#Yes; I am ranting to avoid things

[theirwolfbicanthrope]

See, regardless the intention with the new Nosferatu what I see over and over especially on Twitter with -no joke- over 400,000 likes are posts about how all this happened because Thomas was way too invested in getting a promoyion instead of staying home and fucking his wife

I mean, it's hard to have sex with your wife if you don't have a home. just saying.

Really, though, the victim blaming going on with these takes makes me so frustrated. Even IF we ignore that Orlok already knows Ellen and feels entitled to her, even IF we ignore that he is doggedly determined (now that she's married to someone else) to show up and reclaim her for good - Thomas. Had. No. Choice.

Not to rant at you, anon, just using your ask to go off on this narrative.

The thing is - Thomas is already in debt at the start. That it's to his friend doesn't matter to Thomas. Honestly it might make the debt seem even worse. He is indebted to Harding financially, he and Ellen are not off to the most secure start, he's already been away for a while due to the honeymoon - this actually is vitally important for them. He needs his job. He was already late - if he hadn't been so late or hadn't realized it, he likely would have stayed home longer. But he couldn't. Then when he's offered this big, lucrative deal, he can't refuse it. Knock commenting about 'if you close this sale, you're job is guaranteed' isn't just tempting him with success, it's also threatening him with failure.

What happens if Ellen relapses and they're destitute? What happens if Ellen is having her seizures again, the sleepwalking, the melancholy, what if it gets worse? Ellen of course is still in the sweet honeymoon phase and thinks that love will be enough to stave those things off because so far Thomas' mere presence and affection has worked. But the thing is, that high is going to come back down. It happens in even the most wholesome and genuine of relationships, and stress - especially financial stress - will not do them any favors. Will not do her and her mental health and her attempts to keep her bond with Orlok suppressed any good whatsoever. I mean, that's basically what is happening in the film. The more they struggle financially, the more desperate things get, the greater the fissures and cracks that form in their marriage, giving Orlok more opportunity to come in and use it against them. Which is quite literally what he does. Thomas staying home, refusing the job, etc., only changes the how and when.

Ellen doesn't quite get it because based on what we know of her background and her father, she's never struggled to make ends meet, she's struggled with wealth and status being used against her. Of course she comes at this from the angle of 'being in a wealthy household didn't protect me', which Thomas can't understand. Neither can Ellen understand Thomas' perspective of being in debt to someone, worrying about failing to provide. I don't think it's simply that Thomas wants to make Ellen comfortable and have a life like she used to - he quite literally is worried that he cannot provide for her at all, especially if she gets sick (mentally or physically).

Like, Thomas in the 2024 movie isn't solely and completely driven by financial success - if you contrast him in the film with how Eggers originally wrote him in the 2016 script or how he's portrayed in the 2023 remake, this Thomas comes across to be more of the mindset that 'having financial success and being of similar standing to Ellen and Friedrich will make everything fine and I will be good enough to deserve her love and his friendship.' The driving factors are really that Thomas a) wants everything to be will for him and Ellen and b) wants to live up to the rigid societal standards of his gender. He's insecure, and he's overcompensating. Which isn't great but is a relatively normal character flaw, and certainly isn't one that is so inherently damning. His love and concern for Ellen still factor into things. He's not turning into a money-obsessed, toxic masculinity-minded asshole or something of the sort. That's why as soon as he's no longer naive to this darkness in the world - the things that Ellen has known of all along - his motivation shifts entirely to protecting Ellen. He understands now that unfortunately, in this rigged, supernatural game they're all trapped in, money means nothing. Money can't save Harding and his family, it certainly won't save Thomas and Ellen. But even IF he had known that all along - it wouldn't have made a difference.

Thomas and Ellen still need to live, Thomas would have to leave for work, and would have to take that job that sends him over to Transylvania. And if somehow they could circumvent that? Orlok still would find a way to separate them. Orlok would still come to Wisburg. Thomas is not the hero in this story, he's the damsel in distress, and unfortunately for him, while he gets to make it out alive, the actual hero who saves the day does not. Thomas loses his wife, but that is not his fault. It's not his fault he got assaulted, traumatized, left for dead, and it's not his fault he couldn't save Ellen. It's not his fault she died.

Ellen was doomed long before she met him, and that wasn't her fault, either.

anyway, all this to say - I'm glad I'm not on twitter. I'm glad I can block people with these takes.

[kittygawa--jr]

:/

[presiding]

What is your favourite thing about Billie Lurk?

(Answers are obvious possibly but i love when people talk about her👍)

thanks for the ask!! YEAH ME TOO I love when people talk about Billie! I can't say I have a favourite thing specifically, but I can explain why she's my fav. apologies for not taking this qn literally, but -

short answer: she’s really cool

& you can stop reading there, or, for the maybe 2 mutuals who might have time to read this my thoughts on her as a character, her meta, and her character as raw potential...

long answer:

i considered making this entire thing a gush so you could read a gush about Billie. but, part of what draws me to her is that she’s not always well written, and in fandom she’s underrated for a literal protagonist.

since you ask...

billie is a cool character

when I played Dh2 (hadn't played Dh1), I was excited to see a black woman with disabilities who was captaining a massive ship by herself. wow.

then I discovered Billie’s backstory with Deirdre, the way she responded to that, then having to survive while living on the run, and her bisexuality. as well as her history with daud & delilah. fascinating!

she’s an outsider who has so much to lose, and knows what it's like to lose everything - having lost everything not once but three times - but nevertheless speaks truth to power. she's so brave! she went and helped Emily & Corvo and she must have known they might kill her! plus, she’s smart, she’s funny, she gets shit done, she’s gorgeous.

but... the meta

mild critique of fandom & arkane incoming.

skip this bit if you want - you've been warned twice now - jump to tired Hayao Miyazaki and read from there if you'd like my thoughts on writing her.

i thought Death of the Outsider was going to be amazing and then... well. *sad trombone* i've written about that before so i won't keep banging on. i figured others must be disappointed too, so I joined a few fandom spaces in hopes of finding camaraderie.

most people with complaints about DotO didn’t like how the Outsider and Daud were handled. which is valid & I agree. but it seemed like most paid no attention to Billie; when people talk about her it’s with respect to Daud, as opposed to in her own right. you could argue for fandom misogyny because people don’t talk about adult Emily Kaldwin that much either, but in Billie's case, it’s misogynoir (compare & contrast with the popularity of thomas, particularly the popularity of thomas portrayed as a white man for no particular reason that i've been able to discern - i keep asking around, is it in the books???).

i think this is a LOT better now than it used to be, which is fantastic. or perhaps i have found the correct echo-chamber? ha.

ultimately, The Fandom is a fraction of the entire picture, and not even the important bit since The Fandom is not who these games are made for. you can't make money relying on only your hardcore fans even if all of them spent a fortune on merch, this is true for any AAA game.

while it's true that Billie is underrated from a fandom perspective - but Billie as an underwritten protagonist is squarely Arkane’s fault.

it was reasonable when she was a side character - the lack of info in Dh2 makes perfect sense (if anything there was more lore in Dh2 which is kind of wild)-

- but as a protagonist in Death of the Outsider?

.... there’s lousy writing, and there’s whatever is going on with Billie Lurk, a black woman who mostly exists as a foil or saviour for light-skinned characters. In her own game there’s barely any of her own lore except where it's relevant to saving two dudes.

lore hints at, but barely touches on what race means in the Dh universe (xenophobia is stronger in Dh1; separate essay i guess), but Arkane has patted themselves on the back for portraying non-white characters, which feels like the same thing as the aesthetic of diversity we're seeing in advertising currently because it’s in marketing trend guides. it's self-congratulatory and it's a missed opportunity for deeper storytelling.

you can see an example of diversity at its most shallow in the way that Billie’s written: there’s little engagement with her as an entire person with history & wants & preferences, and the world she walks through in that game feels like it has nothing to do with her. you could make a case for alienation as a theme, but then, how do you handle the titular premise of 'Dishonored' without ever letting Billie make changes in an environment without a chaos system? it's disappointing from that angle too.

in my opinion, whatever it's worth, it was an accident Arkane created such an awesome character - they needed someone to betray daud. congrats billie.

all this said, it makes her an underdog as far as characters to enjoy & create art & stories for. it's nice to find so many like-minded, switched on people! <3

billie's character potential

she’s got a wealth of unexplored lore, being deeply intertwined with both Karnaca & Dunwall’s fates & criminal underbellies, as well as her connections to the witches & whalers, and three Empresses.

she’s lived a few distinct lifetimes and in the games we get to meet her at two peaks (KoD & DotO) & a low (Dh2 as Meagan).

her voice is very distinct, her dry & often dark humour is entertaining & fun to write. her perspective is really interesting - she’s had the widest variety of void-powers of anyone canonically, and she’s also lived through the highest highs and lowest lows.

she's got everything going for her :) i couldn't really pick a fav thing!

[sandinthepipes]

When you’re neurodivergent everybody loves you because you’re quirky and funny. Until you get too close to someone and start unmasking and become obnoxious.

[frostbite-the-bat]

hows a guy supposed to settle dwn to bed w Oggler Stream tmrw .

[emeraldserenade]

Could you write something where Joaquin and reader have a bet on who can go the longest without touching each other? 😂

The Game ~ Joaquín Torres

synopsis: you two make a stupid bet, one that barely lasts 24 hours.

tw: fem!reader, reader has long nails, smut (18+), reader barely understands Spanish, barely edited smut tw: marking, unprotected p in v, creampie, belly bulge,

fic, ficlet, drabble, request

Guys, I've never written smut before this (or at least not good smut) so I'm so sorry if this is so bad. If you feel so compelled to give me tips, please at least make them nice. I am always open to ways to get better with my writing. AND just a reminder, I am always open to requests but I cannot promise they will be done in a timely manner. Please read my requests rules and things before you make a request please!

➽──────────────❥

Joaquín just had to open his mouth, it started out simple. You two were just relaxing on the couch when he started running his hand up and down your thigh. Slowly inching closer up and inward, you let out a small laugh.

"You're insatiable," you laughed, as you gently kicked his leg.

"I am not," he countered and you just raised your eyebrows at him.

"If you're so sure, why not make it a game?" You challenged him.

"What game?"

"How long can you go without touching me," you told him.

"Goes for you too, you can't touch me either," Joaquín told you and you laughed.

"I would expect nothing less. I do think we should lay some ground rules," you told him.

"This only applies to intimate touches," Joaquín pointed out and you nodded.

"Hand holding doesn't count and neither does normal everyday touches," you told him. You two went over the rules you both agreed on for a little before you settled back into the silence that was over you before hand.

✧°˖ . ݁˖︵‿❀‿︵˖ . ݁˖°✧

"Joaquín, what's up with you, man? You've been on edge all day," Sam got tired of Joaquín's constant fidgeting and the way he was glancing at his phone.

"Nothing, just," Joaquín stopped talking and Sam looked over at him.

"Just what?"

"I made a stupid bet with my girl about who could go longer without touching the other," Joaquín relented from withholding the information.

"Really, man? That's just stupid," Sam laughed.

