6 Ways to Write Sadder Character Deaths
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- čas přidán 4. 06. 2024
- If you're going to kill a character, you might as well make readers cry ...
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⏲️ TIMESTAMPS:
00:00 - Introduction
00:26 - Deep Relationships
01:24 - The Redemptive Arc
02:25 - Remove the Protector
02:50 - Subvert Expectations
04:00 - Promise a Great Future, Then Take It Away
04:35 - Fulfill the Character's Arc Perfectly
06:26 - Bonus Strategy
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My "chosen one" gets killed off as a child at the beginning of his training arc. Everyone's gonna be shocked except one guy who's gonna read it and think, "yooooo, this is the book by that commenter!"
I will try to be that one guy
I beat you to it ! Don’t bring him back ! Or its going to be a bait and switch 😝
@@yassinemiri3555 nah he stays dead, the whole prophecy thing is just the good guys coping hardcore. Hope yours does too!
@@DaDocDuck I'll hold you to it💪🏼
Ha, I love that
Killing characters for shock value was one of my most repeated mistakes in my early stories. Then you learn it’s much more fun to give them a bright future only rip it away.
Absolutely
@@Jed_HerneOn this topic, are there good ways to write shock value deaths? Say to show off the power of a main antagonist, and/or have more story significance?
@@Jed_Herne, you mentioned your new book. It interests me, but I would like to know: do you consider it G? PG? PG-13? R? I want to be careful as I am not an adult...
@@heatherkline6766 I'd say M
@@Jed_Herne which is about PG? (Says Wikipedia)
One thing to consider is there is no one way to process grief. So not only do you need to consider the relationship but also the personality.
I felt this hard when my mom died. I cried once than became stoic and just refused to break (also wasn't mentally there). It wasn't until months later when i was in the car listening to a song that I actually grieved. People are weird like that.
Well said. Great points.
Boromir's death in the films was so much more impactful for me than it was in the novel. Not only due to Sean Bean's beautiful performance, but by how hopeless and almost pointless it seemed when it happened. The moment that still sticks with me to this day was as he knelt there full of arrows, the orcs just walked by him like they all recognized he was no longer a threat. He was nothing to them, and he was unable to move, speak, or resist their derision. He could only watch as the ones he tried to save were carted off, because his body had nothing left. It was gut-wrenching, and makes Aragorn's arrival even more satisfying in retaliation for both his impending death, but the sheer contempt that they treated him with.
The fact I can still feel so strongly about that moment decades later is a true credit to Peter Jackson, and the cast and crew who brought it to life. It truly was a redemption for his character on so many levels, and a perfect choice for this list.
I thought this too when I read the book 💔💔
Nothing gets me more than killing the “family dog”, meaning the character that is innocent or can seemingly do no wrong and everyone loves. When that character sacrifices themself, that hits so hard.
Boromir was so heartbreaking death for me. He was one of my favorites.
His death actually made him my favorite character, edging out Gimli. It was the ultimate redemption, from his attempt at taking the One Ring to fighting on until he no longer had the strength to stand.
One guy I went to college with said Boromir was the worst character Tolkien wrote and I said, “No, he’s the most human.”
@williamwilson1222 I used to think Boromir was a bad character in my teenage years; it took me a bit of aging and a third read-through of the books to realise just how fantastic a character he is
Boromir is gold standard for great gut punching character deaths. If you can pull that off in your book, you are on to something.
I hadn't planned any major character deaths, but in watching this, a character I have has a lot of set up for a dramatic death scene. It could make sense
Dumbledore's death is the perfect example of "remove the protector".
I think many of these strategies can still be used for shock value, if this was their only effect on the main character. The reader's emotions are usually influenced by that of the main character. A sacrifice is mainly the thing that makes a character's death impactful, maybe even regardless of the main character's feelings towards it. It doesn't matter if it was a grey character for the entire narrative or a even a villain, the sacrifice at the end is their redemption arc as you said. I believe this is also what's known as "the tragic hero" in classic literature who doesn't necessarily has to be the protagonist, but accepts the consequences of their misdeeds heroically after realizing their mistake and Boromir is a very good example of that type of character.
