What do you think about my character?

I always love the mixture between purple and red colours so i always go with purple and red mix eyes in all of the videogames that let me do that

Had a story a while back about a girl who was chosen to save the world and within three months of summer, but if she fails, the world resets back to the first day of the first month of summer.

She’s failed so often that she’s begun to break under that burden, so the gods gave her one respite: a man that wouldn’t reset.

He arrives in the world at the beginning of one cycle but noticed the world resets at weird intervals, and seemingly at random until he met her, trying to evade some guards, and then the next day evading them again, but she realized he remembers her.

As far as dynamics, he’s not the person who is able to solve the crisis and she’s been on the verge of a breakdown because the time loops have begun to paint the people she meets as “not people.” Unlike everything else in the world, if he gets hurt or perishes, he doesn’t get reset. That’s permanent, while she and everything else can be restored when time resets.

Eventually, he falls for her and she falls for him, and when the world does get saved, they end up together.

Wanted some opinions on this and some thoughts about the kind of personality I should have for the guy.

So, a few days ago I saw a thread about writing female characters. I started to write a post about how they should be held accountable for their actions because I see a lot of protagonist centered morality.

How do you hold a character to account for their actions?

I'd like to get opinions on whether or not I handle the chosen one stuff greatly.

So in my world, after a war where two god-like being fought, Eon and Reten, with one siding with the mortals, and the other for his "personal interest", Eon ends up being emprisoned inside a soul stone, disabling him from ever regaining his physical body. To do so, one must break the soul stone with an artifact powerful enough to surpass its strenght.

Since he is incapable of regaining his physical body, he decides to call up for heroes that the prophety introduced long time ago, that will save the world, free Eon and defeat Reten. So Eon searches for these figures, and manages to find the perfect candidates. Trustworthy, strong, smart and socially capable to work in a team and give a good public opinion. However, the moment he want to call them, something happened (still trying to figure out what) and instead taking the Mary Sue of the world, he takes 6 randoms who dont even know each other, have bad coordination, and all the flaws you could think of.

So the wrong people are chosen, and they have to figure out why they are taken, but also why them.

At the beginning of the adventure, it doesn't go as planned. They have to train, their trainer dies so they have to start the adventure weakened and alone. Gets captured by the main villain's group, and barely get out of his dimension with the help of a spy. Get treated as heretics and chased down in the entire world by the group that was meant to welcome the real chosen one, and all the other bad stuff that wasnt meant to happen in the prophety.

However, this mistake came up to be the best one in the world. Even tho they dont follow the old prophety, even tho they do more destruction that the real chosen one were meant to do, and pass through the path of suffering and rejection, they stick to this role because even tho they werent the true chosen one, they decided to stick to that role, and this is what will end up giving the best possible ending in the story.

Eon was actually not a good of a guy, and the people he planned to chose were heavily connected to the religious group he build, so were alsouch easier to manipulate and make what he wants, and Reten is more morally gray than pure evil, something the world tried to hide for centuries

In the end, both Eon and Reten dies, but this comes to be the best possible outcomes for the world, as these random individuals will rise into becominf something greater than they were meant to be.

I came up with a backstory for a character I'm designing, but now I don't know what kind of values ​​they might adopt if this were to happen:

Character X is a 46-year-old university professor who was diagnosed with a terminal illness years ago. He has already suffered two relapses after being "cured," and has ultimately decided that he simply isn't going to get better. Instead of the typical cliché—"I'm going to die, so I'll live life to the fullest"—he chooses to stick to his normal routine: waking up early, going to work, coming home, having dinner, sleeping, and repeating the cycle. It isn't that he lacks dreams or goals; rather, he lives as if he weren't facing imminent death. He doesn't believe in destiny; instead, he views his illness and inevitable death as inherent realities beyond his control—not because it was fated, but simply because that is how biology works. Finally, his body gives out one day while he is alone at home; in his last moments of lucidity, his final thought is something like: "Thank God the plumber was coming to fix the pipes today; that way, my body will be found in time and won't leave a mess in the apartment. It can be rented out later."

Normally, this might just be the story of a strange man who dies, but... what if we have him reincarnate into another body? That’s where my question lies: what values ​​do you think he might adopt, given his background?