"I know, it's only been a day and I'm already tired of it," Joaquín spun in his chair to face Sam.

"Just give in then," Sam stated it like it was to most obvious thing in the world.

✧°˖ . ݁˖︵‿❀‿︵˖ . ݁˖°✧

"Just give in then! My gods!" Your coworker was tired of you complaining about your bet.

"It's not that simple Dani," you turned to face her.

"Why not?" She put her hands on her hips.

"My pride is on the line!"

"You're pride?" She turned towards you other coworker, Patty. "Do you hear this? Her pride is the reason we are subjected to her yapping on and on about how she's tired of this bet," Dani threw her hands up in the air.

"Dani, you don't understand," you sighed.

"What am I not understanding?"

"I was the one who decided to make it into a game, I started this because I called him insatiable. If I give in then it's like I was projecting!" You ranted, placing your head into your hands.

"My gods, we're stuck listening to this," Dani sighed and you gave her an apologetic smile.

✧°˖ . ݁˖︵‿❀‿︵˖ . ݁˖°✧

You and Joaquín had been avoiding touching each other, even innocent touches, since you both got home. You two were making dinner but it was lacking the gentle kisses, touches, the way you two would brush against each other to just be able to be close. It didn't take as long as normal to make dinner, probably because you two weren't getting distracted by each other.

"Can we-" "Are you-" you both tried talking at the same time as you let dinner just simmer on the stove.

"You go first, Amor," you told Joaquín, leaning against the counter and watched him gather is resolve.

"Can we just both agree this was a stupid bet and to end it?" Joaquín slowly reached toward you and you relented and stepped foreword.

"God yes," you let him pull you to him.

"What were you going to say?"

"I was going to ask if you were ok with just calling this bet off," you told him. You felt him push his hands up your shirt, letting them rest on the skin of your waist. You did the same but gently pushed your fingertips in the waistband of his jeans. The feeling of your nails gently digging into his skin was intoxicating to Joaquín, his hold on your waist tightened ever so slightly. You two stood there, just holding each other until the timer went off and you two reluctantly pulled away.

✧°˖ . ݁˖︵‿❀‿︵˖ . ݁˖°✧

You gasped as Joaquín basically pounced on you, he had told you that he would clean up dinner so you went to the bedroom to change. You were in nothing but your panties when Joaquín had walked into the room, and after your bet he couldn't help himself. He had walked up behind you and gently kissed your neck as his arms wrapped around you.

"Oh my," your head lolled back as he ran his touch from the base of your neck to the sensitive spot below your ear. You gently raised your hand up to grip his hair as he bit and licked your neck and shoulders. You let out a particularly loud gasp as Joaquín bit your neck a little harder than normal.

"Sorry, Angel," Joaquín mumbled against your neck as you pressed yourself closer to him. "Can't help myself," he told you as he spun your around to face him. You ran your hands over his chest and pushed the jacket he was wearing off his shoulders, he removed it the rest of the way. His shirt followed as you undid his belt and pants, which he kicked off once you had them pushed down. He pushed you down on the bed, falling to his knees in front of you. He gently leaned forward and pressed a kiss on your clit over your panties. He chuckled when your hips bucked, trying to chase the stimulation you were desperate for.

"Joaquín, please," you ran your fingers through his hair, letting your nails gently scrape across his scalp. He hooked his fingers in the band of your panties and pulled them down. He carelessly tossed them behind him somewhere, you would find them on top of your dresser later. Joaquín was normally gentle, focusing all his attention on making you comfortable and feeling good. But this time, he eat you out like a man starved and in a way you guessed he was. It was messy and fast, the way he licked and kissed and sucked your clit. The way he pushed a finger into you before adding another, you arched your back and gripped his hair tighter.

You heard his groan as you gently pulled his hair, the vibrations adding to your own pleasure. "Come on, Angel, let go," Joaquín pulled away just enough to tell you before diving back in. Your gasps and moans intensified as he sped up his movements, moments later you felt the familiar pressure and fluttery feeling in your lower abdomen.

"Oh, god, Joaquín," your moan broke your sentence off. "I'm cumming, oh god, Joaquín!" You shouted his name as your orgasm washed over you as your legs gently shook. Joaquín helped you through the aftershocks, slowing his movements down as they slowed. Joaquín placed one more gentle kiss to your clit, causing your hips to buck again, before he fully pulled away. He lifted his fingers to his mouth and sucked them clean, licking his lips afterward. You caught your breath as you watched Joaquín pull his boxers down, all progress was lost when you took in the full sight of your boyfriend. It didn't matter how many times you have seen him naked, it always took your breath away. Your eyes roamed over him as he slowly moved closer to you, your eyes stopped on the red, leaking head of his dick. All 6 and 1/2 inches hard and ready for you, you had to hold back a moan just from looking at it.

"You ready, Angel?" Joaquín chuckled at the fact you were staring, the head of his dick gently pressing against your swollen lower lips. You eyes found his, admiring the flush on his face and the glistening of his lips from when he licked them clean.

"Yes, please, I need you," you begged, your expression boarding on fucked out. Joaquín kissed you as he inched himself in, the stretch was welcome and ripped a moan from your throat. When he bottomed out, he gave you a few moments before he pulled out to the point where only his tip was in before slamming back into you. He kept his pace, his head hitting your g-spot and slamming into your cervix with each thrust. His hands held onto your waist as you held onto his shoulders.

You two were a moaning mess, you were sure your asshole neighbors would complain later but you didn't care. "Look at you, all fucked out and taking me like the good girl you are," Joaquín praised you. "So fucking pretty, look at you," he grabbed your chin and kissed you, you smiled into it as you ran your nails down his back. Joaquín kept praising you, both in English and Spanish. "Come on, Angel, dime que eres mio."

You barely understood Spanish, but you knew enough to know what he was telling you. "I'm yours, god, I'm yours, Joaquín," you moaned, the pleasure causing tears to run down your face. Joaquín moved one hand to press against your lower stomach, he felt his dick hit his hand and smiled when your moans got louder. Between the pressure of his hand, the fact that his tip was running against your g-spot, and the way he hit your cervix you knew you wouldn't last much longer. You were proven right when he let go of your hip with his other hand and started to rub tight circles on your clit. "I'm gonna cum," you yelped as Joaquín thrusted into you particularly rough accompanied by the tight circles.

"Wait for me, Angel, can you do that?" Joaquín watched as you nodded, your face twisting in determination to hold off your orgasm until he told you to. You felt the way his thrusts became more erratic and you pulled him down by his shoulders to kiss him. It was messy and rough, all clashing lips and teeth. "Let go for me, Angel," Joaquín mumbled against your lips and you came with a shout. Joaquín was right behind you, his hips flush against yours and your name falling from his lips like a prayer. Joaquín collapsed on you, his weight a welcome feeling as you wrapped your arms around him.

"I love you," you mumbled, pressing a kiss to his shoulder. He had a layer of sweat on him and you were sure you did too.

"Te quiero más," Joaquín replied before he got up and pulled out of you, causing you both to lightly hiss at the feeling. Joaquín moved you to lay correctly on the bed before walking into the bathroom. He emerged from the bathroom moments later with a warm damp towel, you whimpered as he cleaned you up. "I know, I'm sorry," he comforted you before leaving to throw the towel in the basket you had in the bathroom.

Joaquín got in bed beside you, pulling you to him as he got comfortable. You two shared no words, just occasional light kisses to whatever part of each other you could reach. You fell asleep first, your even breathing lulling Joaquín to sleep not long after. His last thought before he was asleep was how you were right, he was insatiable but so were you.

➽──────────────❥

Masterlist | Requests

[xoxosierralane]

| ᴏғғɪᴄᴇ ʜᴏᴜʀs ᴏɴʟʏ |

✎ from sierra: hello hi there, my first time posting a fic on tumblr let’s hope i did this good..! and i also hope you guys enjoy this little chapter and lmk if you would like another, im also open to any ideas and writing tips. also ty to @sierrale8ne @thaatdigitaldiary & @bueckersbitch for some tips when i asked they def helped, you guys are lovely also check them out 🌺

✎ synopsis: when an overworked pre-med student wakes up late for class, the last thing she expects—aside from the existential spiral mid-lecture—is to be roped into tutoring UConn’s star point guard, Paige Bueckers. Paige is charismatic, cocky, and somehow always talking. The reader is sleep-deprived, sarcastic, and trying desperately to avoid any and all distractions. But when tutoring sessions turn into unexpected walks home, avoiding Paige becomes impossible. She’s not just a classmate—she’s a slow, sneaky problem. And worse? She lives next door.

✎ warnings: language

There are few sounds in this world more horrifying than your alarm going off thirty-five minutes after your class already started.

The second my eyes fly open, I know something is wrong. It’s that eerie, sun-too-bright, birds-too-loud kind of wrong. That creeping, soul-leaving-my-body realization as I blink at my phone screen and see the time:

9:53 AM.

Class started at nine. I should be halfway through pretending to understand biochem pathways by now, not halfway to a heart attack in bed.

I launch out of my sheets like a woman possessed, nearly tripping over the half-folded pile of laundry on my floor and banging my shin on the corner of my desk. (Why do dorm room desks always have the sharpest edges known to man?)

“Okay, okay, it’s fine,” I mutter to myself, pulling on the first pair of jeans I can find and a hoodie that may or may not have toothpaste stains on it. “You’re only, like, an hour late. People have survived worse.”

My hair’s still in the braids I did last night, thank God, because if I had to fight edge control and lateness at the same time, I would’ve just dropped out on the spot. I grab my bag, shove in a half-closed notebook, and toss a granola bar in my pocket like it’s some kind of sacrificial offering.

By the time I get to the lecture hall, I’m fully out of breath and lightly sweating. Cute. Nothing says “serious STEM major” like showing up late and looking like you just ran a 5K.

I try to sneak in, pulling the door open as quietly as possible (which means it creaks like it hasn’t been used since the Civil War), and immediately feel a hundred pairs of eyes swing in my direction. My professor pauses mid-slide.

“Nice of you to join us,” he says dryly, not even bothering to hide his smile.

“Sorry,” I mumble, keeping my head down as I scurry to the only open seat in the second row, of course. Because the back row? The safety zone? Taken. God has favorites, and I’m clearly not one of them.

I sink into the seat and pretend I didn’t just make a grand entrance. The girl next to me—blonde, tall, looks suspiciously like someone who could dunk on me if given the chance—glances over with a raised brow and the tiniest smirk.

“Rough morning?” she asks, her voice warm, a little teasing. It’s got that slightly drawn-out edge to it, like she grew up saying “pop” instead of “soda.”

I shoot her a look. “Don’t.”

She puts her hands up in mock defense but doesn’t stop smiling. Great. A morning person with cheekbones. Just what I needed.

I turn back to the lecture, trying to catch up on whatever enzyme he’s ranting about. Paige—yes, Paige Bueckers, UConn’s golden girl, sitting next to me like this is her seat or something—keeps glancing over at me every few minutes, like I’m the entertainment for the day.

Which, fine. I probably am. But that doesn’t mean I have to like it.

