The first instance we see of a clone made by the navy is dopplegilly, and I recently re listened to a scene from 114 and I think I figured out how they are made.
I've seen a lot of people say that the machine that gillion wore that "made him a more obedient soldier" is what cloned him, but I noticed that before that, (when Grizzly is describing when gillion wakes up on the meat hook), gillion hears the creature talking in primordial to someone, saying
"Find intruders. Kill. Make more soldiers."
We also saw the creature say similar things to dopplegilly in a different scene. With the idea that the creature was very likely talking to Dopplegilly, we know that Dopplegilly was made before gillion sat in the chair.
But Gillion was effectively killed by the creature that took him, and was saved by the Death Ward that he casted beforehand. Which means that the reason Dopplegilly was created was because the real Gilly died. This can be further proven by what the creature says to dopplegilly, telling him to kill the intruders to make more soldiers.
So I don't think edyn is okay... she's very clever and could possibly have revived herself or something but I'm very scared that Faye killed her a long time ago and all that's left of her was her clone
I might be stupid but didn't doppleedyn also say the last thing she needed to do to replace Edyn entirely was to kill Gill? Wouldn't she also need to kill Edyn unless Edyn is already dead or doppleedyn thinks she's dead
My boss and I were pricing books when I learned about JK Rowling's pseudonym Robert. She wrote an entire series about this guy who's a detective or something. And we thought it was strange she would use a male pseudonym cause she blatantly hates trans people . but both her book series star male leads and her pseudonym is Robert, a male. We theorized that maybe she has internalized transphobia and is also overcompensating because she herself has those feelings and stuff.
An antihero - a central character who lacks the characteristics an audience associates with a conventional hero.
They are ambiguous protagonists—complex characters who have a dark side.
Despite a flawed exterior, a history of bad decisions, and even a questionable moral code, an antihero is ultimately guided by good intentions.
Tips for Writing an Antihero
Despite their flaws, antiheroes are realistic characters that readers can relate to. Here are four tips for creating a great antihero for your story:
Create a main character who is complex. Think of how you would write a traditional hero. Create your antihero by giving them the opposite attributes. If a hero is an idealist, your antihero is a cynic. Make them mysterious so their character is revealed bit by bit. A great antihero has flaws just like a real person. But despite an antihero’s weaknesses, their good side is illuminated as the story progresses. These contrasting qualities make an antihero more complex and interesting.
Give your antihero internal conflict. Every great antihero has an internal struggle driving their actions. Before you begin writing, sit down and flesh out the character. What event is the source of their internal struggle that informs their behavior in the story? As you write, slowly reveal your antihero’s backstory to let readers know what makes them tick.
Don’t confuse your antihero with the antagonist. For the antiheroes with misguided morals, the ends justify the means. They can explain away the bad things they do if the result is ultimately good and they emerge a hero. When writing an antihero, you can bring them to the edge of evil, but they’re never as evil as the true villain of your story. Unlike an antagonist, an antihero ultimately believes they are acting for a noble cause. Some characters, like the DC Comics character Harley Quinn, alternate between being an antihero and an antagonist, depending on the context.
Use supporting characters. In the TV show The Sopranos, antihero Tony Soprano had his therapist, who showed Tony’s vulnerability and made the audience have a soft spot for a guy who ordered a hit as easily as he ate a bowl of pasta. Create a side character who can illuminate your antihero’s redeeming qualities. The best antiheroes are the ones readers can’t believe they’re rooting for.
Types of Antiheroes
Think about the rough-around-the-edges antihero Han Solo compared to the traditionally heroic Luke Skywalker. Antiheroes go against the grain and are often social outcasts who operate by their own rules. Here are different antihero archetypes found in fiction:
The pragmatic rebel: The pragmatic antihero is a realist. They might associate with both good guys and bad guys and take whatever action they deem necessary to accomplish their mission. Their morals are, for the most part, good, but they won’t hesitate to do what’s needed to be heroic—even if that means taking out a few bad guys. They won’t intentionally cross a line unless it’s for the greater good, and they may still follow the steps of the hero’s journey.
The unscrupulous antihero: This is the antihero whose morals fall into a grey zone. They have good intentions but are driven more out of self-interest rather than the greater good. They can be cynical and have a jaded view of the world. Their actions are often dictated by past traumas and inner conflict, revealed through their backstory. They don’t think twice about how they achieve their goal and who they need to push out of their way, and they sometimes even enjoy the dark side. Annaliese Keating, the antihero played by Viola Davis at the heart of the show How to Get Away With Murder, is cutthroat and morally compromised, but her motives begin to make sense as the audience gets a deeper look into her inner life.
