may have been amazingly satisfying, but the lead up was some of the worst stuff they’ve ever done on the show. Period.

I have other small quips about this season. Like how there seem to be a lot of side characters with nothing to do. Or how Tyrion didn’t seem like the main character in his own story up until the final episode. Or how plot-device Bran has dug the writers a hole because they’ll have to come up with wild reasons why he doesn’t share important info. But those things were more minor for me. So, let’s jump into the good stuff.

The Good

This was a season of closure. Finally, we get Dany in Westeros. Finally, Jaime leaves his sister. Finally, all the surviving Starks are back in Winterfell. Finally, Littlefinger got what was coming to him. Finally, Gendry is back from rowing. Finally, Theon is taking control of the Iron born and going on his redemption arc for his sister. Finally, that damn wall is coming down.

We’ve wanted a lot of this stuff since season one. We’ve made jokes about the Starks never getting back together and laughed about the White walkers slow, slow moving army. We’ve complained about Dany spending too much time in Essos and screamed at Jaime to just leave his sister. But now, we get what we wanted. Resolution to arcs set up in the very beginning.

For that reason, this season was very satisfying to me. Patience pays off here because finally I get what I’ve wanted. My Stark survivors reuniting at their home was so healing to me. Arya and Sansa hugging twice and admitting each other’s strength despite their differences--that was so nice to watch. Danerys actually touching down in Westeros was almost unreal. Seeing her in a room with characters like Jon or Cersei--priceless.

I’m also a sucker for all the small character connections. The Hound and Brienne talking about their adopted murder child, Arya. Tormund speaking dreamily about Brienne to the Hound. Gendry and Jon laughing about their fathers. Jon and Tyrion reconnecting. It shows what an interconnected web of characters we have now. If even one of them dies, several of them will feel it and that’s a great thing to set up going into the final season. Cause season 8 is gonna have so much death.

I also think the series was smart in restablishing the original four houses. Yes, there have been others, but at the beginning it was Stark, Lannister, Baratheon and Targaryan. They bring Gendry back as the remaining Baratheon. They put the Starks in one place. The Lannisters all reunited in the last episode, reestablishing their familial bonds before parting. And Jon was revealed as a Targaryan as he slept with his aunt (which was probably one of the most hilarious reveals ever, not gonna lie).

Meanwhile the show runners trimmed the fat, getting rid of the Martells and Tyrels. The Martells I won’t miss because of their terrible writing. There are still some survivors in Dorne who will rebuild. Just...away from the show. And though the Tyrels were awesome, it was good to cull them here before the big conflict. We still have the Greyjoys, but even Theon was established in the finale as an honorary Stark.

I’m glad the writers are narrowing the story again. It got so spread out but now everyone is coming back together, joining forces. There is one common goal now: defeat the Night King. Many character arcs have wrapped up or are close to wrapping up so it’s time to see where everything goes. Even though the writing quality was uneven, I think the show runners are setting themselves up for success.

On another note, I am a sucker for some CGI action sequences with dragons. I know it’s sometimes fanservicey but...whatever. I don’t care. I had fun watching. And I appreciate the continued moral ambiguity of Game of Thrones. They didn’t show Dany’s burning of the Lannister army as totally triumphant. They showed the horror of it. Even Littlefinger’s murder, though satisfying, was kind of sad and pathetic. Moral ambiguity has always been my favorite aspect of game of thrones. No one is wholly good or wholly bad. They’re all in a grey area.

In Conclusion

Honestly, this was a tough season for the show runners to write and I think we’re set up for a great eighth season. The pieces are in place for a lot of great reunions and battles. It was probably one of the weakest seasons in terms of quality, but still very enjoyable for the most part. I’ll be rewatching it soon for the highs and lows, and, until season 8 comes around, I’ll be making predictions like crazy.

Next time on the blog, we’re going to jump into season 8 predictions. See you then!