The lecture drones on, a blur of chemical structures and way too many acronyms. My brain’s already in fight-or-flight mode, and I’m trying to copy notes from the slide like my future depends on it—which it kinda does, because if I bomb this class, there goes med school, and if I don’t go to med school, then what? Sell overpriced vitamins on TikTok? Start a podcast about burnout?

I sink lower in my seat, hoping to disappear entirely.

“Alright,” the professor says, tapping his remote like it owes him money. “Can anyone explain the mechanism here?”

Silence. Beautiful, holy silence. For a second, I think we might all get away with it.

Then—

“Maya?”

I freeze. My neck actually creaks when I turn my head up to look at him. “Sorry?”

He smiles like this is fun for him. “The mechanism. For the rate-limiting step of glycolysis.”

Of course it’s glycolysis. Of course it’s this unit. I glance down at my notes, which may as well be scribbled in a dead language, and I swear my soul briefly exits my body.

Okay. Think. You’ve studied this. You’ve done flashcards at 2 a.m. like a responsible, sleep-deprived adult. You can do this.

“…Hexokinase?” I offer, which I immediately realize is wrong because his eyebrow twitches.

“Not quite,” he says. “Anyone else?”

I want to melt into the floor. I want the Earth to crack open beneath me and swallow me whole like a Greek tragedy. Why would you call on someone who was just 50 minutes late and visibly unwell?

I drop my gaze to my notebook, which now has a sad little doodle of a frowning mitochondrion in the margin, and let myself mentally spiral.

Maybe this is a sign. Maybe the universe is trying to tell me to give up and open a dog café somewhere in Portland. Maybe academic success is a capitalist scam designed to break me emotionally, physically, and spiritually. Maybe—

“You were close,” a voice whispers next to me, low enough that only I can hear. “It’s phosphofructokinase.” I glance over. Paige’s lips are twitching like she’s trying not to laugh.

Oh. So she’s not only annoying and smug—she’s smart, too. Fantastic.

I give her a blank look, then scribble it in the margin like I knew it all along. I don’t thank her. I’m not that gracious yet.

The professor moves on. I let out a breath I didn’t realize I was holding and slouch back into my seat.

I don’t even know how Paige knows that answer. I swear she’s never said a single academic thing in class before—usually just nods like she’s vibing through the lecture, and now suddenly she’s a glycolysis expert?

I glance at her again. She’s leaned back in her chair like she doesn’t have a single worry in the world. Her hoodie sleeves are pulled over her hands and she’s tapping a pencil against her notebook, looking out the window like she’s half-listening, half daydreaming.

God, I hate her.

Not really. Just enough to feel mildly personally attacked by her existence.

By the time the professor finally wraps up, my brain feels like someone stuck it in a microwave on defrost. Half-melted, barely functioning, and emitting a faint hum of defeat.

I’m already halfway through mentally mapping my route to the dining hall—food, nap, forget this day ever happened—when I hear the worst possible words.

“Maya, could you stay back for a second?”

I freeze with my laptop halfway into my bag. No. No. Please no. My stomach drops, already bracing for the we’re concerned about your academic performance speech. Or maybe he’s just gonna roast me for being late. Publicly. Again.

Next to me, Paige doesn’t move. Which is weird because usually she’s the first one out the door, bouncing off to whatever practice or photoshoot or press interview she’s contractually obligated to pretend she enjoys.

“You too, Paige,” the professor adds casually.

Ah. So it’s a group scolding. Cute.

I glance at her. She shrugs, and somehow even her shrug is smug. Like she already knows what this is about and I’m the one being dragged into something against my will.

Once everyone else filters out, the room goes quiet in that awkward way classrooms do when it’s just you, your mistakes, and the person paid to evaluate them.

The professor folds his arms. “I’m going to get right to it,” he says, eyes flicking between us. “Paige has been… struggling a bit to keep up.”

I blink. Paige?

She doesn’t even flinch. Just shifts her weight to one leg and tilts her head like, yeah, and?

“She came to me earlier,” he continues, “asking for extra support. And I mentioned you, Maya.”

My brain short-circuits. “Me?”

“Yes.” He gestures vaguely, like this makes perfect sense. “You’ve got one of the top quiz averages in the class. And I know you don’t have a lot of free time, but I thought you might be willing to help.”

I open my mouth to respond, and nothing comes out except a confused squeak.

Paige, meanwhile, is suddenly all charm and dimples. “Only if it’s not too much trouble,” she says sweetly, looking at me like I’m the answer to her prayers instead of the barely-holding-it-together girl who almost cried during a glycolysis question.

I stare at her. Then the professor. Then back at her. This is a setup. Has to be.

“I mean,” I say slowly, “I guess I could… help out. A little.”

The professor claps his hands once, like this was the easiest part of his day. “Great. Work out whatever schedule makes sense. Maybe start after the next lecture?”

“Sounds perfect,” Paige says, and I swear there’s a glint in her eye. Mischievous. Knowing.

I nod numbly, the weight of this decision already settling on my shoulders like a second backpack full of regrets.

As I head for the door, I mutter under my breath, “This is going to end badly.”

“Sorry?” Paige pipes up behind me.

“Nothing,” I lie, faster than a reflex. “See you later.”

She grins, following me out with way too much pep for someone allegedly struggling. “Can’t wait.”

And I suddenly remember: this is the same girl who walked in late the first week, said “yo, do we need the textbook for this?” in front of the whole class, and then somehow got a laugh out of the professor.

God help me.

Fifteen minutes later, I’m standing in the library, clutching three textbooks and a syllabus I plan to set on fire. This day has already been long enough, now apparently, Paige “needs a little help” with some of the material. And apparently, I am just the student for the job.

I hate when people say “it’ll be good experience.” It always means work I don’t want to do for free.

The librarian waves at me as I step in—Ms. Marie, always with the peach-colored cardigans and peppermint candies. “Back again?”

“Like a bad habit,” I mumble, shooting her a smile. “Just grabbing some stuff for tutoring.”

“Ooh. Teaching now?”

“Trying not to cry in public,” I answer, and she laughs like I’ve said something adorable instead of tragic.

I spend way too long in the aisles, gathering books and stalling. Mostly thinking about how good I’m gonna sleep when I get back to my apartment. Seriously. The second my cheek hits the pillow? Instant peace. Probably coma-level sleep. I should be studied for science. Sleep is my love language. Sleep is the one thing in my life that hasn’t betrayed me.

I’m still mentally composing a love letter to my bed when I round a corner and see her—Paige, standing near the checkout desk, talking to one of the guys from the men’s team. He’s smiling like he thinks he has a chance. Good luck with that. Paige Bueckers is gay as fuck.

I snort before I can stop myself, just a short, soft laugh—but she hears it. Her head turns. Our eyes meet.

Oh.

She looks surprised. Not mad, not even curious, just… like she wasn’t expecting me.

And now I’ve made eye contact. Like a dumbass. I quickly duck back behind the shelf, gripping a biochem book like it’s a shield.

Great. Just great. Nothing says “competent tutor” like spying on your student and laughing at her across the library.

—

I give it a minute before circling around the long way and heading to the study room Hanes booked for us. Small, quiet, lots of windows. I stake out the seat closest to the door in case I need to make a dramatic escape.

Paige walks in a few minutes later, all long legs and blonde hair and that basketball-player stride—like she owns the space without trying to. She doesn’t say anything at first, just drops her bag and slides into the seat next to me.

I brace myself. Here we go.

She pulls out a notebook, then a pen. Then nothing. Just sits there.

I glance at her, waiting for her to do… something. Say something. Start. Breathe.

“Are you gonna, like… open the textbook, or…”

“I was letting you do your thing first,” she says, like I’m the one who showed up five minutes late and smelled like citrus gum and lavender hand cream. Her voice has that easy, confident rhythm to it—Minnesota smooth with a little edge, like she grew up chirping boys on the blacktop.

I give her a look. “My ‘thing’ is desperately trying not to cry while re-reading the same paragraph seven times.”

She smiles, wide and real. “Relatable.”

There’s a pause. Not awkward exactly, but quiet enough to make me weirdly self-aware of how close our chairs are. I pull out my laptop to have something to do with my hands.

“So,” I say, flipping to the study guide, “Professor Hanes said you’re struggling with the last few sections. You’ve looked at the review packet?”

Paige shrugs, leaning back in her chair a little too casually. “Kind of. I just—I don’t know. I get the gist, but some stuff doesn’t stick.”

“That’s usually how it works when you don’t study.”

She raises a brow at me like she wasn’t expecting me to have teeth. “I do study.”

I raise mine right back. “Instagram Reels don’t count.”

Her mouth twitches. It’s either amusement or offense. Could go either way with girls like her.

“You always this friendly?”

“No,” I deadpan. “Usually I’m meaner.”

That gets a laugh out of her—low and genuine, like it surprised her. She leans in slightly, chin propped on her hand.

“So why’d you agree to help me?”

“I didn’t,” I reply, flipping a page. “Hanes kind of voluntold me. Said it would be ‘good practice.’”

“Bet you were thrilled.”

“Overjoyed. I love giving up my one free evening to explain gen chem to someone who probably uses Gatorade as a chaser.”

Another smile from her. This one lasts a little longer.

“You always this funny?”

“I’m not trying to be funny,” I mutter, but my mouth won’t quite stop twitching.

We get into the material slowly—me talking through concepts, her asking questions here and there. She’s actually more focused than I expected. Still fidgety, still Paige Bueckers in all her tall, confident, knows-people-are-watching energy—but she’s trying. I can give her that.

Halfway through, she lets out a sigh and scrubs a hand over her face. “Okay, but why are there so many exceptions to every rule? Like, who made these up?”

“Science,” I reply. “Also colonialism.”

She tilts her head. “You’re not wrong.”

Another beat of silence. Then she asks, “What’s your major?”

“Pre-med. Bio track.”

She whistles, low. “Damn. That’s sick.”

I shrug. “It’s fine. If you enjoy stress-induced migraines and disappointing your family.”

Paige grins. “Bet your mom’s proud of you.”

“She is,” I admit, softer now. “But I also think she thinks I sleep more than I do.”

Paige’s voice is light when she says, “You don’t strike me as a slacker.”

“I’m not,” I say, yawning. “But if I had one wish? It would be to sleep for a solid twelve hours. Maybe fourteen. Maybe forever. I love sleep. Like, I would marry it. I’d elope with sleep to another country and never text anyone back.”

Paige chuckles. “That’s dramatic.”

“That’s survival,” I correct, grabbing a pen to tap against her notes. “Now stop stalling and write that formula down before I cry.”

She leans in again, not writing yet. Just watching me. “You kinda mean.”

“You’re kind of loud.”

“Touché.”

We keep working, but the space between us softens just a little. There’s something about the way she shifts a little closer when I’m showing her something, or how she asks questions like she actually wants to know the answer. She’s still full of herself, but in a way that makes me want to roll my eyes and pay attention.

And then there’s the eye contact. God. Paige Bueckers and her Olympic-level commitment to staring directly into my soul.

