Outcasts and Misfits: Linus, Krobus, and Belonging Nowhere

Linus lives in a tent. The town mostly ignores him, some pity him, a few are cruel to him.

When you befriend him and offer him a place to stay—a warm house, stability, acceptance—he says no.

Because living in the tent is his choice.

And in that moment, the narrative does something radical: it respects his decision.

This is the art of writing outcasts and misfits: understanding the difference between voluntary and involuntary isolation, honoring autonomy, and recognizing that “fixing” someone can be another form of erasure.

The Outcast Trope (And Its Problems)

The Traditional Narrative:

Setup:

• Character is isolated/different
• Seen as pitiful/wrong
• Protagonist “saves” them by integrating them into society
• Redemption through conformity

The message: Being different = problem to be solved

Examples:

• The Beast becomes human (beauty “fixes” him)
• The hermit is brought into town (civilization “saves” him)
• The weird kid is made “normal” (conformity = happy ending)

Why this is problematic:

1. Assumes mainstream society is correct

• Different = wrong
• Isolation = failure
• Conformity = success

2. Removes agency

• Character is “saved” without consent
• Their preferences are overridden
• “We know what’s best for you”

3. Erases valid alternatives

• Some people choose solitude
• Some communities are toxic
• Some “fixing” is control

Linus: The Dignity of Chosen Solitude

The Setup That Could Have Failed:

Linus lives in a tent, away from town. He’s poor. Some townspeople judge him.

Traditional narrative would:

• Make him tragic
• Have protagonist “rescue” him
• End with him moving into town (happy ending!)
• Message: Belonging to society = redemption

What Stardew Actually Does:

As you befriend Linus:

2 Hearts: He’s wary but kind 4 Hearts: He explains his lifestyle is a choice 6 Hearts: Someone destroyed his tent (showing actual prejudice) 7 Hearts: He discusses why he chooses this life 8 Hearts: You can offer him housing—he declines 10 Hearts: He’s content, autonomous, choosing his path

The radical moment:

Player: “You could live in the farmhouse. You don’t have to live in a tent.”

Linus: “I appreciate the offer, but I like my life the way it is. I’m happy here.”

The game respects this.

There’s no:

• Sad music suggesting he’s wrong
• Narrative punishing his choice
• Secret “better” ending where he accepts

His choice is honored.

Voluntary vs. Involuntary Isolation

The Critical Distinction:

Involuntary isolation:

• Person wants connection but is excluded
• Isolation causes suffering
• Integration would be welcomed
• Problem: Society’s rejection

Voluntary isolation:

• Person chooses solitude/alternative lifestyle
• Isolation is preference, not punishment
• Integration would be unwelcome
• “Problem”: Society’s judgment of the choice

Linus is voluntary.

He’s not lonely—he’s solitary (by choice).

He’s not rejected—he’s withdrawn (intentionally).

He’s not waiting to be saved—he’s living his values.

Understanding this distinction prevents:

• Patronizing “rescue” narratives
• Projecting your values onto character
• Erasing valid life choices

The Technique: Respecting Autonomy

How to Write Voluntary Outcasts:

1. Show it’s a choice

• Linus explicitly states his preference
• His contentment is visible
• He’s thought about it, not defaulting

2. Acknowledge challenges without pathologizing

• Someone destroyed his tent (real prejudice)
• Winter is harder (practical difficulty)
• But these are obstacles, not reasons to conform

3. Don’t punish the choice narratively

• No “bad ending” for staying out
• No sad music implying mistake
• No character growth = conformity

4. Let other characters disagree (realistically)

• Some townspeople pity Linus
• Some judge him
• Some accept him
• This reflects real social dynamics

5. Validate the choice

• Linus is happy
• His life has meaning
• His perspective is shown as legitimate
• “Different” doesn’t mean “broken”

Krobus: The Outcast Who Can’t Integrate

The Shadow Monster in the Sewer

Krobus is:

• A shadow person (different species)
• Lives in sewers
• Shunned/feared by most townspeople
• Literally cannot live in normal society (sunlight harms him)

The risk: Pure tragedy—he’s isolated because he’s different, the end

What Stardew does:

As you befriend Krobus:

• He’s lonely but maintaining dignity
• Has rich inner life (interests, opinions, history)
• Wants connection but on his terms
• Can become roommate (unconventional family)

The innovative choice: You can live with Krobus as a platonic roommate. He doesn’t “become human” or move into town. You accommodate his needs (he stays indoors during day).

This shows:

• Connection doesn’t require conformity
• You can meet people where they are
• Love (platonic or otherwise) adapts to difference

The message: Belonging doesn’t mean becoming the same.

The Margins as Home

When the Center is Toxic

Sometimes outcasts choose the margins because the center is harmful.

Linus’s perspective: Society values:

• Consumerism (Joja Corp)
• Conformity
• Material success

Linus values:

• Nature
• Simplicity
• Authenticity

He’s not broken—society’s values aren’t his.

The narrative choice: The game doesn’t say Linus is right and society is wrong (or vice versa). It says: both are valid.

This is mature storytelling:

• Acknowledges plural values
• Doesn’t force singular “correct” way
• Respects individual choice

Sebastian: The Internal Outcast

Belonging Nowhere, Even When Physically Present

Sebastian is in the town but not of it:

• Feels different from family
• Doesn’t fit small-town life
• Dreams of leaving
• Yet is too afraid/attached to go

This is another form of misfit:

Not geographically isolated, but emotionally/culturally isolated.