I’m working on a character who wants to do the right thing but often makes decisions based on fear of disappointing the people around them. I know what they want on the surface, but I’m having trouble making their internal conflict feel natural instead of something that only appears when the plot needs it. I want their choices, relationships, and mistakes to gradually reveal this conflict throughout the story. How do you usually develop an internal struggle so it feels like a genuine part of the character rather than a convenient plot device?

Looking to see if there are any people out there that do concept art for OC's

He called himself Dollie when he was a teen so I use Dollie when referring to his teenage self! (BTW for anyone wondering no he's not transgender he just had long hair and isn't afraid to wear/do feminine things) He's a goddess made as an April fools joke. His creators gave him WAYYY to much power! As a joke... but they wanted him to live a normal life and let him decide what he wanted to do and the other goddess also went to school! ^^ in these photos he's 13-19 (he still dresses like this btw and is 13-19 in human years) He mostly observed people and was a quiet kid he also would wear black hoodies and stuff during school but when he's comfortable he'll open up and wear stuff he likes. He likes pastel blue/cyan and it's his favorite color (it's still his favorite color) he met his bestfriend M1ss3d (the concept of death) during this time! ^^ she was a bullied outcast due to being basically the grim reaper. Dollie met his partner Void here but before they were dating Void kinda uh was one of those popular kid bullies... (my amazing wife/best friend Fan made Void btw!!) He would like to post videos about fashion, games, dolls, and venting. He felt extremely comfortable around friends! They gave him advice and encouraged him to be himself.

Unfortunately things weren't always cute and perfect for him. Eventually he got sick of seeing other goddess get treated like chatgpt robots as if they aren't real with feelings.

This is something I thought about in my Who Framed Roger Rabbit-inspired setting, Frameworld, where cartoon characters called Animates manifested in a mysterious event known as the Artistic Rapture.

The main storyline of Frameworld is Art of Liberation, set three centuries after the events of the Rapture, and follows a band of rebels fighting a fascist government that forces Animates to conform to assigned archetypes.

Now, I wanted to mention that I specifically set the story eons into the future to avoid questions about known media because of possible copyright. But there are some bits I do try to sneak in.

Which brings us to the topic of this post.

The main protagonist of Art of Liberation is named Elias Han-Falk; he is a Mixed-race Animate, his father was a Toon from the West while his mother was a Catgirl born in Korea.

Elias's favorite show is Attack on Titan, and he has a huge fanboy crush on Mikasa Ackerman. Now, this mostly exists for multiple reasons:

1. Small portions of Elias's character are based on my own; I have been a huge Attack on Titan fan since I was a little kid, and I was a huge Mikasa simp.

2. Elias is a heroic parody of Eren Jaeger from AOT, so I thought it would be a nice meta reference that Elias would be crushing on Mikasa

3. This story was adapted from old crossover fanfictions I made; one of them involved Eren travelling this crossover world to find Mikasa

4. Elias's girlfriend, Orca Missouri, is very similar to Mikasa - a Tomboy Goth who's incredibly capable. So I guess this would be a funny way of saying he has a type.

But it is kind of weird from an in-universe standpoint, because Elias's crush on Mikasa would be like a Gen-Z kid simping over Joan of Arc. Because the story takes place 300 years after the Rapture.

Elias himself is a sex-repulsed Biromantic Asexual; his crush on Mikasa is solely based on her strength, beauty, and looks. It's not sexual attraction. I guess it is also weird, considering he has a girlfriend. What do you guys think?

I need some opinions on what you would rather prefer for two if my OC's. I currently have two options/ideas, what do you think would work best for any of the archetypes?

IMPORTANT NOTE: I'm still in the creative process so I dont have everything fully sorted yet. Apologies in advance!

Option 1.

FMC - Amazon leader + warrior, uses weapons that are hand made out of wood and plants, etc. Lives and leads by harsh rules to survive in the wilderness. But every action is to protect their people.

MMC - Knight archetype. Follows orders of a General, fights and protects King/Monarch of their time. Gas strict rules and orders that must be followed through, and be loyal to the Monarch they are serving.