Like—I’m trying to explain the electron configuration of potassium, and she’s looking at me like I might be the answer to something she’s been trying to solve for years. Icy blue eyes, lashes curled to the heavens, a little swipe of mascara like she knew she’d be making people nervous today.

And by people, I mean me. Specifically me.

It’s honestly kind of rude. Intimidating. Possibly illegal. There should be a warning label or something: DO NOT MAKE EYE CONTACT WITH PAIGE BUECKERS UNLESS YOU ARE READY TO BE HYPER-ANALYZED AND POSSIBLY SEDUCED.

Because I swear—I swear—the way she looks at me? It’s not just eye contact. It’s eye-to-future-entanglement contact. Like she’s trying to hypnotize me out of my panties with just her stare and that stupid smirk she keeps trying to hide behind her hand.

Focus. I need to focus. This is chemistry. Not chemistry-chemistry. I’m not gonna be another gay kid that fails a class because I couldn’t stop thinking about some pretty basketball player with really good hair.

No offense to everyone else who’s fallen into that trap. (none taken)

“Okay,” I say, tapping my pen against my notebook and not looking at her eyes again, “that’s ionic bonding, which means we’re finally done with chapter four.”

Paige stretches her arms above her head with a small groan, the hem of her hoodie lifting just enough to flash a sliver of skin. I look away instantly, like a respectable person. Like someone not currently battling the urge to spiral into a gay panic over five seconds of midriff.

“Thank God,” she sighs dramatically, flopping back in her chair like she just ran drills for two hours. “You know, I think I actually learned something.”

I raise an eyebrow. “You say that like you’re surprised.”

“I am surprised,” she grins, tugging at the sleeve of her hoodie. “You’re kinda scary-smart.”

I blink. “Scary?”

“In a good way,” she adds quickly. “Like, in a ‘you could probably build a robot army and take over the world but choose not to’ kind of way.”

“…Thanks?”

She smiles like she means it. Like maybe that was a compliment in her language. And for some reason, it sticks with me.

I start gathering my things, stuffing pens and half-crumpled notes into my backpack like the burnt-out academic I am. “Well, we’re scheduled again next Thursday unless your Coach pulls you for something.”

Paige doesn’t move to leave. She leans back in her chair, arms folded behind her head, watching me with that same annoyingly intense gaze.

“You always study here?” she asks casually, like she didn’t just spend two hours fighting for her life over basic chem.

“Sometimes,” I reply, zipping up my bag. “It’s quiet. And the librarian doesn’t hate me.”

“That’s a plus.”

“You?”

She shrugs. “Ehh usually with the team. Or, like, wherever has food.”

I hum, trying to keep the conversation from stretching too long. I’m not great at lingering—especially not with people like her. The kind of person who walks into a room and owns it without even trying.

I sling my bag over my shoulder, already planning my post-study nap in vivid, loving detail, but before I can escape—

“You wanna walk out together?”

I pause, blinking at her.

Not because it’s weird. But because I hadn’t expected it. Most athletes don’t even remember the names of their TAs, much less offer to walk them out of the library like it’s some sort of… soft exit interview.

I glance at the clock. It’s getting late. But also, she’s looking at me like I’m someone worth lingering around.

“Sure,” I say. Casually. Like my heart isn’t already doing cartwheels.

She grins, standing to her full height (good holy 6ft..), and my only thought as we walk side by side toward the doors is God help me, I might be in trouble.

Because Paige Bueckers is something else.

And apparently, she’s not going anywhere.

—

The night air hits us as we step out of the library, and it’s just cold enough to make me regret not grabbing a hoodie. Of course, Paige doesn’t seem bothered at all. She walks like she’s immune to weather. Or like the wind parts just for her. Probably both.

For a moment, it’s quiet. Awkwardly so. My favorite kind.

Then, Paige starts talking.

And when I say talking, I mean talking. Like she hasn’t spoken to another human being all day and I just unlocked the floodgates.

“So, like, I’ve had the same pair of slides since I was fifteen, right?” she says, hands in the front pocket of her hoodie. “They’re disgusting. Like, actually offensive. I think they’ve developed their own bacteria strain at this point. But I can’t get rid of them. They’re like emotional support shoes. You ever have something like that?”

I blink. “Uh…”

She barrels right past my lack of response. “And then Aaliyah tried to throw them out once when we were on the road and I almost tackled her in the hotel hallway. She was like, ‘Paige, they smell like shit.’ But they don’t. They smell like loyalty.”

She grins at her own joke. I say nothing.

Not because I don’t want to. But mostly because what?

I nod along, mostly to be polite. Or maybe out of shock. I’m not really sure.

She keeps going. “Also, can I ask you a question? Why do all chemistry textbooks weigh as much as small toddlers? Like, what are they putting in there? Guilt? Disappointment?”

A laugh escapes me before I can stop it, which unfortunately only fuels her further.

She talks about basketball. Then her best friend’s dog. Then how she’s still mad Chipotle took her favorite salsa off the menu. She has opinions on everything from cafeteria chicken to the superiority of Apple Music over Spotify (she’s wrong, but I let her have it).

And the weirdest part?

It’s not annoying.

It should be. But it’s not.

I listen. Mostly because I’m stunned by how easily she fills the space between us, how her voice softens when she gets excited and how, even when she’s rambling, she makes it feel like you’re part of the story.

It’s… unsettling.

I don’t do people like her. I don’t get people like her.

And yet here she is. Walking next to me. Talking like we’ve done this a thousand times before.

And then, as if this night couldn’t get any weirder, she slows down in front of my building.

I stop too.

Paige pauses, looking at the entrance. Then looks at me. “Wait—you live here?”

“Yeah,” I say slowly, pointing to the left. “Top floor.”

She blinks. “Shut up.”

“I will not.”

She grins, pointing to the right. “That’s my building.”

I stare at her for a second. Then glance up. Then back at her.

This cannot be real life.

“You’re telling me we’ve lived next to each other this whole time and this is the first time I’m finding out?”

I sigh. “This is just great.”

“Great?” she echoes, clearly amused.

“Yeah. Fantastic. Love this for me.”

She’s still smiling like this is the best coincidence to ever happen. Like fate just personally delivered her a win.

I just shake my head, digging my keys out of my pocket. “Well. Thanks for the walk. And the verbal TED Talk.”

She bows slightly. “Anytime.”

I turn to head inside, pausing with my hand on the door.

“Hey,” she calls.

I look back.

“Same time Thursday right?”

I nod once. “Sure.”

She salutes me with two fingers, still grinning, then turns and jogs up the steps to her building.

I stand there for a moment, key still in hand, trying to process everything. The tutoring. The talking. The proximity.

This is going to be a nightmare.

I let myself into the building, already craving sleep and silence and maybe a three-day nap. But even as I make it upstairs and fall face-first onto my bed, one thought keeps bouncing around my head like it’s got a key to the place:

Paige Bueckers is going to be a problem.

[calebslittlecrow]

It’s Perfectly Fine To Permashift

Oh no, someone dares to want to permashift, how scandalous. Call the shifting police before they escape. Yes, I am one of those people. The ones who have the nerve to admit this reality isn’t giving… well, anything worthwhile to stay for. My end goal? Shift and slowly forget about this dumpster fire of a reality until all that is left is the knowledge of shifting and a mild allergic reaction to the vibes of this reality. Now, because I dared to mention this once or twice in different corners of the community, I have the Universe’s unsolicited advice squad invade my inbox from time to time with the same message: “You are stuck because you want to escape! You should be grateful for this reality (and plan to come back)!” Absolutely. Let me just quickly kiss my trauma and thank it for the questionable character development. I’m not stuck. Just procrastinating like a pro, that’s a difference. But no, no, I am energetically stuck because I have the audacity to not fall in love with this reality. How spiritually reckless of me. And of course they rarely say “accept this reality while you are here”. Would be too easy. It’s almost always “love this reality, be thankful to be born into this reality, marry and raise a family with it. You are stuck as long as you use shifting as an escape. Everyone who hasn't shifted yet uses shifting as an escape and that is the reason they haven't shifted!!”. Sounds more like emotional blackmail than enlightenment. Let’s drop my melodramatic rant for a moment: It’s fine to want out. This reality? Kind of sucks to be honest. Not always, but just enough that it shouldn’t be a crime to want to be somewhere better. To want something better. It’s also not a moral failing. You’re not in shifting jail for not writing a daily gratitude journal entry about your asshole of a boss or the skyrocketing cost of living. Yeah, I know people say shifting is “easier” when you are calm, grateful, vibrating with love and light. Sure. Maybe, idk. You make the rules about how easy this shit is. But easier doesn’t mean required, no? There is no divine rulebook that says: “You must love your dumpster fire before you are allowed to leave.”

Enough people used shifting to escape, saw enough shifting success stories mentioning it to make it clear the Universe didn’t give them a slap on the wrist and yelled “NO! You are not grateful enough, back to the pit!”. Want something more personal? The first time I shifted I was also desperate to get away and I did it, not even knowing about shifting back then. But now that I do know what shifting is, suddenly I need to be emotionally healed, spiritually aligned and write love letters to my current reality to be able to leave again? Yeah, no. Thanks. Bite me. Escapism isn’t immediately toxic. Lying in bed 24/7, avoiding everyone and everything while decomposing? That is avoidance and yes, maybe you should reach out to someone. But planning to permashift while still taking care of yourself and your bills/school? That isn’t bad, that is strategy. That is the smart thing to do, it’s ambition.

You’re not stuck because you want to escape. You are stuck because you assume you are and keep repeating it to yourself or let others convince you that you are stuck. Repeat “I can’t shift, I will never shift” often enough and congrats, you build a brick wall in front of yourself. It’s like having the car running, but standing on the brakes and crying over why it’s not moving and how it doesn’t work. Buttercup, the car isn’t broken, it’s just you preventing it from moving.

TL;DR: It’s okay to want to permashift. You don’t need to be grateful for your current reality or romance your trauma to be able to leave. Wanting out doesn’t block you from shifting, unless you assume it will.

[nostalgebraist]

on exordia (a "rant"?)

Yesterday I said I'd write a longer post about Exordia. Here it is.

This will be... sort of review-shaped, but not quite a review? I dunno.

I'll try to avoid spoilers, although some amount of (largely minor or indirect) spoilage will be inevitable.

As I said in my earlier posts, there was a lot I liked about this book, but also a lot that frustrated me. This post will focus almost entirely on the latter; it will be a big long list of gripes, which I'm posting mostly to relieve a certain mental pressure that built up over the course of the reading experience.

I want to clarify at the outset that the negative angle here doesn't faithfully represent by overall stance toward the book.

Yes, I often found it extremely annoying, but it was a lot of fun, too – often it was both, at the same time. I am normally a pretty slow reader, but I sped through Exordia's 500+ pages very quickly; even when I was annoyed with this or that feature of the book, I was pleasantly engrossed, too. And I feel like writing out a bunch of thoughts about it, which has to mean something good, right? Even if those thoughts are critical in nature.