Lessons from Anime- Your Lie in April and Physical Illness

In the next two weeks, we’re going to look to anime for a rather serious topic: physical and mental illness. These are two subjects that lots and lots and lots of media cover extremely poorly, some to the point of offensive for different reasons. This week we’re going to focus on physical illness.

Physical illness, particularly terminal illness, is often used as a gimmick in films to portray a strong, sweet soul, pushing through their lives despite their sickness, only to die in the film’s climax because it’s “sad”. Films like this ring hollow to the extreme because it’s so emotionally manipulative. It’s just a tear jerker ending to tug at the heart strings. It’s cheap and its cliché.

Particularly egregious is Nicholas Sparks’ Walk to Remember, partially because we never see the horrible reality of our main heroine’s illness. We barely see any symptoms or hospital rooms. Our main character looks pretty, acts strong, and goes quietly into that good night without much kicking at all. This is not the way to write physical illness. Physical illness is often debilitating, painful, and has a clear effect on the afflicted and those around them. Actually, I think the Fault in our Stars did this well because it focused on Hazel’s daily struggle with cancer. It was everywhere, from the pills and her oxygen tank to the hospital visits. Your mileage may vary on how Fault in our Stars handles other things but that’s a topic for another time.

I bring this up, because anime does this kind of thing too: regularly. Plenty of anime end with a death from a physical illness just to make you cry. It’s pure emotional manipulation without showing any of the harder parts of illness. But Your Lie in April is one anime that handles sickness well.

Yes, it’s is easy to see Kaori as the suffering but strong heroine at the beginning. A manic pixie dream girl who’s going to help our main hero change. But she isn’t just an inspirational figure. She’s loud and brash, living life impulsively because of her illness. To hell with what anyone else thinks. She wants to get the main character to play a duet with her since she has admired him as a pianist and she’ll do anything to push him onto the stage. She honestly has a lot of character that is not based around our leading guy.

But of course, she’s sick, which you figure out pretty early on, and her slow loss of health is not an easy or gentle thing. As time passes she starts snapping at her friends more as her emotions come unhinged. It becomes clear that her bubbly personality was often a mask to hide her illness. She takes more falls, her legs stop working right and we even get a scene of her screaming and hitting her legs in the hallway, begging them to stand. We see her seizing up on the hospital bed. Even her coloration grows paler as the show goes on.

However, Kaori’s illness doesn’t define her. She is bursting with personality outside of her eventual death. That’s one of the keys: her illness affects her life in a variety of ways but it also doesn't dictate who she is. Its not just a one off note to make the audience cry but she’s not just that sick girl we should feel sorry for. She’s a nuanced human being beyond her struggles.

Because people who are sick aren’t just there to make people cry or develop able bodied characters arcs. They get arcs of their own and they are their own people, and Your Lie in April gives a stirring example of that done right.

We’ll talk about mental illness in Your Lie in April next week. Until then, happy writing!

Lessons from Anime- The Lost Art of Tragedy in Fate/Zero and Madoka Magica

When’s the last time you watched or read a good tragedy? If you’re most people, its probably been awhile. After all, tragedies are kind of a bummer and can tug your heart strings in all the worst ways. Most story tellers aim for dramas or comedies instead for their more hopeful endings. And even when a show or book goes for tragedy, often it isn’t very good. It feels emotionally manipulative when a character is killed at the end just to get a sad, tear jerker finale. Simply put its hard to earn that tragic conclusion in a way that makes the story feel satisfying. But when it works, it works.

In a lot of ways, tragedies are kind of a lost art. When you hear the word tragedy, you probably think of the ancient Greeks or one of Shakespeare’s great plays. Good modern tragedies are far more rare because they are so hard to pull off. But today I want to take a look at two anime that understand the art of tragedy. And they both come from the mind of the same man- Gen Urobuchi.

Nicknamed the Urobutcher for the fates of many of his characters, Urobuchi, is one of the greats in the anime industry. He’s a masterful storyteller, having a talent for really getting his audience emotionally invested in the fates of the characters.