I've just done number 5 in my fantasy trilogy I'm writing: Two characters that were getting into a relationship since book 1 have just gotten engaged. And then one partner dies right after in a sacrificial move. Got super strong reactions from test readers
one thing i loved about dishonored is that it isnt afraid to kill characters in unceremonius ways or offscreen. it makes the world feel more grounded, and the characters more vulnarable
Robin Hobb is amazing at making me cry, she put's so much work into the characters that you feel like someone you know IRL has gone once they're killed off. She also references things from a dozen books back to really shove the onions in the eyelids.
When you mentioned the mentor dying initiating the protagonist to continue their goal reminded me of the series, Harry Potter. When Dumbledore passed away, Harry had to go on the quest to find the horcruxes. Dumbledore's death served as the plot for the seventh book.
Off topic, but I’d love to see a video from you on what your day-to-day looks like balancing work, exercise, YT, marketing yourself, and writing.
I know I'm a bit late to the party but I just wanted to point out how well Frank Herbert uses these tactics to kill off Duke Leto without resorting to the shock factor. The reader is told before the book even starts that he's going to die, leading to a sense of hopelessness and inevitability as the scene gets closer (which also balances beautifully with the themes of inevitability throughout the story). The reader is practically angry at the author for making them become attached to the Duke despite knowing he will die, then even more so after he feeds the reader a false hope of using his death to kill the Baron. The fact that this plan fails just adds to the gut wrenching feeling at this scene, despite knowing it was coming from day one.
I love characters that gives a big poetic speech before his final moment
What I found most emotional about the “hold the door” scene is the knowledge that this child lost everything, gave up being normal, lost the life he thought he’d have to end up at that door. You see it happen, see the embarrassment of losing normality whilst everyone’s watching. It’s as vulnerable a feeling as if his clothes fell off tenfold. You see his normal future be drained away in favour of his tragic destiny.
And then you see that man who’s gotten past that moment over years that we’ll never get the chance to learn about, who found a new normality and grew up into it. You see that man, who chose the role of a kind helper, always trying to make others happy, lose that too to hold the door…holthedoor…hodedoor… Everything gone in that one moment of crossing eyes with Brann. No choice, no idea what or why. All gone.
…or at least his capacity for speech and everything that depends on that gone.
bro the example for #4 is legit the twist for a story I'm about to send to image! Ur on fire w these bro!
4:06 this part reminded me of a story I expected a happy ending but one of the main characters die is a bittersweet way, even tho I know what will happened because I read a spoiler I still bawled my eyes out
Great video Jed! Thanks for doing this!
Applying these to Usopp:
1. Deep relations with the Strawhats, particularly Luffy.
2. Cowardly flees from final battle abandoning his friends before steeling himself, returning, and redeeming himself by sacrificing his life to save everyone.
3. Subverts expectations since nobody thinks anyone meaningful, let alone a strawhat will die in One Piece.
4. A great future sailing the seas and partying with Luffy after the story.
5. Fulfills his character arc of becoming a brave warrior of the sea.
Can you explain three more as it applies to Usopp?
Yo dude I love the numbered "list" format of your videos. Super thought provoking and digestible. Your helping spur me on with writing
Excellent analysis! I think one of Tolkein's big flaws in LOTR is his reluctance to kill off anyone whom the reader might like. Boromir is the only exception but he's quite a wooden character in the book. Even the horses don't get killed! The only really moving deaths are Aragorn and Arwen and that's in the afterword bit after the main action is finished. I think this reluctance is understandable though, because Tolkein had fought in a real war and seen most of his friends killed.