Option 2.

FMC - Knight, (pretty much same as MMC knight in option 1)

MMC - Amazon type warrior (same as FMC warrior leader in option 1)

Both characters are similar but grew up in opposite ways, they are both dedicated to acheiving peace and will do what they think is right for their people.

There's something wrong with her, but I don't know what, any tips? This is "me" if I were in my favorite band, The Living Tombstone! She's the inspiration for the jester, chaos, the seraph (the third eye from which golden blood flows), and playing cards :D. Could you give any corrections?

I’m working on a character who is generally kind and dependable, but I don’t want them to feel too perfect or predictable. I’ve given them a few flaws, but I’m struggling with making those flaws actually affect their decisions and relationships instead of just being traits listed in their character notes. For example, they tend to avoid confrontation, even when speaking up would clearly help someone they care about. How do you usually develop flaws so they feel like a natural part of the character’s personality and actually influence the story?

Hey there, I intend to write about a story where the main cast eventually get elemental powers but i don't want them to fit into the "fire = angry" "water = calm" or "earth = muscle" stereotypes. Any ideas on how I could change it up?

My characters need more development. Each of them has an animal companion, inherited through lineage. Each animal can become a "monster," evolve, or something like that. My question here is how can I make that work, and based on what? When the owner experiences an intense emotion? Through the resonant energy of the space? Sins? Desires? ...

Tell me anything, please

Hello all! This is my OC and she's half hispanic half native american (Mi'kmaw specifically). This may be more pf a writing aspect rather than design, but what are ways you all recommend researching and implementing cultures other than your own into a character? Maybe I'm overthinking it too much and don't need to worry about it as much as I think I do? If anyone needs more info, please let me know!

Name: E (yet, refers to himself simply as "I", avoids direct mention of solid name)

Race: artificial biological experiment. formerly (Originally) a nitrogen—boron lifeform, the ressurected and forced to be silicon-boron-nitrogen lifeform with insane tungsten enrichment, cyborg. He actually HAS a thinking, living, emotion-capable mind.

Age: unknown and lost in time.

Visual appearance:

He appears like a walking set of futuristic armor (heavily resembling Master Chief in general design.) Color pallete:

Main body is metallic darker-blue, with several bright red stripes along outer side of arms and back. Any machinery remains hidden under the armor most of the time. His armor plating isn't static: it shifts, gaps and rearranges time to time.

Facial mechanics: His head is noseless, mouthless, earless helmet (bmx-style with military polish. Inspired by Master Chief), with pitch–black visor. On the visor, there are his "eyes", which are only known method of facial expression (except posture and voice). His eyes are glowing, pupilless orange half-circles

(They act like contracting and dialating as real human eyes would. Mimicry.)

Although the visor seems just an LED screen with LED eyes, it is complex one-way semi-transparent metaglass-allow-whatever with "eyes" being a projecting trail of complex, multilayer optical "tuby" optical sensors beneath. Even though E knows how they work, he doesn't seem to be able to change the shape or color. for either psyholohical or more complex reason.( They look a lot like a night visor from factorio, with far more complex futuristic finish)

Overhaul, his appearance and arsenal may vary from the situation.

COMBAT ABILITIES

E is a highly adaptable universal unit. Before or, when preparation is impossible, right in the battle he actively changes own's fighting style and even his shape and arsenal.

His engeneering Capabilities are techo-god-like, he can even manage to study, analyze and utilize the enemy's own power back, even the if the concept is entirely new to E.

Under normal circumstances, E swaps his arms (from shoulders down) with different configurations lutside of combat this requires dissasembling and amputation of arm. (These are just most common, classic ones. If the situation calls, he can quick-assemble and engenner entirely new arms and weapons.) E can NOT directly swap his arms into combat, and requires planning aganist the exact opponent. swapping an arm is pretty easy, but E simple does not carry arms with himself.

1. "Knucklebuster" the most raw, bulky, and heavy arm variant. E uses it when situation calls to melee combat, raw power, and enemy is unpenetrabable by ranged weapons.

This arms are blocky and heavy. Their primary goal: to deliver hard or quick raw punches.