In one of his works, Fate/Zero, magicians fight for the right to the Holy Grail through the use of heroes from all historic ages. Most of the audience goes into the story knowing it will end in tragedy (as it is a prequel). But none the less, its impossible not to get invested. The characters are likable and they have goals they hope to achieve with the power of grail. But they also have damning flaws such as arrogance, stubbornness, or naivety that ultimately will keep them from their dreams (or lives).

In Madoka Magica, an anime that explores the Magical Girl genre (think Sailor Moon), young girls make contracts to gain powers and fight witches in exchange for the granting of one wish, any wish at all. But the venture of being a magical girl may not be so glamorous as it appears and every wish comes at a hidden cost.

Both of these anime’s have a similar element that proves Urobuchi really understand tragedies--wishes. A great tragic hero is ultimately driven by something important to them. Maybe its even a goal to which we relate like the desire to help a close friend, make amends or even to simply survive. However, in a tragedy, the hero ultimately fails to grasp this goal because they have a damning flaw that will keep them from a happy ending. Maybe they go about getting their wish the wrong way, at the expense of others, or don’t think of the consequences. Hamlet spends too much time thinking about the path to revenge and more people die because of it. Othello acts too quickly on jealousy and kills his love. Romeo and Juliet are surrounded by a society that curses their love and they die because of it (or because they needed communicate the plan better).

Madoka Magica is the best example of this idea simply because each of the girls make a distinct wish that ultimately determines their fate. It’s not predictable by any means, but it does follow story telling 101- set up and pay off. The beginning leads to the middle leads to the end, and it all flows seamlessly together. Its one of my personal favorite anime for just that reason because its just one of the best written things I’ve ever watched.

And its gorgeous

In all of these tragedies, the flaw is built in from the beginning. From the moment the hero sets out on their journey, we get the feeling they may falter. They may not lose everything. They may not even die. Maybe they’ll even get some semblance of a happy ending. But there will be losses and they will feel earned. It won’t just be for a tug on the emotional heart strings. Really good tragic endings feel necessary. Almost inevitable. And it is in that kind of tragedy that we find as much satisfaction as we would in a happy ending.

Madoka Magica and Fate/Zero are two stellar examples of modern tragedies, both with bitter sweet endings. They make you root for the characters despite the dark path they walk, and they make you cry when everything comes crashing down. But you don’t feel cheated. You don’t feel manipulated. You feel good, ultimately, because you’ve got to love a well told story. So if you feel like consuming a great modern tragedy in the near future, check either of these works out!

Lessons from Anime- Monster and the Slow Thriller

Welcome back to Lessons from Anime!

Taking a break from talking about anything Durarara (my god) I want to give a spotlight to a particular favorite show of mine today. It’s not in my top 10 animes, but it is truly a master work and I’ve written posts about it before: Monster.

This is magnum opus of a thriller, with a wide spread of interesting characters, intrigue, and my favorite villain of all time in anything ever. But I want to talk more about the first aspect today, particularly, the lost art of the slow thriller.

I think we have an idea of thrillers these days that they have to be fast paced. You should be able to rip through them in a day and by the end, be left with your heart pounding. And while there is something to be said for the intense but short thriller, there is also something to be said for a different, but much more difficult route.

The slow thriller, is by no means boring. No, it’s just not littered with gun fights and action set pieces. It relies often on the intricacies of the human mind. Slow thrillers are psychological. While a fast thriller might make your heart race with anticipation, a slow thriller makes your heart race because you’re waiting for the other shoe to drop. You know something is going to happen, but you have no idea when and it puts you on edge.

While re-watching Monster, I was struck how well constructed it is as a thriller. It constantly makes you nervous. Constantly. Something idyllic? Nervous. Something quiet? Nervous. A pleasant, nice character is introduced? Nervous. It’s not that things always go wrong either. Sometimes everything turns out great and nice characters live. But you never know. Just about every episode I watched with my roommate, she said the phrase, ‘I don’t trust this’. Which is a pretty good sign that the thriller was doing its job.

