I decided to have a little misdirect by having Humphrey saying some worrying final-sounding words to make it seem like he was gonna die again, when in actuality, it was Runt who was going to die. And I decided to rub it in a little by having Runt be the one who says they’re all going to make it out alright.
Something I didn’t realize with the dialogue between Viggo and Humphrey when the battle first starts is that even though I didn’t try, I followed up with the quote from the beginning, saying that Viggo didn’t seem to have any weaknesses. That line was mainly just for effect to emphasize how dangerous Viggo was, and I unintentionally followed through with that. I accidentally gave Viggo a flaw that Humphrey finally figures out to exploit and unintentionally made the story that much fuller.
At the beginning of the story, Humphrey says he couldn’t find anything to use against Viggo that he hasn’t compensated for. And by the time the final battle comes around, we see what that is. It’s his ego. He thinks he’s so good that it’s impossible for him to make mistakes. And that’s not just something that shows up only in the beginning and the end out of nowhere. I also accidentally gave evidence for that throughout the last two stories. We see him be cocky and disregarding Robert because he’s “slower of mind”. And as the story goes on and he suffers more defeats, he starts to lose his nerve, although he won’t admit it.
Bringing Leyla in to fight Viggo was an idea I had straight from the beginning, although I didn’t realize that she didn’t really have to ability to hold her own against him since he had martial arts training and she didn’t. but it wasn’t hard to go back to the timeline and add something about her getting attacked late one night to give her an excuse to get self-defense training.
Writing action sequences has always been hard because you gotta think of stuff to fill in the space between all the fighting. There’s gotta be stuff of significance happening while all the fighting is going on in the background. For some reason, doing that for the big climactic battle at the end wasn’t all that hard, mainly because there was a lot of story points that had to be tied up.
First, the cannon had to be dealt with which wasn’t very hard to do and it gave me an excuse to keep Viggo and Leyla out of the battle for the most part. Next, I had to get Robert out of the picture. Originally, he was going to die, but when I decided to give Viggo a redemption arc, I knew I needed to keep Robert alive so he could betray Viggo, for real this time. But that didn’t stop me from having fun with Mick.
This final battle is really where everyone’s arcs wrap up for the most part. Oscar faces his fear of the Crimson Pack by defeating Hammond and Jax and Jonas consequentially get Martin free of the Crimson Pack. However, Humphrey’s arc with Viggo is so big, it’s part of the reason why I added a few extra chapters and gave Viggo a redemption. There are essentially two different climaxes. The one for the main story where Viggo’s men are defeated and his empire collapses. Then there’s the second one that wraps up Humphrey’s story and his personal struggle with Viggo.
This was supposed to be the end where Viggo would die and everything would end, but then I thought about how great it would be to have a redemption for the villain who had no humanity, so I added five extra chapters to make it happen. Originally, the story was supposed to be twenty-five chapters long, but then I added a few more for the redemption, which made it twenty-eight. And then my OCD kicked in and I wanted to round it up to thirty, which is where I added the extra two chapters about Humphrey leaving the pack.
There was supposed to be a third sibling named John who was supposed to come in and help Leyla disarm the cannon, which was originally supposed to be set up to a timed automatic firing system that they needed to disable. But once I dropped that idea, John no longer had any purpose, so I dropped him too.
I wanted to have Mick and Oscar fight Robert and Hammond, but I didn’t want to have to think about a lot of details about the fights, so I was able to find some clever ways around it. First by implying that Robert really was no match for Mick’s unpredictability and second by focusing on Jax, Jonas, and Martin’s conversation while Oscar and Hammond were fighting in the background. I did end up going back to A Hero’s Past to when Mick was first introduced and added a short part about how he’s partially descended from dire wolves to help explain how he’s able to easily body check these humans and why he was able to beat Robert. I always imagined him as being a bit bigger than everyone else, yet I never considered exactly why.
I’m not exactly sure why I decided to kill Lucas off. Maybe it was something for Kenya’s character since she does end up grieving for him even though she rejected the thought that maybe they did have some kind of bond.
And now we come to the hardest thing I’ve ever done. Killing Runt. I knew from the moment I started this final story that someone big had to die. It’s the end of the whole story, the big grand finale, a main character has to die. I wanted it to be one of the pups because I didn’t want to kill Kate and Humphrey, and I didn’t want to kill any of the newer characters since people didn’t have much of a chance to get attached to them. I love Garth and Lilly too much, so both of them were out the window. That just left the pups. As for which one would die, I posted a poll on Fanpop asking which pup was everyone’s favorite, with the intent to kill whichever pup got the most votes. And it ended up being Runt, who was also my favorite, but I didn’t vote. So, the people reading these stories were inadvertently responsible for Runt’s death.
And it ended up working out because he was the one I had set up with the perfect future. He had just gotten married the day before, he had his honeymoon planned out, and unknown to him, he had a son already on the way. A little random fun fact: I was listening to Michael Jackson when I wrote Runt’s death because I needed something to distract my mind from what was going on.
Something I didn’t realize with the dialogue between Viggo and Humphrey when the battle first starts is that even though I didn’t try, I followed up with the quote from the beginning, saying that Viggo didn’t seem to have any weaknesses. That line was mainly just for effect to emphasize how dangerous Viggo was, and I unintentionally followed through with that. I accidentally gave Viggo a flaw that Humphrey finally figures out to exploit and unintentionally made the story that much fuller.