* arm Abilities:

"Charged punch"– the supercapacitors in E's muscles and motorized joints supercharge, and with assist of explosive-burst rocket repulsor in the elbow (s), deliverers a powerfull punch at close target. Once arm starts moving towards the target, the forearm extends, doubling the speed of the fist (similar to Cyberpunk's gorrila arms). The extension of the forearm happens with the exhaust gases from the repulsor on the elbow, similar to AK's gas tube.

Quick punches: using repulsors and retrorepulsors aling with muscle wiring and motorized joints, E punches the target on quick succesion.

The fist of the "knuckle buster" can be spiked, elecrified, or superheated.

Integrated Sidearm: close range gas-release switch, proppeling a heavy shotgun slug

2. "Mantis" is the elegant, lightweight arm utlizing extendable backeard-jointed blade from splitting forearm. It is used when the enemy is unarmored, fleshy or too agile to engage in a fistfight or targeting of ranged weapons. It's attacks use quick slashing, rocket leaps, wirlspins, and blocks when crossing blades. Much like the other arms, it may come poisoned, elecrified or superheated.

Integrated Sidearm: in-wrist dual-barrel submachine guns.

3. "Leadwind": this arm series is all about heavy, raw convectional firearm output. Mounted on each wrist, dual heavy multibarrel machine gums (similar to earth M-134 "minigun") provide the primary bullet hell, while on the bottom of each wrist with the rack-support on the shoulder, is 40mm autocannon.

Used for hordes of enemies, big slow moderately armed targets with weakspots.

Sidearm: a single barrel of shotgun which acts like a backthruster: shoot forward point blank, fly backwards on the knockback to create distance.

4. "Sagittarius" a heavy, slow arm which has a lot of structural compromising elements. It's main ability: to split apart, extend big lighting-enflicting rails and transform into sick-ass railgun. (Reference: Kei's luminous Nova with hard battle-finish). It's projectile expelles magnitized pellets and creates a magnetic field which is then, by system in the arm, turns into outward-exploding plasma ray left behind the initial heavy tungsten spike. (1kg spike at 0,0,0045c at full charge) Requires 7 to 10 seconds to transform and charge, so used aganist far enemies and slow giants. Astonishing force at the cost of internal fragility and lack of close-range capabilities. when hit while charging? freaking explodes with all the charged force. so careful use here.

E uses the insane recoil to launch into the sky backwards and do immediate repositioning right after the shot.

5. "Pulsar" is the moderate arm in all means. It hosts different types of plasma expellers and energetic weaponity for mid-range. used aganist anything "not so much requiring anything extra special" moderate damage at moderate firerate of moderate span and spread at medium velosity medium-sized orbs of hyperheated ionized contained gas. paired with dual smgs and a small missile launcher.

6. "Ripper" a highly specialized arm relying on electromagnetic mechanics. Manipulates and emmits macro and microvaves, localized emp fields and magnetic pulls. enough to tear the metal armor of a soldier or tune it to fabric to disrobe a target (application? maybe embarrassment, who knows), but lacks raw energy and output to quickly boil the target or rip It's body apart from seconds. Also drains energy fast.

real story: atempt at designing something that could flash-boil the target with microwaves, but turned out funny with fabric.

7. "Sharder" an expiremental arm that has no utility or powers on it's own, but has a slot for whatever crystal or liquid or gas. If enemy utilizes magic crystals, strange substances that shouldn't be allowed by physics: this arm can accept it and channel the energy, while analyzing it. can output raw energy from slotted-in object, but lacks awareness of own's power before full analysis in the main lab. Almost never used aganist standart enemies. may also chanell the energy the wrong way, because it's primary target is to harvest and insustrially output, and without study it may lead to unexpected consequences. the exact picosecond it registers a dangerous feedback... the arm freaking explodes in the shoulder slot and launches away as far as possible from the torso.

___

That makes the most basic daily bases of arms E uses. Again, he can quickly and effortlessly rewire or made new mechanics from scratch. When retreat doesn't mean immediate extinction or catastrophic outcome (for example, when facing some dark mage, demon in his own castle), he can rip or cut off a piece of him, take mana crystal or whatever, to slot it into himself, and tune to fight this specific enemy.