A hero by any means necessary: The titular antihero protagonist of the television series Dexter (as well as the novel it’s based on, Darkly Dreaming Dexter by Jeff Lindsay), borders on being a villain. Antiheroes like Dexter Morgan justify their behavior because it results in something that benefits society, even though their actions are questionable—and sometimes even psychotic. For example, Dexter might have good intentions as a vigilante serial killer of other killers, but his deeds are those normally associated with an antagonist.
Example: Walter White
Walter White is the main character of the TV series Breaking Bad.
As a man dying of cancer, White begins to make and sell methamphetamine to save money to support his family after his death.
As the series progresses, Walter White’s character arc is dramatic as he moves through the ranks of antihero archetypes, crossing every moral line and almost assuming the role of villain.
Told from any other point of view, Walter White would be the antagonist of this series but instead he is an antihero.
Completely relatable for Yoshiki to give in to his attachment to the not-Hikaru so early on. If I was an isolated, closeted gay teenager who’d lost my best friend (who I was in love with), and the eldritch horror that replaced him came back validating my feelings every second of every day, telling me how much he loved and appreciated me, touching me constantly, giving me honest, unfiltered declarations of devotion?? Shit, I’d fold too
the summer hikaru died is a horrible tragedy about being the only gay people in your hometown and how that complicates the experience of realizing your feelings for someone, the sense of isolation and otherness you feel growing up and knowing that youre different. it's also the series where a teenage boy falls off a cliff and dies because he stopped to look at a tree shaped like a sexy lady. im not kidding btw that's literally how original hikaru died. that's the inciting incident of this whole series. he went AWOOGA and ate shit so bad he died in the forest and that's how he got replaced by an eldritch entity. anyway everybody should watch the anime the first ep is out now
How to write about someone’s appearance? Their physique, styles, face , clothes,?
How to Describe a Character's Appearance
-> dabblewriter.com
-> link to Character Description Prompts
Avoid Over-Describing
Overloading readers with too much information can be overwhelming and make your characters feel flat and one-dimensional. Focus on the details that are the most important to the story and the characters themselves.
If the character's appearance is not central to the story, then you may only need to give a basic description. If it plays a significant role, you may want to go into more detail. Always keep the purpose of your physical descriptions in mind.
Show Don't Tell
Don't blatantly state every little thing about your character's appearance, but rather show it through their actions and behaviors.
example: If they are tall, show that through their actions. They have to duck to get under a doorway, they help someone reach the top shelf, etc.
Include Personality Traits
A character's personality is what makes them memorable. Consider their motivations, values, beliefs, and quirks and give them a well-defined personality.
Avoid Stereotypes
Create characters that are more than just their cultural, racial, ethnic, or gender identity. Give them unique interests, hobbies, and personalities. Allow them to have flaws, contradictions, and diverse perspectives.
External Features
External features include a character's height, weight, body type, and general appearance. You can describe their skin color, hair color, eye color, and any distinctive features like freckles or scars. This type of description gives the reader a basic understanding of what the character looks like, which is helpful in creating a mental image.
Clothing
Describing the type of clothing they wear, including the colors, patterns, and how they fit, can reveal a lot about a character’s personality and social status.
For example, a character who wears tailored suits and expensive shoes might be a little snobby and concerned with their image, while a character who wears ripped jeans and t-shirts might be casual and relaxed.
Facial Features
Facial features can be used to give the reader a more in-depth understanding of a character's personality and emotions. You can describe their smile, the way they frown, their cheekbones, and their jawline. You can also describe their eyebrows, the shape of their nose, and the size and shape of their eyes, which can give the reader insight into their emotions.
Body Language
Body language can be used to give the reader an understanding of a character's emotions and personality without the need for dialogue. Describing the way a character stands, walks, or gestures can reveal a lot about their confidence level, mood, and attitude.
For example, a character who slouches and avoids eye contact is likely to be shy, while a character who stands up straight and makes direct eye contact is likely to be confident.
Words to Describe Various Features
Head and face
Oval: rounded, elongated, balanced, symmetrical
Round: full, plump, chubby, cherubic
Square: angular, defined, strong, masculine
Heart: pointy, triangular, wider at the temples, narrow at the chin
Diamond: angular, pointed, narrow at the forehead and jaw, wide at the cheekbones
Long: elongated, narrow, oval, rectangular
Triangular: angular, wide at the jaw, narrow at the forehead, inverted heart-shape
Oblong: elongated, rectangular, similar to oval but longer
Pear-shaped: narrow at the forehead, wide at the jaw and cheekbones, downward-pointing triangle
Rectangular: angular, defined, similar to oblong but more squared
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