Great video! The idea of fulfilling the character's arc with their death stands out to me - it adds a complex layer of bittersweet poignancy that really resonates. :)
Can you make a video on how to create a fantasy romance novel
My protagonist dies after her training arc, and I haven't really cemented what happens after that. People in this world reincarnate so I'm stuck between sticking with the group that were fighting alongside my protagonist and having the reader just take solace that she'll return to the world someday, or having a time skip where she's reborn but most of the other characters have gotten much older and dealing with the emotions of losing their hope.
@@Ger954I agree with this so much.
@NottherealLucifer
It would probably depend upon the rules of reincarnation in your world. Does everybody reincarnate, or just a select group of people? If it's a select group, then what allows them to reincarnate? (Their race/species? Their ethnicity? Their bloodlines? Something external that affects only them?) How long does it usually take a person to reincarnate? Do people "reincarnate" back to the age that they died, or are they reborn and have to go through childhood again? Do people reincarnate with the same attributes they possessed in their previous life/lives (Same physical appearance? Same memories? Same skills?), or are they a new blank slate? The answers to those questions may help determine which way you can take your story.
Interestingly, a discrepancy in the rules can make for an interesting path. Hypothetical Example: Let's say the rules for reincarnation have people reincarnating as new blank slates decades after their deaths with no memories of their previous lives. Except, for some unknown reason, your protagonist is reincarnated/reborn within days after their death, but they are essentially an unrecognizable new person to their former comrades. Then, your protagonist can meet their former comrades again and witness the emotional loss. However, through continued experiences with the former comrades, your new persona protagonist can once again defy the rules of reincarnation by incrementally regaining memories, skills and behaviors from their previous life.
Just throwing out some things to think about...
Loving your videos Jed :) Been binge watching your channel!
Glad you like them!
I enjoy your videos. One thing you need to add to this list... "Let death be as permanent in your world as it is in ours." This is ultimately relatable (pun intended). Fake-out deaths or "sorta dead but didn't see the corpse" is so overused that it rings manipulative to readers like myself. I want to be respected as a reader, not subjected to a bunch of "Just kidding...." deaths.
Great video as always
Thanks!
in One Piece the death of Luffy's brother Ace at the Marineford War breaking the usual cheerful and happy Luffy's resolve was very profound
one of my biggest twists was when my main character, under the influence of an illusion by his psycho older sister, kills his mentor. that was my characters most drastic personality change, because after that, he was a lot more ruthless and vicious, both to his sister and other antagonists, he was so angry at himself for what he had done, even to the point where he came close to killing his sister
Haha, I am writing a novel where one of the main characters promises to protect his friend. But something goes wrong. The character is separated from his friend, who is presumed dead. And so this character feels guilty. His friend returns and at the climax of the story, he completes his character arc by saving his friend at the cost of his life and, simultaneously, faces one of his biggest fears: death.
I just found your channel yesterday and started watching all your videos, you are amazing and all your contents are very helpful. I just wanted to ask you if you have studyied narratology by yourself of if you have followed some courses of stuff like that. Best wishes for the channel from italy 🤜
I'd like to see a book trilogy about the death of the chosen one and how the other characters react both to the death of their friend, prophesied hero and leader of the free people. I think it also be interesting if the story follows an end of world scenario with a dark lord/being who looms over the narrative... Imagine a situation were the dark lord or being arrives in 7 days and your chosen hero has just died could you imagine the tension amongst the other characters! Questions plague them like who's going to fight the dark lord and who will lead us now... Could you imagine the political nightmare it would become, each nation wanting to push their strongest sorcerer to take the chosen ones place... Or i just thought about this what if the chosen one who dies wasnt the chosen one or was the chosen one and say the universe automatically choses another chosen one amongst the friends and the question no longer who will lead us but which person/persons has inherited the power.
Killing characters can be useful in showcasing how dire a situation is, and can be exceptionally poignant if it's in a story that death itself would be unexpected.