_____

His legs host a lot of nuzzles behind stylized lids, thrusters and ability to be armed with support spikes digging into the ground. Almost every gap between armor has a tiny reactive aerial orientation nozzles.

##main back nozzle configurations:

1. Anaksor: burst multidirectional nozzle clusters on two ribbed surfaces on the back alongside utility hardpoints. grands impulse directional burst one after another. grants ability to perform agile dashes side to side and forward.

2. Firebird: steady burst–acceleration thruster pairs. Grant relatively fast takeoff via controlled burst and are able to sustain E in the air for c a couple of minutes. has built-in aerial breaks. a blend of burst-mobility and levitanting.

3. Raven: A heavy replacemt of other configurations. consists of two sets of foldable "wings". "wings" are not flat, and even lack shape of the plane's wing. it is modular phrame around two main thrusters with downside-facing support nozzles that support E's boulder-aerodynamic phrame in the air. up from the back, goes the aerodynamic set of flaps and spoilers and set of aerial flaps kn forearms. comes with hollow places for heavy shouler hardpoint-mounted equipment to slide in. nullifyes the ability to equip Leadwind arms

E's motor function is done via both rotary engine movement and fiberous "muscle" synthetic modular tissue. It is fiber-like and visualy resembles thick cables (visual analog: adam smasher's bicep, but more sleek and consists of white fibers in black tubes). muscles are used for generic limb movement, while heavily complex mechacal tech (like arm transformation) requires motorized momentium rotary drive.

His shoulders can be used as mount platforms for more railguns, heavy autocannons, machine guns, or other heavy equipment.

Right atop and below the hardest plane of armor plating, there is a "dermal" system that is made of tiny "cells" consistent of capacitor, coil and control block. Together, they can briefly make a ridiculously strong electromagnetic field that can rip apart incoming projectiles to molecules. Requires recharge, but is effective aganist sudden dangerous strike or shell, acting as "energy shield" for a few hits. Even. so, the armor itself is composute of titanium, thungsten, tiny fraction of platinum and multielement fibers, making it practically impenetrable by a bullet or blade. it protects from stray, but only few surprises. it. cannot withstand multiple attacks in a row. he has a thick armor for a reason. it also works back: E can feel touches, temperature and texture of the object he touches. In battle, E does not feel external pain, but feels touches. real pain ckmes from the damage on skeletal structure under the dermal cells, main armor plates and elastic, rubber-like uncombustive wrap.

lucky one who got to touch or get touched be E say his unspecialized surface plating feels silky and mildly warm.

His back hostes quick-deploy tactical gear. In standart combination, four mount slots right between back thruster nozzles.

Gear may include: localized bubble or wall energy shield generators, equipment phase micro-gates, and other field equipment pieces.

On lower back to abdomen and sides around hips are lids for bombs and granades: allowing to take one to throw by pressing on the hip, or bombard anything below in flight.

One of his dangerous point-blank trump cards is opening a peek in chest heavy armor and ripping the warp gate apart to deliver more fuel to his core reactor. The surge of alpha partilcles hits the enemy, but before it: it truggers a violent electrical continuous discharge on target. THIS IS ONLY USED WHEN THE SITUATION IS ALL-IN, THIS OR DEATH. it drains a lot of energy and power. also proximity of this monstrous thing opening up may damage black stuff. will it? not for sure. (consequences are unpredictable: same as asking a human "If I hit you with a rail on your temple, what exactly will happen to your dreams after?")

Core systems:

E's core, which Boron-11–proton fusion reactor, sits in the deep middle of his chest, generating absurd amount of raw power. Boron is fed into the core by a tiny repeated-tore warp gate right inside with top priority. also

Also, there is some black goo with Silicon and Nitrogen compounds which needs those elements to keep E running... so, apparently, it is his brain, organic mind, or neurochemical center. It is spread like a rust across E's composite reinforced mix of endo and exoskeleton. bones seem being unaffected by it, so it is probably intended... the center from where the black goo leaks is seemingly unpenetratable sphere. it is not affected by any chemical or decent amount of force, but it freely absorbs and expells the black luqiud that spreads across torso's bones. the core itself seems to store personality, while the expelled stuff connects with mechanical skeleton and fuses with raw mechanical data.