----

Why do I feel like writing so much about the book? And why do I care so much about the fact that it was "frustrating"? (There are lots of bad books out there; sometimes, I read them; in itself, this is just business as usual, and not worthy of note.)

I think it comes down to what I said in my first post (see link above). Because Exordia feels so much like something I would absolutely love, I feel more incensed about its flaws than I would be about the more thoroughgoing flaws of something that was simply, wholly, and straightforwardly bad. There's a tantalizing sense of unrealized potential, unfulfilled promises.

Exordia would be so good if it were good.

----

Talking about this book's flaws is difficult, because most of them are closely related to one another, and it's difficult to break down that big ball of tangled-up string into manageable chunks.

But there are a few things that are relatively self-contained, so I'll pick them off first. (The main course starts in section "3" below.)

Oh, also: this ended up extremely long. As in, just over 10,000 words. If you wanted to read 10,000 words of Exordia critique today then this is your lucky day I guess.

----

1. frontloading

Exordia has a very strong opening. When I was 30 pages in, I was almost certain that I would end up loving this book and recommending it to everyone I knew.

Ha! Little did I know!

----

The book is divided into five sections called "Acts."

Act One is very brief. It ends on page 38, less than 10% of the way into the book.

And it's very, very good. Or more precisely, it's very, very promising, as a way to begin a story.

Right off the bat, we get two instantly charming and intriguing characters, with an instantly charming and intriguing dynamic.

Then – starting barely five pages in – we are suddenly assailed by a rapid-fire barrage of incredibly cool sci-fi shit. Bizarre neologisms, alien biology and psychology, quasi-theological revelations about physics and the early universe! "Narrative prisons"! "Weapons that mark their victims for damnation"! An "observatory" that can see the afterlife!

All three of those examples I just quoted are from one single page (p. 21).

And Exordia is over 500 pages long.

I was like: holy shit. If this is what it's like now, what is the rest of it going it be like?

Well. Now I've read the rest of it, so I know. What was it like, then?

----

What it's like is this:

On page 38, Act One ends.

Act Two begins by switching over to a completely different set of characters.

In Act One, it seemed obvious that we were meeting the book's main characters. All the usual conventions of novelistic storytelling were practically screaming at us: behold, the protagonists! Better figure out how you feel about them in short order, reader, because you'll be strapped in with them for the long haul.

But – psych! Turns out that we are not strapped in with the Act One characters for the long haul. Eventually they do show up again, but they spend most of the book on the sidelines due to a succession of plot devices which seem designed specifically to keep them there.

The fast pace slows to a crawl.

We discover that we're in a completely different genre: not wild-eyed cosmic science fiction, but Tom Clancy military-techno-thriller. And so a large fraction of the text, by volume, is stuff like this:

"What's up?" Mike Jan asks, like they've just bumped into each other at the gym. "Something bad?" "Something undetermined," Erik says. "One of the EBADs broke. One more check, then we go in." So they do a final test on their MOPP protection, which is an absolute nightmare in the rising sun. Masks that fog up if the seal isn't perfect, baggy JSLIST oversuits, paper wraps that turn bad colors if they contact known agents (what good will that do?), gloves and booties over their boots. All perfect for poaching them in their own sweat. "Can't see shit in here," Ricardo says, without unhappiness: just the condition of things. "I know. Mike, bodyguard Anna. Skyler, get the drone up. Ricardo, load a mouse. All call signs, Zero-Six, now proceeding into the target area. Out." They walk straight toward Blackbird. Skyler flies a quadcopter drone ahead: a Teal Drones Golden Eagle with a fifty-minute charge. Ricardo Garcia follows its course, waving a ten-foot spear with a live mouse in a plastic lattice canister. The idea is that the mouse will die in time to warn the rest of them. "Pretty out here," Mike Jan remarks. "Looks like a Windows desktop." Of course Mike has never changed a default desktop wallpaper in his life.

I'm sure some people like this kind of thing – it's an established genre, after all, and it sells well. But it's not really my jam, and (more importantly) it's not what the opening led me to think I was getting myself into.

(Sidenote: the last two lines in that quote have nothing to do with the point I'm making, but I included them anyway, because they confuse me and I want to know whether I'm missing something that would make sense of them. "Has never changed a default desktop wallpaper in his life" is apparently meant to be some kind of telling character detail, and it's delivered as though we'd immediately grasp its significance. But what IS its significance? "Oh, we all know those guys – the ones who don't change their desktop wallpapers. You know what I'm talking about, wink wink." Huh???)

The new characters are mostly U.S. military/government/intelligence guys (at this stage anyway – later on there will be even more new characters, and then more, etc). The book tries its hardest to make us care about them, but it's fighting an uphill battle because it has to work against our frustration at the bait-and-switch that has been pulled on us.

Plus, frankly, they're just not all that interesting. Sorry.

Sooner or later, we realize that Act One was the odd one out. When Act Three arrives, it's just "Act Two: The Sequel" – and so on. Except in a few parts very close to the end, the book never recaptures the energy and wonder that it used as a hook in Act One.

It gets worse. Remember how I said that Act One rapidly reveals a bunch of sci-fi lore to the reader?

Well, a large fraction of Acts Two through Five are a mystery story in which the new, less-interesting characters study a classic BDO and try to figure out what its deal is, plus a bunch of related ancillary mysteries. And in some cases, the reader can guess the answers long before the characters get there, because the answer is something we were told back in Act One.

(This is only possible, by the way, due to the previously mentioned sidelining of the Act One characters. These characters re-appear, and the other protagonists get to know them, but for most of the book the two groups are unable or unwilling to communicate for some reason or another. If these communication blockers weren't there, the Acts Two+ guys could just ask the Act One guys what was going on... and the book would be several hundred pages shorter.)

This is a baffling structural choice.

I have no idea how one could possibly try to justify it; I simply can't think of any arguments in its favor, even bad ones.

2. the path, grant!

This isn't even a complaint, per se. Just something about my reading experience that seems like it should get mentioned in this post, somewhere.

In a lot of ways – big and small, important and trivial – this book feels weirdly close to the kind of thing that I would write myself.

Indeed, it feels weirdly close (in a lot of ways, big and small etc.) to some things that I did in fact write, myself.

Namely, Floornight and Almost Nowhere.

I'm not claiming that Seth Dickinson ripped me off, or anything. It seems very unlikely that he's read any of my work, or even heard of it. Like I said in my earlier post, it's probably all just a matter of shared influences and/or pure coincidence.

Still, I have to talk about it, because I couldn't stop noticing it.

In the first ten pages, I learned: this is a story about first contact with aliens. It involves a lot of exotic invented terminology, and the worldbuilding includes novel connections between fundamental physics, psychology, and ethics.

And I thought: wow, this sure is right up my alley. Nice!

On page 11, the book started talking about the Shahnameh.

Ten pages later: souls are real! But this is arguably bad, because it's been used as the basis for exploitative and dystopian technologies.

I dunno, it's not like I has a monopoly on that concept. (I stole part of it from Madoka, for one thing.)

Nor, as I happens, do I have a monopoly on the concept of "wacky eccentric scientists who live in a remote setting apart from most of humanity, studying Lovecraft-style mind-bending entities from the beyond." That's just taking well-worn, well-liked tropes and combining them in a natural, appealing way. (And what's more, I stole part of it from Annihilation.)

But in any case – monopoly or no – Exordia does in fact have those wacky scientists, and that remote zone, and those creepy, soul-physics-related objects of study.

It also has a character named "Anna" – with a sort-of-similar role in the story to Almost Nowhere's Anne.

And a character named "Rosamaria," who...

But I'm sure you can guess how that sentence ends.

Some of this stuff is hard to talk about without violating my rule about spoilers.

But, uh, that said – remember that big scene about 2/3 of the way through Floornight, the one with a raised platform that gets used as a stage? The one in which [HUGE FLOORNIGHT SPOILER] happens?

And then the chapter right after that, which has an unusual name, because it portrays things from an unusual point of view?

Oh, you haven't read Floornight. Well, then. Do you remember that scene near the end of Exordia...

Some of the "connections" I thought I saw are flimsier than this. Some aren't really much of anything, in retrospect. Early on we learn that the aliens have some technology called "the way of knives," and I thought: ah, just like AN's "knife-power"! But in fact the two things have nothing else in common. And surely I don't have a monopoly on the word "knife."

I dunno. How about this? Is this anything?

The Ubiet burbles away in her arms: clarification and amplification of aretaic event in self-like past, recursive self-caricature by protoprecosmic influence, WARNING WARNING WARNING pathology! pathology! pathology! pathology! pathology! Until that word, pathology, starts to sound like path-ology, the study of paths. The discovery of the way.

3. the geeky badass hive mind

Okay, here begins the part I called "the main course" above, where I lay out the really big thing that irked me about Exordia.

Hmm... where to start...

There is a problem with the characterization in this book. There is also a problem with the narration in the book.

These two problems are sort of the same, and the fact that they are sort-of-the-same is itself a noteworthy symptom of the problem.

Whoa, whoa – too broad, too abstract! Let's start with something small and concrete. Something that anyone who's read the book will have noticed, and which I am definitely not the first person to complain about.

So: Exordia is full of geek culture references.

The characters make incessant references to specific sci-fi/fantasy books, anime series, video games, and popular movies and TV shows. The 3rd-person narration also does this frequently.

It gets pretty "cringe" at times.

Here's a very early (and hence memorable) example. Anna, our Act One pseudo-protagonist, is learning the deep secrets of the universe from a snake-headed alien. The alien tells her that souls exist.

And in response, Anna says:

"Souls? You mean immortal souls? Are those real? Is this some kind of, like, Evangelion thing?"

I was like: seriously? Seriously? Come the fuck on.

But a moment later, I got my balance. I thought: wait, I see what this is. This is a character trait. It's a feature of this person, not the book/world.

Anna is a person who makes these kinds of nerdy, "cringe" references at inappropriate times, just like (as we learn in the first few pages) she is a person who has been fired from multiple jobs for being too abrasive, too upfront with people. That tracks. There's a coherent person, here, and I'm getting to know her.

Ha! Little did I know!

Act One ends, and Act Two starts.

We are introduced to our first "Acts Two+ protagonist": Clayton Hunt, Deputy National Security Advisor in the book's alt-universe version of the Obama administration.

Clayton is a slick charmer, a skilled and versatile liar, a power-hungry schemer who deliberately orchestrated his rise through the ranks of the National Reconnaissance Office bureaucracy. He is – if we are to judge by his (disturbing) past deeds, which are recounted as crucial backstory – a cold-hearted psycho sonuvabitch who's way, way too eager to kill people "for the greater good." At first glance, he seems to have nothing at all in common with Anna (too honest for her own good, a basically normal person struggling to keep her basically normal life afloat, etc).

Does Clayton make nerdy, often "cringe" geek culture references – incessantly, come hell or high water? You bet he does.

We meet Clayton's once-and-future best friend and right-hand man, Major Erik Wygaunt: Rhodes Scholar, badass soldier, doctrinaire quasi-deontological moralist. Totally different guy from either of the forenamed – or so one would think.

