#dragons rambles

Scott tries not to get too attached to people, he tries to see them as temporary and fleeting and his relationships with them the same

Out off everyone, Scott spent so little time with Avid, he barely knew him really, he didnt have time to get attached to him the person

One of the reasons I enjoyed getting my English degree was because I was finally being encouraged to and taught in alignment with what my brain had always be inclined to do: you always assume that there's a reason, and a good reason, for the story to do whatever it's doing. It assumes that the story is already exactly what it is supposed to be as it is supposed to be, and it's up to you to find the reasons Why.

The story was boring, or made you feel uncomfortable/bad, or you couldn't root for a character or relationship? All of that, at least at the beginning, doesn't really Matter. You assume that the story is paced fine, you assume the discomfort was intentional or part of something broader (historical shit that hasn't aged well) or that the dichotomy of "I feel invested or not invested" isn't useful. And in doing so, you replace all that with asking why.

An example I'll use is 1984 by George Orwell. I read that book in high school and I fucking hated it. Normally, I like the protagonist the most in anything I watch/read, but in that book, I loathed both the two leads and were actively rooting for them to be captured and tortured so the book could end faster; it was an actively miserable affair. I don't think that was necessarily the author's intention (certain amount of death of the author is baked in, but for a lot of the texts I was reading, we didn't even know the author or anything substantial about them, i.e. Beowulf) but, more importantly, I don't think any of those things are Flaws or downsides in the text.

Part of this is because 1984 is a dystopian novel (if a romcom book breaks genre convention that badly where you're miserable reading it, yeah, maybe something went wrong, but more on that in a minute) but even then it doesn't really matter on the basis of genre; I'm sure some people read 1984 and felt fascinated/excited while reading.

Rather, the focus becomes: what do I find so unlikeable about the protagonists? Why would they be written that way (on purpose)? What does it say about the society they live in? What does it say about their characterization, social stratification, etc etc? If a character does something that I think is non-sensical, why? Have I missed something? Should I watch retrospectively for clues? Is there another way to engage and to understand? Is what I label as confusion potentially a, or the, Point?

It is only after finding the reasons, and/or finding them unsuitable, that I let my subjective feelings into play. While a story can have great merit on the basis of relatability, relatability or "this aligns with my worldview / expectations / desires / etc." is not the be-all end-all of discerning quality

For example, I'm never going to be a fan of Jane and Rochester (she's 18, he's her 40 year old employer who routinely lies to her) but there are reasons, Good reasons, they get together in Jane Eyre (a book so subjectively boring I struggled through it twice) in response to both when the book was written and with the book's themes / symbols / their characterization. If they didn't end up together, it would be a fundamentally different story; it would not be Jane Eyre. So objectively, it's fine and an understandably massive influence on the western literary canon; subjectively, it's so fucking bad and I'm so glad I never have to read it again. But if I stopped there with my lack of interest or dislike of the main romance, I'd be missing out on what the text has to offer as well, the text.

This applies to more modern day stuff as well. I don't like Double Trouble from SheRa as nonbinary representation, and I'm nonbinary myself; however, I can acknowledge that the things I don't like about them were probably simultaneously empowering and exactly what the author (who is also nonbinary) wanted to be per his own experience of gender. Having a "I assume the text is right" mindset means that I can hold space for my own feelings/analysis (i.e. I also did not like Catra's arc, as I think she needed to learn other things / be written under a different lens) while holding space for the text as is (under the canonical lens of Catra learning it's never too late to be saved, I think her arc is conclusive and well done). And these two viewpoints aren't fundamentally opposed, but can coexist as analytical soup, being equally true / having equal value under the subjective (my view) and more 'objective' (the canon text's construction, or what I / the scholarly consensus, if it exists, believes it to be, anyway) at the same time.

Again, none of this is to say that you can't take issue with a canon text, or want to change something. I remember one time I was watching a show where their refusal to explore a romantic relationship between the female lead and her guy best friend was actively making the show worse; I understood their reasonings of wanting to put them with other people to explore their relationships, and wanting to emphasize a male-female friendship at the core of the story, and I still wanted them to put the two together as a Ship instead for various reasons. But that doesn't mean my line of thinking would've been Objectively Better—assuming if they had been paired together would've been executed in the manner I'd enjoy, or that them being paired with other people couldn't have been executed in ways I would've enjoyed more—merely that I likely would've enjoyed the series more per my own subjective preferences.