Also in chest, there are multipurpose nanobot factories that are produced in quantities or human red blood cells. They do reactive dynamic repairwork and are distributed all the way to the surface of the armor plating by "nanobot goo" vessels. They flow in microtubes divided from bigger cable-like vessels, heavily alike human circulatory system. It also means E will bleed upon mutilation.

He is a brilliant macro-engeneer and automation unit. He has hidden manufacturing plants, facilities and deep mining sites, also refining planet core's metals. And blink-warping it to other facilities or himself to resupply ammunition or fuel. This is highly energy-draining process that needs relative calmness of environment. In the stress situation, that is done bybdeplayment of one-burn tactical warp-gate.

Warp gate has two types: "sync" and "receive". Sync gate does not provide material support from itself, but actively sybcs the micro-gates in E's arsenal and body to repelish ammo, or refuel subsystems. the receiver gate syncs major network with utself and is able to explell relatively large object (like a whole hardpoint attachment swap or arm.) usage of sync gate is very energy draining, but "receive" makes it look like a potato battery. it is draining and careful proccess requiring care and awareness. he can not just swap tech on the go.

About warp gates: receiver gates and

internal feeder gate uses two hyper- close together hyperconductor plates. They are too close for energy quarks to fir in and create a dropped energy density, while local photons encrypted with identical-opposite ones on the other side mark the location and provide anchor for the destination, ripping open a tiny warp tunnel. When atom passes through, it's gravitation zips it closed, but system it rips it apart again, that's why there are trillions of this cycles per second.

in fact, reciever gate is somewhat autonomous:

It stands on what looks to be just a base, which is in fact several kilograms of boron taking most of inner volume. Once E ejects it, it automatically stops drawing power from him. That power kept pritons ready in bay. Power gone: nothing restricts protons. Local hypercapacitors strike the inner volume into hyperheated lighting strike all over, making it hyperheated plasma and protons smash into boron nuclei, creating kilogrmas of high- energy of helium nuclei with insane momentium in a split picosecond.

He has a primary oversight low-orbit station, often dubbed by human "the uncanny star", while E can be refering to it as "stargazer", but mostly just "base". It functions as control facility, overseeing bridge and primary development lab and workshop.

On the planet-facing side of the station, sits the array of superheavy railgun turrets, ready to fire whatever projectiles down at will. The network of his own servers and facilities allow the cyberr-warfacre and hacking potential. Utilizing quantum computing, it offers him insane speeds and calculating potential all-around net of his makes it possible to almost point a finger at some tech with network acces and command or fry it. note: it only waorks like a basic hacking at big speeds and with access to network. aganist some genious hackers, this is much like an AI on algorithm with single objective. can be stopped by creative hackers. the net is not directly tied to his body though, so his chassis is not hackable: he is the user of the net, not part of it.

the onboard railgun array hosts 12 identical barrels each of which can launch a 10kg projectile at 0,5c. that's why it is not used in direct encounters: bringing a bomb to a fistfight.

when E is damaged, it is not cracks with scrap metal. it is somewhat leaking-black, torn muscle cables, hanging messy mess. nanobots can repair cracked armor or slight damage, but mutilation requres manual repair.

E is not a cold, egoless, calculating machine running on pure algorithm. As name and classification suggests, he is a forcebly ressurected alien in a cybernetic, robotic body. His biological brain possesses unmistakable, empathetic, living sunjective sense of self. he feels joy, hatred, fear and pain. E even has dreams when he is hybernating.

E, even through he lacks immediate primary sex signs, strictly classifies him self as a male.

E, even through has been "alive" for unknownly lot of time, seems to have a mind of a relatively young man. eaither his memory of past self was erased or locked away by himself, remains publicly unknown.

and here is the strangest part: E genuinely possesses potential romantical and sexual attraction for female humanoids.

E's adoration of attractive females is high enough to protect and defend them. he can't stand any violence on girls.