So what does Monster do so well that makes it such a stellar, psychological thriller?

Well, it all connects back to the handling of its villain. It takes the first four episodes to build this guy up before revealing him in one of the most intense scenes I’ve ever watched. And then he disappears. His presence doesn’t disappear, but he does not arrive on screen for the next twenty episodes. Instead we just see the results of his work. We see his hand in several dangerous organizations. We meet a group of Neo-Nazis who want to make them their leader, and then stumble across their bodies as the villain has killed them all and written frightening messages on the wall.

When he finally does show up, he does so very casually at the end of an episode that seemed like another fake out for his reveal. And then--boom--he just walks up two characters and engages in casual conversation with them. It’s a great sort of bait and switch.

When we’re not paranoid about the villain, we’re paranoid for the hero who is accused of murder. Every nice person he meets, we wonder if they will ultimately turn him in. The show puts us into his head, giving us a great view of his fear and distrust, contrasting it with his desire to help people even if they turn them in.

Most importantly, the show holds the answers back. The show is dedicated to finding out what made the villain the monster that he is. At first, it seems that his evil was born in a brutal orphanage. But we find out he was screwed up before that. It’s possible that he has an alternate personality because of messages he writes, but then it turns out he’s just quoting a picture book. At some point you’re watching the show just because you want to figure this guy out. And his ultimate fall off the wagon into the depths of depravity is something so oddly simple, which I won’t spoil here. The show isn’t interested in doling out answers immediately. They give them little by little to keep its watchers chomping at the bit the whole way through.

If you’re looking for a good example of a slow burn, psychological thriller, this is the show to watch. It will keep you on the edge of your seat, make you nervous, but also be one heck of a ride.

Notes from New York: Unlikable Protagonists

We’ve been focusing on larger elements like plot and setting over the past few weeks, but what about character? Obviously your characters are the human connection through which readers access the story and if they’re flat or poorly written, the whole novel comes tumbling down.

Today I want to focus on a particularly difficult type of protagonist to pull off: the unlikable kind
The big issue with the unlikable protagonist is they are, of course, unlikable. While all protagonists have flaws (all good ones anyways) most are defined primarily by their virtues. The unlikable protagonist, on the other hand, is more defined by their faults. Shakespeare is full of unlikable protagonists where their faults reign supreme. Macbeth, Hamlet and Corlianus to name a few. In more modern works, we have our fair share of anti-heroes who, while not strictly written as good, ultimately win our hearts in the end with their character arcs. I’ve done a post about the anti-hero here.

But there are two major pitfalls that your unlikable protagonist can fall into that will drag your manuscript from great to irredeemably frustrating.

1. Their Flaws do not Meet with Consequences

Flaws are meaningless if they never cost your character anything. They become little better than quirks with no plot significance. In tragedies, the climactic moment is often built on the character’s flaws. Macbeth is blinded by power, Corlianus is murdered by his own ideals, and Hamlet is just a drama queen who really could have avoided so many people dying if he had just stopped monologue about fate. We accept these flaws because they face the consequences.

Now it doesn’t have to be so serious as death but even some acknowledgment is needed. Other character point out Scar’s hypocrisy in Fullmetal Alchemist and he eventually shifts his views. Jaime Lannister suffers heavy losses when he relies too heavily on his family name. And he also changes in time because he must deal with these losses.

When a character never faces consequences for their mistakes, their flaws feel pointless. Why not just make them perfect then? That was one of my principal problems with Throne of Glass. The main character is told that if she shows off, she’ll stick out and that could cause problems for her. She then shows off--and really there are no consequences. It made her incredibly frustrating for me.

