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>> No.9765227 [View]
File: 330 KB, 600x436, evengelion driver is caught admiring ass in mirror.jpg [View same] [iqdb] [saucenao] [google]
9765227

>>9765215

Too much of a nerd bab' to kiss her. Afraid of mommy problems, I guess.

>> No.9702242 [View]
File: 330 KB, 600x436, evengelion driver is caught admiring ass in mirror.jpg [View same] [iqdb] [saucenao] [google]
9702242

>>9702239

Tsun is one of *many* ways of balancing the love/hate dynamic. It's widely used because it's easy and portable - both sides of the dynamic are built into one character for easy adjustment. The see-saw tends to wax toward Hate, for the reason that it leaves the Love resource on reserve, and in high concentration; a writer can inject the Love resource into the story during any scene and its effectiveness is immediate. This helps encourage climactic writing.

There's some creative ways of dealing with it, too. I think all of you are familiar with the amazingly awful anime Rosario and Vampire. This is another monster-of-the-week story the likes of which hundreds are produced daily in Japan by teenage fanfictioners - but it dealt with the dynamic in an interesting way. The tertiary protagonist, Moka, is two extremes built into one person - there is her ordinary kind and affectionate side, as well as her inner harsh, distancing side. This was a very effective character invention which had not been used before in any story, and accounts for the story's popularity.

There's another way which has been around for quite a while. In Ender's Game, Ender's siblings Valentine and Peter account for the extremes of love and hate respectively. Valentine is very caring and affectionate, and has a great deal of love for Ender. Peter is a sociopath who hates and manipulates Ender, appearing to show no genuine affection.

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