At the beginning of the story, Humphrey says he couldn’t find anything to use against Viggo that he hasn’t compensated for. And by the time the final battle comes around, we see what that is. It’s his ego. He thinks he’s so good that it’s impossible for him to make mistakes. And that’s not just something that shows up only in the beginning and the end out of nowhere. I also accidentally gave evidence for that throughout the last two stories. We see him be cocky and disregarding Robert because he’s “slower of mind”. And as the story goes on and he suffers more defeats, he starts to lose his nerve, although he won’t admit it.
Bringing Leyla in to fight Viggo was an idea I had straight from the beginning, although I didn’t realize that she didn’t really have to ability to hold her own against him since he had martial arts training and she didn’t. but it wasn’t hard to go back to the timeline and add something about her getting attacked late one night to give her an excuse to get self-defense training.
Writing action sequences has always been hard because you gotta think of stuff to fill in the space between all the fighting. There’s gotta be stuff of significance happening while all the fighting is going on in the background. For some reason, doing that for the big climactic battle at the end wasn’t all that hard, mainly because there was a lot of story points that had to be tied up.
First, the cannon had to be dealt with which wasn’t very hard to do and it gave me an excuse to keep Viggo and Leyla out of the battle for the most part. Next, I had to get Robert out of the picture. Originally, he was going to die, but when I decided to give Viggo a redemption arc, I knew I needed to keep Robert alive so he could betray Viggo, for real this time. But that didn’t stop me from having fun with Mick.
This final battle is really where everyone’s arcs wrap up for the most part. Oscar faces his fear of the Crimson Pack by defeating Hammond and Jax and Jonas consequentially get Martin free of the Crimson Pack. However, Humphrey’s arc with Viggo is so big, it’s part of the reason why I added a few extra chapters and gave Viggo a redemption. There are essentially two different climaxes. The one for the main story where Viggo’s men are defeated and his empire collapses. Then there’s the second one that wraps up Humphrey’s story and his personal struggle with Viggo.
This was supposed to be the end where Viggo would die and everything would end, but then I thought about how great it would be to have a redemption for the villain who had no humanity, so I added five extra chapters to make it happen. Originally, the story was supposed to be twenty-five chapters long, but then I added a few more for the redemption, which made it twenty-eight. And then my OCD kicked in and I wanted to round it up to thirty, which is where I added the extra two chapters about Humphrey leaving the pack.
There was supposed to be a third sibling named John who was supposed to come in and help Leyla disarm the cannon, which was originally supposed to be set up to a timed automatic firing system that they needed to disable. But once I dropped that idea, John no longer had any purpose, so I dropped him too.
I wanted to have Mick and Oscar fight Robert and Hammond, but I didn’t want to have to think about a lot of details about the fights, so I was able to find some clever ways around it. First by implying that Robert really was no match for Mick’s unpredictability and second by focusing on Jax, Jonas, and Martin’s conversation while Oscar and Hammond were fighting in the background. I did end up going back to A Hero’s Past to when Mick was first introduced and added a short part about how he’s partially descended from dire wolves to help explain how he’s able to easily body check these humans and why he was able to beat Robert. I always imagined him as being a bit bigger than everyone else, yet I never considered exactly why.
I’m not exactly sure why I decided to kill Lucas off. Maybe it was something for Kenya’s character since she does end up grieving for him even though she rejected the thought that maybe they did have some kind of bond.
And now we come to the hardest thing I’ve ever done. Killing Runt. I knew from the moment I started this final story that someone big had to die. It’s the end of the whole story, the big grand finale, a main character has to die. I wanted it to be one of the pups because I didn’t want to kill Kate and Humphrey, and I didn’t want to kill any of the newer characters since people didn’t have much of a chance to get attached to them. I love Garth and Lilly too much, so both of them were out the window. That just left the pups. As for which one would die, I posted a poll on Fanpop asking which pup was everyone’s favorite, with the intent to kill whichever pup got the most votes. And it ended up being Runt, who was also my favorite, but I didn’t vote. So, the people reading these stories were inadvertently responsible for Runt’s death.
And it ended up working out because he was the one I had set up with the perfect future. He had just gotten married the day before, he had his honeymoon planned out, and unknown to him, he had a son already on the way. A little random fun fact: I was listening to Michael Jackson when I wrote Runt’s death because I needed something to distract my mind from what was going on.
Well hello there everyone l am making plans for my each oc
characters showing what l'm having in the future not just only of mine oc lara's future development now give you show some info.
The Lone Survivors:The revenge of the hunter:Atfer the events of The Final War Lara and her's few pack members before they went back to their's home seeing the three hunters lara had encounter back in the winter season while she was a lone wolf.
Birth of The Prowler:Before she was named the Prowler Barbara was a warrior in her's cain her's mother Alvie teaches her the ways of the prowler.
Alone Wolf:When Viggo raided The New Frontier Johnny was forced out of his home.
The Wise Warrior:A week later after Kenny's death Lara and Johnny are dealing with his death when they meet a strong wolf named Brutus.
characters showing what l'm having in the future not just only of mine oc lara's future development now give you show some info.
The Lone Survivors:The revenge of the hunter:Atfer the events of The Final War Lara and her's few pack members before they went back to their's home seeing the three hunters lara had encounter back in the winter season while she was a lone wolf.
Birth of The Prowler:Before she was named the Prowler Barbara was a warrior in her's cain her's mother Alvie teaches her the ways of the prowler.
Alone Wolf:When Viggo raided The New Frontier Johnny was forced out of his home.
The Wise Warrior:A week later after Kenny's death Lara and Johnny are dealing with his death when they meet a strong wolf named Brutus.
Im wondering if they have a chat instead of waiting until the next dayyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyyy
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