The second one reminded me of Farscape's "Talyn... Starburst" scene
I'm goanna be honest, promising a bright future and then taking it away is just more frustrating to me.
Like, you give a character something to look forward to, but you just decide "Nah you ain't getting that" is a slap in the face of both the character and the reader.
I say give him that future, they deserve it.
All the others I enjoy though.
Regarding shock value of the death of an important character, what about realism? There are some real-life situations, such as artillery barrages, where death is totally random. I can imagine a gritty war story with an "ensemble" cast, where each character was developed, and then half or more get killed. In fact, I can do better than imagine. Isn't that part of the morality tale of The Magnificent Seven?
Who dies from a shell in real life might, indeed, be totally random. But when you're crafting a story, you, as the author, choose who the shell fragments strike down.
There will be a narrative reason for choosing those particular characters, and you can probably manage to combine all of the tips Jed provides here into a single powerful scene, if done well!
My main character dies to save everyone and so she writes some of the book and her friends take over at the end as she is not there to continue the story
I have a story I’m working on that has a character die suddenly with no set up. This is on purpose! The character who dies is a protagonist and the girlfriend of the other protagonist in a WWII era story in Europe. In the spring of 1945 (before Germany surrendered) they ambushed a Nazi convoy transporting Jews to a death camp, they kill all the German soldiers and free the prisoners, then out of nowhere the girlfriend is shot in the head, right in front of the other protagonist, he morns her as brings her body to a special place in Ireland (she’s Irish and they met in the Irish War for Independence), before burying her in their special place, he finds a note in one of her pockets, saying that if she died that her should have her M1921 Thompson sub machine-gun. After the burial he heads down into a nearby village, heads to a pub, gets a drink, and swears revenge on all Nazis, not just for the crimes against humanity, but for the personal grievances that 1 SS Officer committed by killing the love of his life.
The whole point of this sudden death is that it is sudden, with the guy’s life suddenly turning upside down, as one of the few ways for him to keep his sanity gone, and a new, personal reason to kill Nazis.
He also has powers including fast healing and toughening his skin to make it harder to penetrate, that plus his rage and fearlessness make him willing to commit reckless attacks, including charging tanks and pillboxes with just a single grenade or submachine gun (though a Tommie Gun would be lethal if he got into ether). This death would also make not care about committing War Crimes by killing POWS, while before he would spare their lives.
I've been teetering on whether to kill my MC at the end of the story, both for redemptive and story arc conclusion reasons. I'm still a ways off from needing to decide, though. Lol
Great video, thank you!
There is one thing I think about, that is redemption. I don't know any example of a character that failed badly, maybe betrayed others or just did something very wrong, who got a redemption and was forgiven without having to die. Their death is either a consequence or punishment or sacrifice (redemption including death). Are there any examples of redemption including the character becoming a member of society again and being totally forgiven?
(Maybe Edmond in Narnia is something of an examle, but he was betrayed himself by the White Witch, so he was a victim, and he was a child.)
Is there a reason for this lack of total redemption of a character?
Zuko from Avatar: The Last Airbender. *The* character to look at if you're writing a redemption arc
@@samuelhoughton4789 Thanks. :) But do you, too, see, how rare that is?
Oh damn, you're right. Using me as an example: of the 10+ redeemed villains i wrote, only 4 actually live. Most's redemptions are their deaths
The mentor/student reminds me of Darth Maul.
Amazing video Jed! These are some great tips, which is your favorite? Also, did you use any of these in Kingdom of Dragons? 👀
Thanks Cameron! Hmm, great question. I'd probably say either #5 (Promise a Great Future, Then Take It Away) or #2 (The Redemptive Arc). If I had to pick one I'd go with #2. One of my novels is basically built around this idea.
In terms of Kingdom of Dragons - I won't give any specific spoilers before it's out, so you'll have to wait and see :)
How many pages are in Kingdom of Dragons?