But in practice, in what he actually does and says? Erik is exactly the same sort of argumentative, obscure-trivia-knowing, geek-culture-referencing dork as Clayton and Anna and – yes – virtually every other character in the book.

Here's a typical passage, from page 86. Clayton (dialogue in italics) is in conversation with Erik (no italics):

“My guess is that Blackbird is dispersing some kind of communication agent. It seeks out information-dense substrate and … interfaces with it. Tries to use it to grow a message or a system. It’s trying to talk to us by amplifying patterns it finds. Not how I’d go about first contact. But how I might do it if I were very, very strange.” Erik can’t help making a technical protest: like they’re both optimizing their colonies in Sid Meier’s Alpha Centauri, arguing over the details of the science fictional technologies in play. “Then it should be bursting open every cell in our bodies. If it’s looking for information coding, then DNA would be the first thing it’d find. Seven hundred megabytes of digital data in each cell.”

By this point, I had long since discarded my "characterization for Anna" hypothesis. I'd gotten the hang of what was really going on.

And so I didn't even blink when, on page 103, a character is introduced as "Captain Davoud Qasemi of the Islamic Republic of Iran Air Force" – and he immediately begins rattling off the names of specific video games he liked as a kid, rambling about the homosexual overtones in Top Gun, and saying things like "It's marvelously ironic! It's so classically ironic that it's invented pederasty and gone to war with Sparta."

That's just how everyone in the world talks, apparently.

Everyone in the world. This book is about a Kurdish village that is suddenly crisscrossed with deployments from the U.S. and Russia and China etc., in what seem likely to be the last days of the human race; it is, in large part, about the culture clashes and strained attempts at international collaboration that result from this arrangement.

But the characters are helped along in their efforts by the fact that there is at least one culture to which they all belong.

They would all seem perfectly at home sitting on a big couch in a dorm common room at some nerdy liberal arts college, nominally watching a movie but in fact talking over most of the dialogue as they strive to out-do one another in the game of pointing out its scientific and historical inaccuracies.

Now, don't get me wrong. This is a perfectly fine way to be.

But it is not the only one.

----

It is probably clear that I did not like this aspect of the book. But why?

Well, there is the thing I just mentioned, about how it undermines the attempt at portraying culture clashes. But that's not the only problem, and it's not really the main problem.

What else, then?

In his (in)famous essay about "hysterical realism," James Wood wrote (my emphasis):

By and large, these are not stories that could never happen (as, say, a thriller is often something that could never happen); rather, they clothe real people who could never actually endure the stories that happen to them. They are not stories in which people defy the laws of physics (obviously, one could be born in an earthquake); they are stories which defy the laws of persuasion. This is what Aristotle means when he says that in storytelling “a convincing impossibility” (say, a man levitating) is always preferable to “an unconvincing possibility” (say, the possibility that a fundamentalist group in London would continue to call itself KEVIN).

Exordia is not hysterical realism, and it contains plenty of events which deliberately contravene the (known) laws of physics. Nonetheless, while reading it, I kept thinking of that line about "defying the laws of persuasion."

In the case of any one character, the traits I'm pointing to would be perfectly acceptable. (We saw this with my reaction to Anna, above.)

What's more, they would be acceptable even if they went against the expectations set by other attributes of the same character. The world is huge, and contains billions; every oddball combination of traits you can imagine quite possibly does exist, at least in someone, somewhere.

And besides: as Wood says, the "laws of persuasion" are not the same as the "laws of physics." The requirements needed for something to "feel plausible," in a work of fiction, are not the same as the requirements needed for something to be plausible, in real life.

But there is a set of requirements in the case of fiction. It's just a different one.

Meet the terms of the contract, and the reader will happily "suspend their disbelief," even in the face of actions and dialogue that would be extraordinarily unlikely in the real world. But if you break the contract? Then piling on more "realism," more geeky period/setting detail and laws-of-physics plausibility, will only heighten the disconnect and slide things further into the uncanny valley.

It's like watching a 3D 60-fps movie, back when Hollywood was going through its simultaneous 3D and 60-fps fads.

Yes, yes, there is technically more information, it's technically closer to the signal your senses would receive from the real world. But you have broken the terms of the illusion, suspended the suspension of disbelief, and so I am no longer seeing your world and characters, anymore. I am seeing the remaining gaps in your inevitably flawed illusion.

On page 136 of Exordia, we meet a female Kurdish shepherd. She's an extremely minor character, really just a horror-movie extra who's there to get picked off (ambiguously, "off-screen") by the spooky powers at play, and thereby give the reader an (ambiguous, tantalizing) hint of what those powers can do.

But, as is the convention in such matters, Seth Dickinson gives her just a smidgen of characterization, to humanize her before she goes.

What kind of person is she, this poor doomed shepherdess?

You already know the answer, don't you?

Tonight she thinks only of her sheep. Oil smuggling paid for her phone and the rifle on her back, but this flock is part of the village’s common wealth, and she is responsible for it. Or so her mother is always reminding her. And even if she watches too much anime and spends too much time getting into fights on Facebook, she wants to do her mother proud.

She watches too much anime? Fine. Maybe she does. Maybe she does.

Maybe – if it were only her. If the seams in the illusion were not showing through so plainly.

I'm a fairly cooperative reader. The implausible and the impossible do not bother me. I am capable of believing just about anything.

But not like this.

----

The characters of Exordia are geeks. That much I've covered already.

They are also badasses, every one of them. Geeky badasses.

That's the phrase that came to mind, pretty early on, when I was trying to formulate what bothered me about these guys. "Every single character in this book is a geeky badass," I thought.

I'm sorry. It's a very, uh, "cringe" phrase. But that too is apposite.

What do I mean, "badasses"?

For one thing I mean that they are hypercompetent. They know all kinds of stuff – geek culture trivia, academic esoterica in seemingly every discipline, hands-on working knowledge of whichever military or scientific devices the plot needs them to use. They are quick on their feet, relentlessly thoughtful and logical, cool under pressure (or hot under pressure in an impressive and charismatic manner), capable of creative problem-solving.

They never fail.

Nothing fazes them. Or rather: when they are fazed, it is brief, and they look great doing it, and it doesn't matter in the end anyway.

Many of them have dark, traumatic personal histories (exciting! dramatic! potentially sexy!), but however bad their trauma, it does not dare disturb their hypercompetence when the latter is at work.

This book is about the cataclysmic end of the world-as-we-know-it. It contains a staggering quantity of violence and death: on-screen and off-screen, mass-scale and intimate, dealt out by a diverse range of human and inhuman actors and weapons. But no one ever just breaks down in the face of it all. Or rather: if they do "break down," they do so only briefly, and they look great doing it, and...

One of the main characters is, explicitly, an alcoholic with PTSD. But this doesn't really ever come up as a serious obstacle, either to her or to anyone else. Mostly, it just means that she jokes around with the other characters about being the town drunk, sometimes, in between one moment of epic badassery and the next.

One might argue that this is sort of... I don't know, "tasteless"? I don't know. I had some sort of problem with it, anyway, that or some other one.

For a book that is so thoroughly about nerds, it is remarkable how little it contains in the way of humiliation. Of straight-up, unalloyed uncoolness.

As always, things start off with uncharacteristic promise. In the first few pages, Anna loses her job, then breaks up with her boyfriend in a very awkward manner and instantly regrets it.

This, remember, is the same character who says that cringe line about souls and Evangelion. So far, so good! We've gone from zero to #relatable in record time. We have a confirmed blorbo, stable under laboratory conditions. Sources familiar with the situation report that she is "a hot mess" and "literally me."

But that's all in Act One (may it rest in peace). Soon enough, Anna is taken up into the geeky badass hive mind, and from then on she too is never seen to fail. Except in a cool way, sometimes.

Soon enough she is just like the rest of them. Quick-witted, effortlessly articulate, situationally aware, ready for anything, an endless font of witty geek banter.

Is this bad? Why?

I'm not sure. Maybe I just don't like it. Maybe there's nothing more than that.

But... okay, look. This is a book about the likely end of the human race, about humans trying to work together in the face of cultural differences and mutual mistrust. It wants you to hope. In its moments of triumph, it wants you to feel proud of your whole species.

And, in the name of these goals, it tries so very hard to humanize its characters. It tries, it tries! They have so many traits, so much specificity! They will tell you all about their home towns, their cultures, their hopes and dreams and fears! Look, look, the book says: surely these are people? Look at them, they're doing so much people stuff!

But at the moment where "being human" might entail "not being effortlessly cool and badass literally all of the time," the book suddenly relents. That cannot be allowed, of course. Every threshold can be crossed, except that one.

Maybe it's just me, but I can't relate. I'm not a badass. I do embarrassing shit all the time, and I'll probably just go on doing it until the day I die. I don't think I could hold my own with these demigods in the anime-referencing game, much less the high-pressure-military-operations game.

I guess "people" are like this, sometimes. But only because the world is big, and so for every X, there are some people who are X, somewhere.

This book is about the human race, except it isn't. To be human is (among other things) to kind of suck, and no one in this book kind of sucks, not even the military psychopaths, not even blorbo-candidate Anna.

On page 10, Anna asks her alien how she views humanity, and the alien's characterization is humorously blunt, underwhelming, and undignified:

“You’re a species of gangly distance runners, adapted to sweat and throw stuff. You like watching each other fuck. [...] “You are wired for small social groups, so all human organization degenerates into power trading and gossip between a tractably sized elite, no matter the stakes. You have two sources of authority—dominance and prestige—which conflict in interesting ways. Something killed most of you, and so your survivors are very inbred. Very similar. Your meat smells the same.”

Act One really is so very different from the rest, isn't it?

Ah, those were the days!

4. differentiation of hive mind tissue

In the last section, I argued that the characters were overly similar. Possessed of the same "geeky badass" traits in a way that defied "the laws of persuasion."

That is true, but it's not to say the characters don't have distinguishing traits. They definitely have those.

But even here, in the realm of differences, something feels... off. To me, anyway.

It's sort of like this:

To a zeroth-order approximation, every character in Exordia is identical. Just another dollop of homogeneous geeky badass paste, scooped up from the same wellspring as all the rest.

That's only the zeroth-order approximation. Look closer, and you can see differences.

What kinds of differences?

Well, here's an example. There's a character named Chaya. Who is she? Besides a geeky badass, I mean?

She is [takes a deep breath] a Ugandan-Filipina Catholic butch lesbian plasma physicist!

That's a long list of traits, but it was very easy for me to recall them all from memory just now, even though Chaya is just one member of this book's long roster of protagonists. Why?

Because whenever Chaya appears in a scene – whenever she says anything, and whenever the narration is filtered through her perspective – these traits are mentioned over and over again.

Virtually everything that she says or thinks is:

A) Narrowly pragmatic, directly related to what's happening in the immediate plot, could have been said/thought by any one of the characters

B) Directly related to one or more of the traits listed above (e.g. she's Catholic, so she's praying or talking about God with one of the irreligious / differently religious characters)

C) Some mixture of the two (e.g. she is making some smart practical comment about a current dilemma in the plot, which any one of the characters might have said, except that where one of the other characters would have said "fuck!", she says "mama Mary!")