2. There is no arc

Characters should have an arc. Even if it’s a small one. Unless the plot hinges on your protagonist being flat…they need an arc. Thus, if your main character is an anti-hero, they probably should undergo a transformation where they become slightly less of an asshole. They don’t need to see the light, necessarily, but there should be some shift in their world view. Conversely, if they don’t’ develop, their flaws should drive them to a gruesome end. I’m not saying their aren’t exceptions to this rule, but a protagonist who shows up flawed and makes it out, still flawed, and unchanged, is boring.

3. You didn’t actually intend for them to be unlikable

Sometimes a writer isn’t trying to write an unlikable character. Sometimes they might think their character is entirely relatable. I read more than one manuscript when a character was relatively nasty, but they really had no arc over the book, nor did any characters around them seem to view them as flawed in any way. And this is really the worst thing you can do to a protagonist. If a writer misunderstands their character, the rest of the novel will probably sink. The only way to see if perhaps your character isn’t as perfect as you think they are is to get second opinions. From those second opinions you can tell how to reevaluate and maybe change up your protagonist’s arc.

You can pull off a well written unlikable protagonist, and they can have deeply interesting stories. But tread lightly and make sure that they’re engaging, intentionally flawed, and have a solid arc, whether it end in redemption or tragedy.

Lessons from Anime- Ensemble Casts in Angel Beats, Durarara and Assassination Classroom

Welcome back to Lessons from Anime! This week, we’re looking at another group of shows that all share one key element: ensemble casts.

There are lots of different ways to tell a story. For instance, you can take the Harry Potter route and root the narrative firmly in the perspective of one character. But, on another hand, you can write a story that is about a group of people, like in Mistborn, or even hundreds of people, like in Game of Thrones. When you have several main characters and just as many stories, it can be a tremendous balancing act. If you’re not careful, the scales will tip and you’ll give way too much focus to a few characters while letting others become practically nonexistent and unnecessary. Today we’re going to look at three anime that sport ensemble casts to varying degrees of success.

First off, there’s Angel Beats, a well-known tear jerker and a show that sports quite the large cast in its group picture at the closing song. This show relies on a wide range of characters. Even though it has its main characters, it clearly wants you to focus on the group as a unit, especially when the show takes its more feelsy turns later on. Does it succeed?

Not…really. Outside of a group of about five characters, none of the other cast get any noticeable screen time. They are reduced to typical anime caricatures, good for a laugh but not as their own people. They are sometimes indistinguishable from each other. The show just didn’t have balance in its writing and at only thirteen episodes, it really didn’t have time to keep such a large cast afloat. If you’re going to have a lot of characters, make sure they actually need to be there for more than a one off joke.

Then there’s Durarara, which yeah, I know, this is the third time in a row I’ve brought it up, but its relevant. Durarara also supports a large cast with a few clear leads in the mix. However, each of its characters are involved in different stories that collide at different points. The characters aren’t a collective unit. They’re a series of moving pieces that pass each other in the street. This is more the Game of Thrones approach of having several different storylines that eventually converge.

But while Durarara does a decent job with its cast of thousands, it still lets a few plots go by the wayside, including some twin sisters that are good for a laugh but have absolutely nothing to do with any of the plot. There are plenty of one off characters that felt like they needed more screen time. But, to be honest, I’m surprised Durarara managed its juggling act as well as it did. It goes to show that when you give yourself several plot threads, make sure they’re well integrated and they all reach some sort of resolution. That way they won’t fall off the map and leave your readers wondering why they were there in the first place.

The last show I want to talk about is perhaps the most effective of the  bunch, called Assassination Classroom. Like Angel Beats, this is about a group as a unit, focusing on a classroom of twenty eight students and their teacher (a mutant who is going to blow up the world in a year). It has a main character lending his narration to the events, but the show is conserned with all of the characters. And I mean all of them.

Of the twenty eight students about half get a significant part of an episode dedicated to them and every single one of them has a starring moment. And none of the kids are anime caricatures. They’re real, relatable kids. They’ve all been put in the dead end class for failures for various reasons. Some of them are lazy geniuses, others struggle with academics, some face pressures at home. But they all have their own interests and passions that their teacher ultimately uses to their advantage. Many characters don’t get much of a spotlight, but they work as they are supposed to: as part of a unit. And by the end, they really do feel like a family.