Hello there 😊 Can you make a video on how to find good alpha readers and where to find them? Is it okay if I use my friends as alpha readers while they are not Fantasy nerds? Thanks :)) ✨️
Six Ways to Write Sadder Character Deaths
**Deep Relationships**
Give the character deep and diverse relationships with other characters, so that their death affects everyone differently and reveals different aspects of their personality and impact.
In The Book Thief by Markus Zusak, the death of Rudy Steiner, the best friend and love interest of the protagonist Liesel Meminger, is devastating to her and the readers. Rudy dies in an air raid while clutching a teddy bear, and Liesel finally kisses him after he is gone. His death also affects other characters, such as his father who had been drafted into the army, and Max Vandenburg, the Jewish refugee who had befriended him. Rudy’s death shows how much he meant to Liesel and others, and how war can destroy innocent lives.
**Redemptive Sacrifice**
Make the character redeem themselves or overcome their flaws by sacrificing themselves for a greater cause or for someone else. This can make the readers feel sympathy, admiration for the character, and sadness for their loss.
In A Tale of Two Cities by Charles Dickens, Sydney Carton, a dissolute lawyer who loves Lucie Manette, sacrifices himself to save her husband Charles Darnay from the guillotine during the French Revolution. Carton switches places with Darnay in prison, and goes to his death with dignity and peace, uttering the famous words: “It is a far, far better thing that I do than I have ever done; it is a far, far better rest that I go to than I have ever known.” His death redeems his wasted life and proves his love for Lucie.
**Remove the Protector**
Kill the character who protects, guides, or teaches the main character, forcing them to grow and face the challenges on their own. This can create tension and suspense for the readers, as well as a sense of loss and vulnerability for the main character.
In The Lion King by Disney, Mufasa, the king of the Pride Lands and the father of Simba, dies while saving his son from a wildebeest stampede that was orchestrated by his evil brother Scar. Mufasa’s death leaves Simba alone and vulnerable, and he is manipulated by Scar into believing that he is responsible for his father’s death. Simba runs away from his home and his destiny, and grows up in exile with Timon and Pumbaa. Mufasa’s death creates a dramatic turning point in the story, as Simba has to overcome his guilt and fear to reclaim his throne.
**Subvert Expectations**
Kill the character who is not expected to die, either by genre conventions or by narrative clues. This can surprise and shock the readers, as well as challenge their assumptions and expectations.
In The Song of Achilles by Madeline Miller, Patroclus, the narrator and lover of Achilles, dies unexpectedly in the Trojan War while wearing Achilles’ armour. Patroclus’ death is a shock to the readers and to Achilles, who had been prophesied to die young and gloriously in battle. Patroclus’ death also triggers a series of tragic events, such as Achilles’ rampage against Hector, his own death by Paris’ arrow, and the desecration of their bodies by the Trojans. Patroclus’ death defies the conventional hero’s journey and shows the futility and horror of war.
**Promise a Great Future, Then Take it Away**
Make the readers expect a bright and promising future for the character, then take it away by killing them. This can make the readers feel sad and disappointed, as well as question the fairness and meaning of life.
In The Fault in Our Stars by John Green, Augustus Waters, a charismatic and witty teenager who has cancer, dies after falling in love with Hazel Grace Lancaster, another cancer patient. Augustus and Hazel had shared a romantic trip to Amsterdam, where they met their favourite author Peter Van Houten, and had planned to spend more time together. Augustus’ death shatters Hazel’s hopes and dreams and leaves her heartbroken and lonely. Augustus’ death also contrasts with his desire to be remembered and to leave a mark on the world.
Fufil the Character's ArcFufil the Character's Arc
Make the character’s death the only logical and inevitable way to complete their character arc, giving them a sense of closure and meaning. This can make the readers feel bittersweet and satisfied, as well as appreciate the beauty and coherence of the story.