I almost feel kind of gross, dissecting a character in this way. Especially when it's a character like Chaya, who I kind of liked!

I almost feel that way, but then I remember it's not really me doing the dissection. The characters come this way, marked with convenient labels for ease of disassembly.

I said I "kind of liked" Chaya, and I did. When I was reading the book quickly, swept along by the story – when I sort of defocused my brain, and didn't pay too much attention – I felt that she was a likable character. She had the general shape of a "likable character." My brain could match her against familiar templates, and accept the match, if I let my brain work without too much conscious deliberation.

When I focused harder, though, the joints began to show.

When I focused harder, I could watch (well-crafted, clever) lines of dialogue and narration flow past, and see through the Matrix to the calculated flecks of trait-relevance which adhered to each and every one of those lines.

This is a Chaya section, so I am getting told over and over again about God and rosary beads and plasma physics and what Uganda is like and what the Philippines is like and the woman Chaya has a crush on and how Chaya has a crush on that woman and how these two have a vaguely butch/femme dynamic.

(Sidenote: although this book seems like it's taking great pains to be culturally sensitive – or, perhaps, because of that fact – I kept noticing that the American characters are not constantly thinking and talking about what America is like. Only the people from places presumptively unfamiliar to the reader do that kind of thing. And it almost feels like the American characters are given more "slots" in which to fit distinct character traits, because they don't have to spend any slots just to establish their national origins.)

These are the Chaya topics. I am being told about them, and I will be told about them later, in other Chaya sections. Except for "the plot," these are the only topics I will ever be told about in Chaya sections.

If this were a Clayton section, I would be hearing for the 50th time about how Clayton is manipulative and conflicted about his manipulativeness. Or, hearing about one of the other Clayton topics. There's a list of those, with maybe five or six items, just as there was with Chaya. In Clayton sections, you hear about these things, and only these things.

It reminds me of the kind of improv where you're handed a brief description of your character, and have to immediately start acting as that character, with no time to prep. There's no way you could invent a whole fleshed-out human being in under a second, of course. So you lean hard on the traits listed on your character sheet. You find ways to weave one or more of them into each and every line. See: I'm doing it right! I'm playing my character!

----

Exordia's characters have no small traits. Only big ones, like "being Catholic" or "being Chinese." They do not act whimsically or inexplicably, ever; they do not play against their fixed types, ever.

Real people are microscopically detailed, incompressible, differentiated from one another by millions of little quirks that are essentially arbitrary and cannot be satisfactorily "explained" except by narrating huge segments of their life histories ("see, that's where it came from," one might say, after relating years of experience in unsparing detail).

In fiction, this stuff can't possibly be conveyed in full, and so a faithful portrayal of its consequences tends to just look like "noise," arbitrary behavior, the whimsical, the inexplicable.

Which is fine. Good fictional characters often come with such halos of static around them. It's a part of making a fictional world feel real, rough-edged, lived-in.

And on the other hand, sometimes it's fine for a fictional character to just be a type, and play out that type. A lot of science fiction is this way: it simply isn't much interested in character, which is okay, because it has other interests with which to keep your attention.

But Exordia is trying to have it both ways.

It's not just a standard hard SF story where the characters are types, and are clearly and only those types, and that's okay. Compared to that sort of story, Exordia spends way more time lingering on its characters, "zooming in" on them. Inviting you to consider them, study them, love them.

But this causes a feeling of intuitive wrongness, an uncanny valley effect. We should be zoomed in far enough to see the details, the noise-haloes. So where are they?

You can zoom in and in, but all you see is a magnified version of the stuff you'd already seen at lower resolution. A surface of unreal smoothness, unmarred by dust or fuzz.

4b. so meta

It's annoying (I keep using that word...) to talk about these aspects of Exordia, because the book involves a sci-fi conceit that could potentially explain its unusual flatness of character.

Explain it in-universe, I mean. As a "real" thing that causes these people to be this way, for a specific reason, in a specific place and time. Leaving everyone outside of the frame potentially intact, with dust and fuzz still in place.

(Wait, that was in Floornight too! Huh. I literally didn't realize that until just now.)

I'm not going to say anything more about this due to the spoiler rule, except that I don't think it really works when you think about it. The stated causes don't actually match up with the effects: the former are too narrow in scope, the latter too pervasive. The characters are flat even when the sci-fi flat-causing mechanisms aren't supposed to be in effect.

At most, I guess you could say the flatness is "thematically appropriate." Connected to other stuff that the book talks about, elsewhere. But... I dunno. Who cares? What's the point?

4c. the voice of the hive

Like a lot of modern fiction, Exordia is mostly written in studiously maintained free indirect speech.

If you don't know (or don't remember) what that is, the Wikipedia page I just linked has a nice example, which I'll reproduce here.

Quoted or direct speech or narrator's voice: He laid down his bundle and thought of his misfortune. "And just what pleasure have I found, since I came into this world?" he asked. Reported or normal indirect speech: He laid down his bundle and thought of his misfortune. He asked himself what pleasure he had found since he came into the world. Free indirect speech: He laid down his bundle and thought of his misfortune. And just what pleasure had he found, since he came into this world?

It's third person. But the third-person narration is commingled with the perspective of one of the characters (where this focal character can vary over the course of the text). Often the "narrator" just says stuff as though it's objective reportage, when in fact it is (and the reader knows it is) what this specific character thinks or believes.

The use of free indirect speech accidentally provides a useful way to "directly measure" the characterization problems described above.

Consider: although the book is written this way almost all of the way through – and you can discern that fact if you pay attention – it is easy to forget in the moment that it is written this way.

Why? Because, although the narration follows the thoughts of one character and then another, the characters are too similar to one another for this to make much of a difference.

Mostly, the narration just describes things the way you'd imagine a "geeky badass" might describe them, with lots of flashy clever phrasing, and lots of arguably pedantic detail about science / engineering / military matters / etc.

Free indirect speech already blurs the distinction between the authorial voice and the character voices, by design, but here the blurring is taken to its limit, and the distinction collapses entirely. Is "the author" describing events this way? Or, is one of the characters describing it in that way? Or not them, but a different character? We can't tell, because all of these people would say precisely the same string of words.

Of course, we can usually tell who the focal character is, because the items listed on their character card are getting sprayed all over the place. If every other sentence of the narration mentions a Clayton topic, then Clayton must be the focal character, and likewise for the others.

Even here, though, there's a curious departure from the way free indirect speech works in most other books. Note that referencing the "Clayton topics" is not the same thing as conveying Clayton's moment-to-moment thoughts: the former is a fixed list of 5 or 6 items, while the latter presumably roves all over the place as time passes.

I say "presumably" because if the characters' thoughts do rove around in this way, we mostly don't see it. All we hear about is their "topics," again and again.

Maybe these are Clayton's thoughts; maybe Clayton is an obsessive monomaniac who just thinks endlessly about the fact that he's manipulative and so on. Maybe they are all like that. Who knows? It's impossible for me to tell, because the narration is ambiguous in this odd, specific way.

One section, late in the book, begins as follows:

An awful light from the sky finds Anna. She’s, barely, smart enough not to look straight at it.

I was briefly startled by this. I interpreted that "barely smart enough" remark as something said by the omniscient third-person observer. I was like: dude, that's kinda harsh, isn't it?

But a few sentences later, I realized: oh, the focal character in this scene is Anna's mom. It's Anna's mom who's judging her like this. That makes sense.

This particular example is just sort of a narration glitch. I'm not sure it'd be possible to avoid the effect I'm describing, here, without rewriting the scene so it's clear who the focal character is before the "barely smart enough" judgment occurs.

But this case stuck out to me when I encountered it, because that feeling of disorienting perspective-realignment – although it's just kind of awkward, here – is what good multi-character free indirect speech usually feels like, all the time.

"The book should have more of this," I thought. "It should be constantly calling the characters stupid, or whatever, from the perspective of other characters."

(It's not like that doesn't happen at all, mind you. It just happens way less than usual, and way less than it ought to, IMO.)

"With this much perspective-shifting, I should be getting vertigo," I thought. "So where is it? Why is everything so smooth?"

5. the forbidden word

My division into sections is sort of breaking down, here. There's a thing I want to mention that doesn't really deserve its own section, but doesn't quite fit anywhere else. Whatever.

It's yet another annoying quality of Exordia's characters. ("Wait," you're saying. "You said you enjoyed this book?")

Basically everyone in this book is so...

Look, guys, I really don't want to say "woke," okay? If no one ever used the word "woke" again, we would live in a better world. I have said it twice already in this paragraph, and thus made our shared world worse, twice. Sorry.

I'm just not sure what else to call it.

They're feminists. They're against racism, and it's not the kind of hollow and unreflective "opposition to racism" that (e.g.) most Americans will assent to if you poke them about it – no, these people have subtle, thought-through ideas about racism, and its causes.

And so on, w/r/t other forms of bigotry, and the like.

And it's not just that the characters hold these views, themselves. These views are a fluid in which they swim, in a mostly invisible fashion. Everyone assumes without asking that everyone else is like this, and acts accordingly.

Or, more precisely, all the main characters are like this. There are a few bit players who are vaguely suggested to have more right-wing attitudes: the "Mike Jan" who we briefly met above, he of the unchanging desktop background, seems like the type of guy who'd watch Alex Jones, for instance. And on really rare occasions – like maybe 2 or 3 times total – some barely characterized nonentity will actually say something racist or sexist, but nothing much comes of it (remember, our mains are emotionally impregnable badasses), and then the guy who made the comment gets beheaded by an alien laser on the same page or something.

Meanwhile, all the Important Characters are (I guess) invisibly equipped with Important Character Detectors that let them hone in on each other, ignore the hapless maybe-bigoted redshirts around them, and proceed immediately into sophisticated conversations about social justice with one another. No need to feel out the other party's general point of view beforehand: this guy's a protagonist. He's cool, he's one of us.

Is this bad?

I mean, if it is, it's not really a big deal, I guess? Not compared to the other issues I talked about earlier, the deeper ones that plague the fundamental ingredients of the work (character, plot, structure).

But I did find it kind of offputting. Especially at first, before I'd accepted that the Exordia world is just like this.

I remember specifically being startled by an early scene, during the part where the Act One characters are getting introduced to the Acts Two+ characters, in which Anna and Erik suddenly – without warning or preface – launch into a discussion of Kurdish feminism, and potentially distorted/simplified/problematic Western views of Kurdish feminism, and whether Kurdish feminism really matters at all in light of the dire geopolitical position of the Kurds, and that sort of thing.

Again: the problem is not that this is "implausible," in itself. We barely know Erik at this point, and insofar as we know him it's mostly as some hardcore soldier type of dude, but – sure, whatever. There are plenty of feminist men in the military, I'm sure. The military is big, it's got all kinds of people in it.

Again: the violation is not against the laws of physics, but against the laws of persuasion. It's not that this couldn't happen. It could!

And yet.

"Yes, this could happen. I guess it could. But like, come on. Really?"

Sometimes the reader is a harsher master than reality.