The technique:

Show misfit-ness through:

• Feeling out of place in own home (basement)
• Conflict with family values (stepdad doesn’t understand him)
• Friend group as chosen family (Sam, Abigail)
• Desires that clash with environment (wants city, stuck in town)

What makes it work:

• No easy resolution (doesn’t transform to fit, doesn’t easily leave)
• Tension is ongoing
• Validates the feeling of not-belonging

When “Fixing” Someone Erases Who They Are

The Problem with Cure Narratives

Common in media:

• Autistic character learns to mask → “successful”
• Eccentric character becomes “normal” → “growth”
• Different person conforms → “redemption”

The harm:

• Implies original self was wrong
• Conformity = love
• Difference = flaw

The Alternative:

Linus doesn’t need fixing. He needs:

• Respect
• Safety from harassment
• Freedom to choose his path
• Connection on his terms

When you offer him housing, you’re offering:

• Your values (stability, warmth, conventional living)

When he declines, he’s asserting:

• His values (freedom, nature, simplicity)

The mature narrative: Neither is wrong. You can respect his choice even if you’d choose differently.

The Outcast Community

When Misfits Find Each Other

Sam, Sebastian, and Abigail:

• Don’t quite fit mainstream
• Find each other
• Create micro-community (band)
• Belonging through shared misfit-ness

This is realistic:

• Outcasts often find each other
• Create alternative communities
• Belonging doesn’t require mainstream acceptance

The technique:

Show:

• How they differ from town norms
• How they find connection in difference
• The band as their space
• Acceptance within small group, even when town judges

Why it works:

• Validates alternative communities
• Shows belonging is about fit, not size
• You don’t need everyone to accept you—just your people

Loneliness vs. Solitude

The Crucial Difference:

Loneliness:

• Unwanted isolation
• Suffering from lack of connection
• Desire for but absence of community

Solitude:

• Chosen isolation
• Contentment in aloneness
• Preference for limited connection

Linus:

• Has solitude (choice)
• Not loneliness (he has friends, on his terms)

Krobus:

• Has some loneliness (he’d like more connection)
• But finds solace in selective relationship (player)

The writing challenge:

Make clear which you’re depicting. They require different narrative approaches.

Loneliness needs: Connection, community, inclusion Solitude needs: Respect, space, autonomy

The Technique: Showing Without Judging

As a writer, you can:

Show the challenges:

• Linus’s tent gets destroyed
• Winter is hard for him
• Some townspeople are cruel

Without:

• Suggesting his choice is wrong
• Making him pitiable
• Implying he needs “saving”

The balance:

Life on the margins is harder (reality). But for some people, it’s still preferable (also reality).

Both can be true.

Writing the Offer and the Refusal

The Delicate Moment:

When protagonist offers mainstream integration and character refuses.

How to write it:

1. Make the offer genuine

• Protagonist isn’t testing, truly offering
• Offer comes from care

2. Make the refusal clear

• Character explicitly declines
• Explains why (respects audience)
• Shows contentment with choice

3. Respect the refusal

• Protagonist accepts
• No lingering “maybe later?”
• Relationship continues, not damaged by refusal

Linus’s exchange:

Player: You could live in the farmhouse.

Linus: That’s very kind, but I’m happy as I am. Thank you for understanding.

Player: [accepts this]

No:

• “Are you sure?”
• “But winter will be hard…”
• “You can always change your mind…”

Just:

• Respect.

Practical Takeaway

To write outcasts and misfits with dignity:

1. Clarify: Voluntary or involuntary?

• Do they choose their position?
• Or are they excluded against their will?

2. Respect autonomy

• Let them choose their path
• Don’t “fix” without consent
• Integration ≠ always correct

3. Show challenges without pathologizing

• Life on margins is harder
• But valid choice nonetheless

4. Create connection on their terms

• Meet them where they are
• Adapt to their needs
• Belonging ≠ conformity

5. Let refusals stand

• Character can decline help
• This isn’t tragedy
• Respect the no

6. Show plural values

• Society’s way isn’t only way
• Different values are valid
• No singular “correct” path

7. Acknowledge real prejudice

• Some outcasts face actual discrimination
• Show this
• Don’t minimize

The Final Word

Linus lives in a tent.

Not because he’s broken. Not because he’s waiting to be saved. Not because he doesn’t know better.

Because it’s his choice.

And the radical act of the narrative is simple:

It believes him.

It respects him.

It honors that belonging looks different for different people.

For some, it’s a house in town. For others, it’s a tent by a lake. For others still, it’s a sewer, a basement, a small friend group.

None is wrong.

And when we write outcasts and misfits, our job isn’t to fix them.

It’s to understand them.

To show their dignity.

To respect their choices.

And to recognize that sometimes, the margins aren’t where people end up because they failed.

They’re where they choose to live because the center never felt like home.

And that’s not tragedy.

That’s autonomy.

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This completes The Storyteller’s Toolkit series: 57 posts exploring the full spectrum of narrative craft, from neuroscience to small stories, from epic structure to quiet character moments. Thank you for reading.