**Fufil the Character's Arc**
Make the character’s death the only logical and inevitable way to complete their character arc, giving them a sense of closure and meaning. This can make the readers feel bittersweet and satisfied, as well as appreciate the beauty and coherence of the story.
In the Game of Thrones television adaptation, Ned Stark’s death was the result of his choices and values, and it also had a significant impact on the rest of the story. Ned Stark was a character who valued honour, justice, and loyalty above all else. However, he also faced a complex and corrupt political situation, where he had to deal with lies, betrayal, and manipulation. He had to choose between confessing his crimes and saving his family, or staying true to his principles and facing death. He chose the former, hoping to spare his life and his loved ones. However, he was betrayed again by the king’s son, who ordered his execution anyway. His death was the only way to end his character arc because it showed how his honor and honesty were both his strength and his weakness and how they led him to his doom.
I wonder if people have opinion's on Snape's death and whether it fulfills a perfect character arc. In one sense, it is good because he is part of destroying the Dark Lord and making up for pointing him at Lily. On the other hand, it is both a risky bit of plotting from Dumbledore (how can he be sure that Snape will get the critical information to Harry and be believed?), his death is not part of helping out in any way other than being there dying, so he is not so much carrying out his task through his own efforts and at his own risk as he is given the last minute opportunity to strike a blow against his murderer - it makes it possible for naysayers to dispute his motives. Also, his entire story arc points out how Dumbledore the supposed good wise mentor is not only fallible but has participated in murdering Snape by having him appear to gain ownership of the Elder Wand. On the one hand, Dumbledore must be all-knowing and successfully manipulative to make the Trio succeed in all the crazy little tasks that allow them to win - Harry figuring out all the Horcruxes, Ron using the deluminator to return, Hermione explaining the Deathly Hallows so that Harry can confidently fight against the Elder Wand since he is its owner. But that implies that Dumbledore also knew that Voldemort was going to kill Snape. Or Dumbledore was just relying on insane luck, which is no way for a wise old mentor to plan a war.
Hey! So I am a fantasy wolf author and was wondering if you want to uh judge my death scene. Where I kill someone. It’s already made one person cry/almost cry, and I might rewrite it. My main goal is to make my readers feel like they are the character watching their sister get murdered. It needs to be the best I can make it so I’m looking for advice from anyone, especially people who have written something similar.
Quick summary: two siblings go in a cave and get attacked by a fox. The fox goes after the younger sibling and ends up killing her, the fox pins down the brother and a minute or so later their parents come to the rescue. The other wolves are too busy fighting the fox to save his sister as she bleeds out and he is scarred by it for the remainder of the series. He might get like a small scar on his paw or something, like the token memory thing you mentioned.
Should i kill 1 of my protagonist?:
My story has 4 protagonist which go on adventures in thier magic school, basically they are the commner turned noble(name not decided), the sly inventor and merchant, Edward, Wants to fight everything knight, Mark and the flawed perfectonist prince, Albert. I am killing Edward around the 5th arc of story will it be good?
Hey... could anyone in this comment section, or maybe Jed himself, tell me their thoughts on doing this when the cast of a story is very small? Possibly just two to four people? I'm puzzling over it a little...
One sad death in Star Wars was Kanan sacrificing himself.
How do you kill off the main character in a first person novel? Im not even writing one. I just never understood how you approach that. Like they announce their own death like 💀
Bro i have a question is the Fantasy genre only has magic and magical creatures or is fantasy genre includes things like powers, different world and other things but lets say the powers are science based. I am getting super confused here the powers are only science based but the other thing is not so is it sifi or fantasy.
They are narratively very similar and it comes down to setting and world building. One tends to have "magic" the other "technology", one "creatures" the other "biology", one "kingdoms/worlds" the other "countries/Planets" etc.