What I see in fandom sometimes is that people, understandably, aren't approaching at the start from a "the story always has a good reason" as much as they are speed-running from a "this didn't make sense to me or felt bad/off" and maybe examining why (which is supremely useful!) but not going back to examine the other side of the coin as to why the story would do it anyway.

if you love Titanic, I heartily recommend The Dragon Prince on Netflix.

I know one is a tragedy romance based on real life events, and the other is a fantasy animated tv show, but they're two pieces of media that always go together in my head for their shared emphasis on loss, memory, tragedy, joy, ruinous splendour, and the perseverance of love.

While TDP talks about the loss of a lot of things, such as family, sense of self, etc. the central romance of the story also has its parallels to Jack and Rose. There's class differences (Callum is a prince, Rayla is a commoner / assassin) as well as a forbidden aspect to it (he's a human, she's an elf).

Callum an artist, deeply devoted to her and nurturing in general, while also being a bit of a lovable smartass (think Jack teasing Rose up on deck in the "you are so annoying scene") who values new experiences.

Rayla for her part grew up in a much more emotionally reserved environment, has a deep disregard for her life, but is very kind and courageous and loves him just as much.

They also take "you jump, I jump" to a 100% literal degree.

They are incredibly sweet, incredibly canon, and something I turn to whenever I think about Titanic. If you enjoy the movie and like fantasy, I think you would definitely like the show! The latest season just came out (7 seasons, 9 episodes of about 25 minutes each) and it was really good!

What are your favorite character dynamics in books and movies? Or character tropes, either limited to one character or affecting character interactions?

Oh I have been waiting my whole life for this question, thank you so much! As always tropes depend equally upon execution (we've all seen them poorly done or read/watched something we Should like, by all means, that just didn't click with us) but here are some of my favourite dynamics / character archetypes w/ recommendations

Dynamics

Platonic Power of Love / Platonic soulmates. Please see: How to Train Your Dragon, Crazy Ex Girlfriend, Loveless by Alice Oseman

Ties into found family, that is my #1. Bio siblings who also choose each other, unconventional extended family dynamics, workplace families, misfit families, just all the found families. Give it to me, every time. Please see: every recommendation on this list, Ducktales (2017), Six of Crows duology, The Book Thief by Markus Zusak

Grump X Sunshine but like in the specific "Grump has abandonment issues, Sunshine is like a golden retriever or paragon that helps them believe in life again, and the Grump's eventual opening up helps reaffirm / reward Sunshine's belief in people" way. Please see: The Dragon Prince, Inside Job

Mid-20s something who is too young to be a parental figure to the scrappy pre-teen kid they just found but someone's gotta parent the child, they Guess. Please see: vaguely Crazy Ex Girlfriend

Opposite but related trope of Adult trying to protect and raise their Chosen One child, trying to cope with the reality that they can't protect their child and that the kid ultimately belongs to the world. See: Aang and Monk Gyatso from Avatar: The Last Airbender, Christianity (hi Jesus and Mary)

Friends to Lovers. Even if they're enemies, there's gotta be a strong friendship stage / component, or I'm rarely gonna be entirely convinced. (But I'm also on the aromantic spectrum, so that defs influences me). Please see: Avatar: The Last Airbender, The Dragon Prince, Heartstopper

Villains / antagonists who are competing against one another or are reluctantly working together. I love the instability, the way it can make one villain work with the heroes, the snideness and differing goals. It's so good. Please see: Trollhunters (Tales of Arcadia on Netflix), Spider Riders (2006)

Platonic or Romantic "I was just going through the motions of my life until you woke me up and changed Everything," I love that transformative shit. Please see: The Dragon Prince, Infinity Train (s2)

Basically just "There are people you haven't met yet who will love you" every time. Please see: The Good Place

Foil sibling relationships, and if it's also intergenerational? Chef's kiss. Please see: Gravity Falls, Avatar: The Last Airbender, The Dragon