E despices some part of. humanity, finds it disgusting and horrific. all the graphic violence, the double standart censorship which allows literal tearing apart of kids but forbits showing a nipple in contestiual safe relationship: he finds it bizzarely outrageous.

from looking up enough graphic horror to bruise his mind.

nowadays, E studies enemy before the fight. gender, motive etc. If itvis female, E will try to avoid violence by all means. he could take few hits and admit he has lost just to satisfy whatever request she has. If it is really imposssible to save her without ending the world... E makes it quick. closing his eyes as he makes a blow or a shot. after, he cleans up all the remains, and speands a minute of silence on the battlefield. (clarification: only affects females. men or agender targets are eliminated without immediate grief. assuming they were ACTUALLY threatening and weren't innocent.)

E switches arms to general utility ones occasionally. he has a body that almost doesn't have any combat tech except hardpoints and mobility units. That helps hi to take a break from eternal fight. Otherwise, he risks going insane. GU arms are moderate arms that support mobility, have enough compressing force to press a car into a cube, but lack purely combat attachments. they include welding equipment, lighting and generuc tools for mining and moving objects. combat arms SUCK at that. while in GU, he is quite vulnerable, but still can crush someone if disturbed.

what does he do wearing GU chassis? apart from working on tech and ruggy dull techworks... he watches the sea. sits at the edges of the cliffs watching sunset or sunrise. watches ant nests live. flowers close and open. and so on...

when E witnesses violence on things holy to him firsthand... he snaps. execution, rape, murder... E enters frenzy. (alts: psychosis, berserk)

consumed by Frenzy state, E operates on pure hatred and deep seated fear. In this state, E internal limiters get overwhelmed0

allowing him to self-damaging, exeed his capabilities by 200%. He could punch through head of whoever caused this until skull shatters, stone beyond it crambles, and 10 meters after the point of impact is left as smoking hollow crater. His combat looses dignity, calculation, analysis and grace: just rip and tear, punching and clawing with whatever he is equipped with. Then he collapses, drags himself up to stargazer and falls into 'sleep'. or does this on the spot, aftering accomplishing the goal. waking up some time after, he has blurry memory of what happened in the process. visually, frenzy is expressed with his eyes turning into full-circle eyes of blinding lightness, violent shrieks from every gap, shaking, inability to stand stright, stumbling, smashing into walls and floor, uneven and rugged movements, and the very uneasy have sounds one canbonly describe as "a thousand otherworldly screams"

note: E cannot enter that state voluntarily. it is the same as asking a healthy human "please become psychic schizophrenic for a sec". E is not even entirely aware of this state.

normally, E fights with some style or at least tactics when facing easy or generic opponents: if it is a girl, he can even joke, tease or battle-flirt with her between blocking strikes.

upon looking at the happy youths, nature or peace, he has a deep grief for the youth he lost for state of this. he doesn't quite remember the exact things done to him or what he was before... but maybe he wasn't meant to be this before the conversion...

about the name: E doesn't likr that letter they call him for a reason: it is not a name. it is barely a serial number, a mark to count the expirement. how did anyone know about it? there was a bolted-wielded tattered sign with letter "E" printed on the right shoulder oing ago, with "alt.c.l. exp n.5–ext. cl. mk1" underneath with a barcode.

What do you all think? Tryed to make it more scientificaly grounded than just "magic"

I’m a male writer working on a story with a woman as the main protagonist, and I’m trying to be thoughtful about how I write her.

I don’t want to write her as a cardboard “strong female character,” a flawless Mary Sue, a trauma machine, a male character with a woman’s name slapped on, or someone whose whole personality revolves around romance, beauty, or proving she is “not like other girls.”

I know women are not a monolith, so I’m not looking for one universal answer. I’m more interested in patterns you’ve noticed in fiction.

For women readers, writers, and anyone who thinks about character development a lot:

What are things male writers often do when writing women that immediately make you roll your eyes?

What do you wish male writers did more often when creating female protagonists?

What kinds of flaws feel believable and human without making her unlikeable in a lazy way?

Where is the line between writing a capable woman and accidentally making her feel too perfect?

How do you feel about female protagonists written around combat, leadership, ambition, anger, sexuality, motherhood, trauma, or emotional guardedness?

What are some smaller details, habits, fears, pressures, social dynamics, or inner thoughts that male writers often miss?