Assassination classroom has 48 episodes to work with of course, plenty of time to give its characters their rightful places. But it uses those 48 episodes exceedingly well, and I don’t remember the last time I’ve seen anything handle such a large cast so expertly, especially when they’re all in the same area for most of the show, following the same plot thread.

Its also hilarious

As you can see, there are many ways to handle large casts, with multiple plotlines or just one. Your mileage may vary, but make sure you know your characters and just how much time they deserve in the spotlight. Balance is the key and we want to love your characters as much as you do!

Hero Spotlight: Chihiro and Coraline

Today lets look at two of my favorite child characters. Both of these girls abscond to other worlds for fantastical adventures. But both of their adventures have a dark twist to them and they must fight to conquer their fears in order to get out alive (a pretty apt metaphor for entering adulthood, when you think about it).

In Spirited Away, a young girl named Chihiro finds herself in the spirit world with her parents turned into pigs. In order to avoid becoming food for the spirits herself, she must get a job at the bath house, working for the witch Yubaba. Before being placed in this situation, Chihiro is a normal ten year old, pretty selfish and lazy but also wholly relatable. And over the course of the movie we get to see her growing stronger and putting her wits to overcome many different challenges.

Chihiro must work for the first time in her life, solve tough issues and even travel on her own through the spirit world to help a friend in need. We see her grow from a kid who doesn’t know how to fend for herself to a confident young woman, who can take responsibility and fight for her loved ones. Of course she must go back to the real world, but she takes everything she has learned with her. I adore this movie so much. Its one of my favorites and Chihiro is one of the best examples of a child character out there.

On another end, we have Coraline, whose story is less obviously about growing up and a few shades darker than the previous story. Most people know this tale. Its about a dissatisfied child named Coraline crawling through a door into another house where all of her dreams come true. However her Other Mother might not be so benevolent as she seems.

In fact she is pretty terrifying

Coraline is a very realistic child, smart and adventurous, but also selfish and attention seeking. She likes the focus of life to be on her and in her dream world, she gets just that. However, she must fight to keep her soul from the Other Mother’s clutches (You know. For kids!) as well as save the souls of other children who have been trapped before. Growing up, for Coraline, is accepting that life can’t be exactly as she wants it and taking responsibility for her mistakes. In the end, she must save her parents and others from the Other Mother and ignore the temptation of a so called ‘perfect life’. Life isn't perfect, and everyone must accept that some point. In many ways, Coraline learns the shades of grey of adulthood in this, also learning to treasure her real parents, ordinary life, and the change of moving to a new town, even if there are still challenges.

Children vs. growing up can be as vague and symbolic as Coraline or specific as Peter Pan. But they all capture the need of a child to eventually step into their own shoes and take control of their life for the first time. I love both of these stories for that reason.

Heroes and Heroism: The Child vs. Growing Up

To close out our series (I know right? I'm actually finishing it) I want to take a look at a more… unique hero vs obstacle conflict and one that is very close to my heart. That being the child vs. growing up. The child is a hero that can fall under any of the characters I have already discussed, as it is only an age group (Which in this case I would define as less than twelve). But the important thing about a young hero is that they aim to connect with a younger audience. And this fact alone makes them one of the most important heroes out there. Because kids don’t just want to look up to adults that do heroic things. They also want to be part of the story.

While they might face any of the obstacles already discussed, from an intellectual rival to a super villain to the weight of expectations, one of the primary blockades many of them must face is the concept of ‘growing up’.

The most obvious example of this is Peter Pan. In all iterations of this story, children escape to Neverland with Peter Pan where they never have to grow up. It’s a dreamlike life, full of danger, but also fun. Just what all kids want. But the problem with Neverland is that you can’t stay forever without missing out on a lot or having some serious developmental issues. You can’t just refuse to grow up without facing the consequences. And so, inevitably, heroes like Wendy Darling end up returning to the real world, though this time having accepted growing up.