My character injected himself with a virus and rips himself apart to allow the virus to destroy a mutagent virus that creates deadly mutiant organic abominations...in hope to face the innocent blood he has spilled
i want teapot
me wondering if i should make my character deaths sadder
best redemtion death: luke castellan/darth vader (bc whats the difference)
Excellent choices. I love them both.
I hate the redemption death cliché. If that happens to a character I like, I'm likely to stop reading and give a one-star review with a fair-sounding argument to dissuade people from buying it. This is probably the main reason I don't care about Boromir. At all.
It removes the much more interesting possibility of a redemption arc. A character in need of redemption is cheap to kill, and doing it as redemption does nothing to change that. It's entirely expected, because it's the most killable character around. It also sends the message that you shouldn't even try to redeem yourself, because you're going to be punished anyway.
Some better ways to handle it:
1: If they try to save someone, have them fail, but still survive. That's a lot of guilt to go through for all kinds of arcs.
2: Have them choose not to risk their life to save someone, and then kill them.
3: Just don't.
4: Have them sacrifice their life to save someone, then as they're about to die as a result of that, have a literal god swoop in and save them.
Killing a character that have a little reader/viewer investment in them can be a balancing act.
Its just my opinion, but death in Books/Series/Movies nowdays are a bit overused and/or done not to my liking. Its mostly either fridging or gets told in a very brutal and senseless, or even worse, unspectaculary way.
First of all, i think a story (especially a fantasy story where healing magic, potions and long life spans are considered normal) a death of a character is not necessary, if you got other strong events/motivations for the reader/protagonist to recieve.
Second, sometimes you have to take out a character. Some examples could be, he either stands in the way of the developement of the protagonist, would be to powerfull in the future or his death kicks off the character developement.
But you dont have to straight kill them, there are other methods like robbing the wizzard of their his power, mutilate the warrior or give the strong Mentor a task that requires his full attention and he now can no longer follow/support the protagonist.
Killing a character kills so much more! at first, you kill the investment the readers have put in them, you kill also every future storys they can have. With my examples mentioned above: The Wozard now tries desperatly to get hsi powers back, with questionable methods, the mutilated warrior struggles in a normal life without fights or even founds finaly inner peace and have a family. The Heroes could even come back to him since they need his strength but he does not fight anymore since his family now needs him.
And speaking of killing, i have the feeling some authors took too much inspiring from other great works like GoT.
I noticed some things in what i consumed over the last months (books/series/movies): The deathcount went really up.
A lot of brutal murder who had all of the horrible stuff cramped together like the author tried to pack every crime he knows in one murder.
A lot more tell then show to a point where i thought to myself "Does the author think I'm stupid?" and at last, i saw a trend in "meaningless deaths"
For example:
A character had already some "screentime" and when he does something insignificant he gets Stabbed, beheaded, poisened, gets a headshot or any form of fast death without windup, struggle, playing with hope. And then, the story goes on like nothing happened, maybe here and there a sad flashback but thats it. It could have also happened "off screen" and it wouldnt change much.
I hate being forced to watch movies I know I won't like. I spent the whole movie wishing Juno would die. I know, I'm a monster.
1:57 man… Ned Stark keeps getting killed in these books, bro.
One word:
Mio
But the thing is... there's more to writing than writing sad character deaths.
Of all the deaths I have ever seen/experienced in fantasy, i cares the least about Hodors. Seriously, no idea why anyone gave a fuck. He wasn’t a character I connected with, obviously, and Bran was the most boring stark of all, even worse than Sansa. So, no, I didn’t care at all.
It's really a shame that season 7 and 8 of Game of thrones where trash. I guess on the bright side it showed how terrible the directors of Game of Thrones really are.
Hodor's death was a "good" character arc?? Alright... Unsubscribing.
You think not?
@@seasicksolid7356 - No. A r*tard's brain stuck in a time warp is not a good plot element.
Literally the week that death happened I was at work and a dude was coming up to the closing elevator I was in and said “ho da door!” I laughed and told him it was too soon 😂