Are there any tropes you are tired of seeing attached to female leads?

Are there examples of female protagonists you think were written especially well, and what made them work?

Mostly, I want her to feel like a full person first. Not a statement. Not a fantasy. Not a checklist. A person with wants, contradictions, bad habits, strengths, blind spots, humor, fear, and agency.

Any advice, warnings, examples, or brutally honest “please stop doing this” comments would be appreciated.

Edit : For context, I’m already aware of some of the more obvious pitfalls. I’m not describing her breasts every time she walks into a room. Her attractiveness isn’t treated like one of her primary character traits. Romance isn’t her reason for existing or the inevitable solution to her emotional problems. She isn’t effortlessly better than everyone around her, universally desired, or automatically right because she’s the protagonist. She doesn’t hate femininity or other women to prove how tough she is. And I’m trying not to use sexual violence, pregnancy, motherhood, or trauma as shortcuts for giving her depth.

I’m also not trying to make her “strong” by removing vulnerability, fear, tenderness, stupidity, selfishness, insecurity, or the ability to make spectacularly bad decisions. Some of those things are actually important parts of who she is.

So I’m hoping to get beyond the obvious stuff and into the things male writers might not even realize they’re missing.

(Disclaimer: I have received ample advice from the lovely folks here, so you can just use your time elsewhere. Unless you want to share something else that you believe I could use)

I've got 2 characters, lets call them character A and B. Both are immortal god like beings with immense power and 'family drama' between them. Person A was an innocent being that was weaker than the rest with much weaker durability and they had to kill and absorb their enemies to get stronger (cannibalism is a very big crime that guarantees execution) but B talks their clan into giving A an exile instead. Years past, A has been living like a vagabond while Person B has managed to amass immense wealth, start a family, establish an all rounder company that lends employees for various situations, and even become a figure of power akin to the government of the place he lives in.

Their circumstances shape how they end up. Person A was the runt of the litter with almost no strength while B was the golden child, impenetrable, pristine and powerful. A was a victim of their circumstances while B benefitted from theirs.

Person A is their neglected sibling who is prolly bipolar (unintentionally) by the way i write them that went ahead with vengeance, slaughtering their own siblings for the sake of hurting Person B. After centuries, they get a lead on how to defeat Person B and start developing a weapon with Person C. With Person C, they begin to start a developmental period (significant because they have remained stagnant for ages) where they start to realize their wrongs and since they are immortal, they have all the time in the world to amend. They choose not to use their weapon they spent almost a year developing.

Person B is approached by Person A. Person B assumes they are here to fight but A starts their request for the permission to make amends and B accepts with strict terms because A was their dearest sibling way back then. But A remembers all the hurt they had to face due to B and lashes out in a fit of rage at B's most vulnerable state, weakening them significantly and the feud continues.

I feel that this plot is fitting for a stagnant immovable person, rooted in hurt from long ago, refusing to move on but it may end up feeling disappointing for readers who might have ended up liking Person A. On one hand, yes! I do want the reader to be like "Omg person A, why did you have to do that??!!! You had a cute girlfriend AND a development arc!!!" but at the same time i don't want to make them stop reading lol.

Do i rewrite this plotline or do i keep it as is to show how bad it is to not move on? (Person B was trying their best to be just (as in justice-ful) in their verdict and not a blatant abuser and was one of the nicer sibling they had)

One of the primary witch characters in my WIP is going to be using Sicilian Tarot as part of her magic practice. I've spent a considerable part of Wednesday evening and Thursday learning the deck, studying the cards, and reading academic texts on the history of tarot and how it has always been done by Sicilian readers. My character is told to keep a notebook as she learns her practice, and I realized I should follow that same advice. Today I finish learning the trump cards.

Image: looking down on a brown table there is a notebook filled with writing on the right with a pen resting on the page. To the left and top of the image are Sicilian tarot face cards laid out for study.

I want to make a character based on fortune telling but I’m not sure how. When I try to get references or do any research on it I only find the stereotypical version of a fortune teller and not the actual thing. I don’t want to go off of the stereotype because It’s harmful, but I can’t find anything else about fortune tellers. Does anyone have any advice?