Growing up becomes a literal obstacle in the Gone series when people over the age of 14 start disappearing. Here, the oldest children must mature very quickly and take on roles of leadership and responsibility that they never would have before. This is a darker take on the child vs growing up trope as many of these children face disastrous consequences. It’s a pretty twisted series. But it shows the opposite of Peter Pan’s ‘dangers of not growing up’ with ‘the dangers of growing up to fast’. What we get from both of these tales is that this whole 'aging' thing is a tricky business.

These are stories that all kids can relate too, but I especially had an intense personal connection with these narratives. As a kid I was desperately afraid of growing up, not even for fear of adult responsibilities but for fear that I would lose my imagination if I did. In many ways, adults seemed so much more cynical, realistic and down to earth and I feared that once I became an adult I would lose all of my childlike sensibilities. I thought there was a real difference between children and adults and that when you flipped a switch you became one. 

There’s an episode of Kino’s Journey in which children get a procedure when they reach a certain age that makes them content with dull, meaningless lives. And that is actually what I thought would happen. My nightmare personified.

Of course now, looking back on it, I know that’s not true. But its important for children to have models, while they’re growing up, to show them that the process isn’t so bad. We may change as we age, but we also gain experience, and often times become stronger. We always stay the same essential person at our core.

It’s these characters and stories that help children appreciate both childhood and growing up for all of their merits.

Hero Spotlight: Scar and Victor

Let's get this series back on track shall we?

So last time...way, WAY last time...we talked about the anti hero vs. the line between good and bad. You can give yourself a refresher here.

But today let’s take a look at two very interesting anti-hero examples: Scar from Fullmetal Alchemist and Victor from V.E. Schwab’s Vicious.

First, Scar. Scar starts out as an antagonist to our main heroes, the Elric Brothers, as he has set out to destroy all State Alchemists with his alchemy enhanced arms. However the motive of his revenge quickly becomes clear and its hard not to sympathize with him, considering that his people were destroyed by the military in a senseless genocide. 

Despite his initial villain role, Scar is often more on the hero side than he is on the villain side in both series, often having a soft spot for children and other down trodden folk.

Eventually, his bizarre alchemy becomes a cornerstone to taking down the main villain, and he puts aside his revenge to help the rest of the heroes destroy the real evil. He has a different impact in both series, but he plays an important role in each.

Scar starts out as a real threat of course, working outside the laws in every way since he’s… murdering people. But he also struggles with his own moral code, knowing that by using alchemy to destroy state alchemists, he has turned his back on the religion of his people. It leaves him to even leave behind his real name of which he doesn’t think he is worthy. It’s a lot of grade A internal and external stuff that makes Scar one of the most interesting characters in both series.

Then there is Victor, from Vicious by V.E. Schwab

Victor and his roommate Eli both gain supernatural abilities after near death experiences. But after something goes horribly wrong, they split ways in a bad way. Ten years later, Victor breaks out of prison to stop his crazy old roommate from killing everyone with supernatural abilities. However, while Victor is the less evil of the two, he is by no means a typical hero. Like Eli he is an arrogant genius, often time selfish, and he’s less motivated by the greater good in this book so much as settling the score with Eli. He’s willing to do plenty of non-heroic things to ultimately take Eli down.

However, despite this, Victor is still comparably better, and he does form positive relationships with some of his other super powered companions. This is still his story and his journey, and Eli is absolutely the villain in question. But Victor is just a twist on the typical super hero. He’s no knight in shining armor, but he still knows what needs to be done, making him a thoroughly interesting main character to follow.

That’s all from the spotlight this week! See you next time for our last week of the Heroes and Heroism Series. Until then, happy writing!