Slightly more serious older girl and more carefree younger boy. He helps her to lighten up and let loose, she helps him mature. Also angry girl and soft boy. See: every ship I have almost loved, Infinity Train, The Dragon Prince, Peter Pan 2: Return to Neverland (aka where my ideals for love came from when I was five, feminist girlboss movie of my childhood)

Love of any kind transcending death and time, Please see: How To Train Your Dragon franchise, Titanic (1997), Julie and the Phantoms

Loyal dutiful Knight / Lady or royal dynamic. Please see: The Legend of Zelda games

On that note, co-leader character dynamics. They have the same goal and uniquely mirror each other's devotion and drive, they're willing to put duty and share that maturity with each other? Eat that shit up every time. Please see: Shiro and Allura from Voltron if the show hadn't ended up being terrible, The Dragon Prince, Julie and the Phantoms, Roy and Riza from FMA (which I still need to watch)

If there is a big possibly scary creature and they have a tiny human and they love each other, I will fall for that friendship every time. Please see: How To Train Your Dragon, Transformers: Prime

Basically please watch The Dragon Prince if you haven't already, it's everything I've ever wanted or needed in a show.

Character Archetypes

So much of this just comes down to "Selfless leader burdened by duty and responsiblity" just with variations so keep that in mind

Older character haunted by memory / knowledge, knowing they are an unfitting protector to the new younger generation who needs them, re: The Giver by Lois Lowry

Team leader who feels like it's their responsibility to take care of everyone else whether or not that's actually plausible / the case, re: Rayla in The Dragon Prince

Paragons in general, re: Optimus Prime, Aang, Ezran

Strategist leader who is smart as all helll, if a little (or a lot) ruthless, re: Kaz Brekker from Six of Crows

Moses archetype who returns to liberate people from physical or emotional servitude / abuse, re: The Prince of Egypt, what Finn from Star Wars could've been

Character who's a little egotistical and a tad dim, but they really care about / will protect their family and comes through when it matters, re: Alvin from Alvin and the Chipmunks Meet the Wolfman, it was foundational for me; also Louie and/or Dewey from Ducktales (2017)

Driven angry girl with goals who will do anything to achieve them so long as it doesn't mean diminishing herself, re: Jane from Peter Pan 2 was my blueprint, Reagan from Inside Job, MT from Infinity Train

Just any woman with goals (and a man who supports those goals), re: Grace and Simon from Infinity Train until it got fucked up in the best way

Female tough girls and bullies with a softer side, a la Clarisse La Rue from Percy Jackson (not Amity from Owl House)

Exiled / outcast character with a massive guilt complex, re: Aang from ATLA, Rayla from The Dragon Prince

Nurturing characters with fierce tempers, re: Callum from the Dragon Prince

Chosen ones. I know it's cliche and I do not care, that shit can be compelling as hell. Honourable mention to: main character is trying to protect the chosen one (a sibling or friend), or there are multiple chosen ones running around

If they're a really good older sibling I'm probably sold, re: The Dragon Prince, Over the Garden Wall

Soft spot for gentle giants and lancers who can call the protag out on their shit while also knowing when to support them, re: Cyborg from Teen Titans

Grandmothers who have no time for anyone's shit

Women getting to have more 'masculine' roles unquestionably, men being satisfied in more 'feminine' child caring roles, re: The Dragon Prince

Revolutionaries, misfits, anyone rebelling against a system or two with a splash of solidarity as a bonus, again, most of the things on this list. (Milton's Paradise Lost is so fun)

Heroes and Villains who have actual similar personalities and flaws and it's not a superficial "we're not so different," re: Luke and Percy from Percy Jackson

Also that thing fantasy does where like, all the different groups and peoples will pitch in and come together for a common cause, it's so good and I will go for that shit every time. Truly one of my favourite tropes for all time

Scott, the villan, the worst of them all, the one whi doesnt hide who he is, is himself openly in front of anyone

Legundo always trying to "cure" Owen, to "fix" him, even though Owen always tells him that he doesnt want to be cured, he doesnt need to be cured, because theres nothing to cure, he is the way he wants to be

Apo, telling everyone, that she didnt want to hide that she was a vampire, but she wanted to tell everyone on her own terms, not be outed by Martyn

Shelby telling people that why cant she be a vampire and still be friends with everyone else? Shes still the same shellby, why does her being a vampire have to change anything?