Heroes and Heroism: The Anti-Hero vs. The Line

This week, let’s look at what many might consider the opposite of the moral center: the anti-hero. I’m a villain lover as many of you know from all my fangirling during the villain series I did a little while back. Which means I’m also a fan of a complex hero who walks the line between the dark side and the light. Simply put, an anti-hero is a hero in a story that lacks the typical heroic attributes. However, they are still considered a hero and not a villain because of a few key redeeming features.

It follows then that the anti-hero’s main obstacle would be the moral line between good and evil. This line can affect them on an external or internal level. On an external level they might work outside of the normal moral bounds of society. They could be a thief or a cold blooded assassin. Or they could just be a general asshole. Mugen from Samurai Champloo is a good example of this. 

So is Cat Woman from the batman universe, who finds herself on the hero side of things as much as the villain side.

But that moral line also is present on an internal level. The hero might struggle with becoming a monster or, depending on what side of the line they tend to, going soft. Hei, the hero of Darker than Black, struggles with being a contractor, which are said to be monsters by nature. He works for a shady organization dealing with difficult contractors, but he often doesn’t follow orders directly, being softer than he lets on.

This moral line provides a lot of interesting conflicts, both internally and externally, but a key part of the antihero’s journey is that they ultimately do the heroic thing in the end. That’s what makes them an anti-hero rather than a tragic villain. Its this ultimate move toward the lighter side of thing that gives them their arc. 

Even if they’re still kind of an asshole, it’s the results of their actions that ultimately make a difference.

Hero Spotlight: Vash the Stampede and Astrid

Who’s ready for a spotlight on two moral characters who find everything they believe called into question by adverse circumstances? Sounds like a proper Friday pick me up, doesn't it?

The first character I want to spotlight today is Astrid, from the Gone series. Astrid is a brilliant and also religious student on Perdido beach. When all people over the age of 14 disappear from an area called the Faze, she is one of the older survivors and many look to her for guidance. In the beginning, despite a lot of terrible things happening, she remains resolute, keeping to her values and convincing herself that there must be a reason for this cataclysmic event.

But as things get tougher throughout the books, and she is put into some serious moral quandaries regarding her special needs little brother, Little Pete, Astrid gradually changes, gaining a more existential view on life and even being forced to break essential rules that she believes would send her straight to hell if her God existed. To watch the slow crumbling of her faith is heart breaking but also very relatable and as a Christian myself, I think it’s an interesting exploration on how hard times can cripple faith.

The second character I want to spotlight is Vash the Stampede, a wanted man known as the human typhoon, from Trigun. I've talked about Trigun in my lessons from anime segment here, but its definitely worth bringing up again for its main character. Who is a goof ball. 

But he also has a destructive history because of the enemies that pursue him, trying to get a piece of the price on his head. Despite this, however, he has a strict moral code against killing people, valuing all human life. Even that of his enemies. He downright refuses to kill and because of his incredible skill, he is often able to escape impossible situations, against the odds, without breaking his rule. And unlike Batman who is still pretty violent, Vash is a genuinely peaceful dude who would just as soon have a quiet life.

Just look at that smile. Adorable

With each enemy Vash faces, it would seem easier to just kill them but Vash is admirable in how much he refuses to. But when, at some point, he is forced to break is rule in a heart wrenching scene, he falls into depression and must learn to live with himself. Its some incredible stuff and a great observation of moral grey areas. As Vash’s enemy Knives says, if you save the butterfly, the spider dies. You cannot save everyone, and sometimes a choice must be made.

Vash is a sometimes frustrating character for how steadfast he is, but we still love him for it. As the moral center he works well and I appreciate that the show chose to break him down to see what he was made of.

At his core, he is still made of love and peace, moral grey areas or not.

And I cannot overstate how much of a goofball he is

Both of these characters are a good example of a moral center going through tough times. One of them comes out of the ordeal more negatively than the other, but in times of crisis, a character can go either way with their beliefs, continuing to embrace them, or abandoning them for a new code. Both are reasonable methods to explore your moral center characters.

Hope you enjoyed and next week we take a look at the opposite of the moral center- the anti hero. Until then, happy writing!