And beyond that, this just seems like... I don't know. Like a half-assed, cowardly way to make your book "about" social justice in some sense, without ever really confronting the topic head-on?

A book in which everyone verbally agrees with one another about their enlightened views is not a book about the content of those views. It's just a book in which some characters happen to agree with one another about some things, and also some other stuff happens.

(I'm being at least sort of unfair here: the book really is "about" the Kurds and the Anfal campaign, for instance.)

For a book about culture clashes and genocide and the struggle for international collaboration under tense circumstances, Exordia has a remarkable lack of ideological tension. Or even non-ideological international tension, depicted "on-screen."

Mostly, people in the book... just kind of instantly get along with each other? And then immediately start exchanging packets of nerd banter and/or trenchant commentary on the evils of U.S. imperialism. Members of the geeky badass hive mind, recognizing one another on sight, conversing in the native language of the hive.

Once again: is this bad? Even if so, how bad is it, really?

I think, maybe, that if your book is about the sorts of things that Exordia is about, then sometimes your characters should very much not get along immediately. That they should be riven apart, and driven to extremes, by identity and ideology – if not forever, then at least for a time.

Maybe.

6. proof by intimidation

Man, this post is long!

And somehow I haven't really touched upon what Exordia's prose actually feels like, most of the time, word by word.

That's what this last section is about.

I don't mean the prose style, exactly. Actually, the prose style per se is... really good, mostly! I don't have that much to say about the ways in which it is good, but for the sake of balance and accuracy, I ought to make it clear that they exist.

Seth Dickinson is clearly a very good writer. In the "writes high-quality prose" sense, at least, and – despite all that I've said – in plenty of other ways too. (I'm told that his other books are better than this one; I will probably read them sometime. And I look forward, warily but with a considerable measure of hope, to his future work.)

But. You know what's coming. This post is negative-only. I've got something bad to say about the prose, it seems. Not about the style, but about... something else?

What, then?

Well, let me show you some examples.

He [i.e. Clayton] has seen enough satellite timelines of mass graves to know exactly which stage the corpses have reached. Their skin and bone cells are still alive. Their suits are bloating with gases now. Death signals the beginning of a final uprising, when the three pounds and 60 percent (by count) of your cells that are bacterial clients claim their last meal. They eat you so greedily and so well.

Sixty percent, huh. TIL!

I didn't know that, but Clayton did, apparently. (Free indirect speech in action.)

Of course he did. Clayton is a geeky badass, and like all of his kind, he knows every gee-whiz fact (and factoid) in existence.

And like all geeky badasses – like the book itself – he is not shy about letting you know that he knows.

What else does the book know? Here's some chemistry:

Their X-ray frequency gun isn’t working. Maggie Gaboury breaks out the breakdown spectrometer. A neodymium-doped yttrium aluminum garnet laser attacks the hull; the plume of excited vapor releases a rainbow of light that the spectrometer can read like a bloody fingerprint.

"Breakdown spectrometer"? I've never heard of those. Am I supposed to know this? Is it important?

Two pages later:

The US Radar 110XLS is designed to survey down to two hundred feet below ground, seeking out oil deposits and land mines. Emme didn’t expect the radar to work—after all, their radios are burned out, and radars are giant radios. But radio doesn’t go through metal. The radar’s storage unit protected it. So now they’re aiming it at this alien hull, which Joel says isn’t metal. It’s some kind of stable excimer, or Rydberg matter.

"Ah, the US Radar 110XLS, huh?" I say, smiling and nodding.

Just keep smiling and nodding, I tell myself. Keep your mouth shut. Or else Seth might catch on that you're a fucking moron who doesn't even know what a "breakdown spectrometer" is.

Later, here's some physics:

She knows how matter behaves around black holes. This thing is not behaving like a black hole should: it ought to be pulling in nearby air, forming a friction fireball. It’s not. But even if it isn’t actively pulling, some air is going to move into it anyway. Air molecules at room temperature move shockingly fast—about 350 meters per second.

350 meters per second. Smile and nod. Smile and nod.

God, I'm dumb. All the fucking things I don't KNOW.

The areas which the book knows all about, and which I know virtually nothing about, are too numerous to name. Does it know aeronautical engineering? And astronautical engineering? You bet:

Volume around 12,000 cubic meters. Assuming the same density as a 747, this implies a mass of 5,400 metric tons, just short of two fully fueled Saturn V rockets. Blackbird has wings, but they’re too thick to produce much lift. The fuselage shows no sign of area ruling for efficient transonic flight. It’s not a plane. As a spacecraft design, Blackbird almost makes sense. The entire fuselage could serve as a lifting body while Blackbird glides down to a water landing. In space, the wings and their jagged trailing edges could act as radiators. There are no visible engines, but maybe the tail stuck in the mountainside is the exhaust.

That all sounds logical enough, I guess. But then again, if it wasn't, how would I know? Man, I don't even know what the phrase "area ruling" means.

Perhaps, despite my pretensions, I am not in fact cut out to disparage this book at all. It's above my pay grade. It's smarter than me.

You want more? Here's, um, a "BLEVE":

The blast tips the nearest helicopter on its side, snapping rotors, the fueling hose lashing like hell’s elephant. The helicopter carries a tank of helium cryogen for food storage and magnetic resonance systems. The heat of the fireball envelops the tank and pushes the helium above its boiling point. It tries to revert to a gas but it can’t: no room in here! For an instant the tank holds back tons of super-pressurized liquid helium trying to boil off into gas. Then a seam fails, and every molecule inside flashes to steam. The result is a BLEVE: a boiling liquid expanding vapor explosion. It ruptures the kerosene fire and kills the luckier men instantly. The inert helium snuffs the fire and replaces it with a zone of asphyxiation and paradoxical cold. The blast wave slaps the lab complex’s tunnels taut and snaps the laundry lines in Tawakul.

Maybe you knew what that was already. Not me!

Is... is that what the blast wave resulting from a BLEVE would do, under those circumstances? Look, I'm not saying it isn't. I'm not casting doubt. I'm just saying, I have no clue.

Did Seth Dickinson do some sort of calculation, here, to make sure this made sense? How much research did he do, how much homework? Did he run simulations?

This stuff reads like he did. It reads like he was so careful, so laboriously conscientious about the science and engineering details, that he just has to tell you everything he learned along the way, or else it would all be for naught.

The book knows about military hardware. Oh god does it know about military hardware. The following excerpt is merely a drop from an ocean:

A column of Spetsnaz BMD-4s roll south down the riverside road, bristling with hundred-millimeter rifles and thirty-millimeter autocannon and anti-tank missiles and active hard-kill defenses. Spetsnaz riding atop their transports watch every incremental tick of the compass. Brand new Azart-P1 radio sets squall with static, still picking up the aurorae hidden behind the low gray sky.

Seth, is there anything you don't know?

I'm not even touching on the learned, labored excursions into history and geopolitics, here – just focusing on the science-y parts for brevity (ha ha, "brevity," I'll be here all night).

But even then, there are plenty more domains of science and engineering left to cover! Behold:

The copper tracks that connect components on the board have been duplicated, as if the etching process was performed twice before the final UV burn. Some of the pin connectors have dwarf copies. The CPU socket is crusted in a dark mass, like over-applied thermal paste.

The world is vast, nearly as vast as my own ignorance of it. Would you believe I have no idea what "over-applied thermal paste" looks like on a circuit board?

Like Seth, I do an arguably excessive quantity of research. Look, I spent a while this morning finding all those quotes, and there's no way I'm going to leave them un-quoted after all that work, okay? Here they come:

The KingFisher can read DNA sequences at targeted locations, but it can’t physically examine the structure of DNA. For that, she needs to get purified DNA extract from the KingFisher machine, then mount the DNA on slides of mica and put them under an atomic force microscope.

But of course. (Smile and nod.)

Did you know that certain ways of getting killed cause you to ejaculate as you die? Clayton does!

"Gunshot trauma to the cerebellum causes post-mortem erection and discharge," Clayton says.

More physics, and some speculative engineering:

The engine that forms the “quill” is a sheared-flow-stabilized Z-pinch fusion rocket. This is a fancy way to say that it turns spin-polarized heavy hydrogen and light helium into a continuous thermonuclear explosion. This is itself a fancy way to say that it runs on a rolling nuclear fireball. The magnetically confined tailpipe puts out about 100 grams of helium-4, protons, loose neutrons, and unburnt hydrogen-helium fuel every second. Add gamma and X-rays for taste, and, in situations where you need extra thrust at the cost of efficiency, dump some extra mass into the beam as a kind of afterburner. The resulting exhaust plasma moves at 3,500 kilometers per second: Mach 10,000, or about 1 percent of lightspeed.

Even more:

Some of the atoms take direct gamma-ray hits to their nuclei, breaking apart the strong-force bonds that tie protons to neutrons: a process called photodisintegration.

Did we really need to be told, after having this phenomenon explained to us, that it was called "photodisintegration"?

I mean, maybe we did. Or at least, maybe I did.

Since, you know.

Since I didn't know that, before.

Of course I didn't.

----

One last time: Is this bad? If so, why?

Maybe the problem is that I've written too much fiction, myself. (And SF, even, sometimes.)

And so, I can no longer look at this stuff and just think, "ooh, cool science facts, described in a flashy way. Fun!"

Instead, I just feel an immediate, intimate sense of exhaustion.

"God, how much work this must have been. How long it must have taken to gather all this info, and double-check it, and integrate it with the story in the right places."

(The fact that it has to actually suit the story means that a lot of this kind of "homework" never even makes it to the page, because the plot points that might once have required it get edited out or modified! Ugh, I'm feeling drained just typing this.)

Exhaustion – and self-doubt.

"God, so many things to potentially get wrong in an embarrassing way. So many fields that I'm an amateur-at-best in. And since I'm writing fiction, I'm taking those fields 'out of distribution,' taking them places that have never been studied by their real-world practitioners! Fuck, I have to make novel predictions! I'm screwed. Everyone is going to know exactly how much of an idiot I am."

This isn't just about science, mind you. It's about everything. Writing fiction inherently requires one to assume a posture of staggering arrogance, or what would be staggering arrogance in any other context.

"Here's what happened, to these people who are not like me, in all these places I've only visited, at most. Here is exactly what they did and said and even thought, inside their heads, where no one else could see. How the hell would I know, you ask? It's simple: I know everything. I know all the things there are to know, about all the things that exist. (And the ones that don't exist, for that matter.)"

I do manage to assume the posture, at least for long enough to get the words written when I want them written. But outside of that trance-like state, I start to doubt myself.

Who am I to do this thing? My ignorance is vast, nearly as vast as the world of which I'm ignorant.

And it's there, in that world, that they live. The readers. Aren't they going to notice how badly I'm getting it all wrong? They will, won't they?

This is neurotic, I know.

And so, perhaps the only thing that we're learning here is the following:

A) I am a writer who is very intellectually insecure, and

B) Exordia is a novel with a majestic stock of implicit intellectual self-confidence.

Is that bad? Could it be bad, "objectively," apart from my issues? I mean, surely not, right?

Nonetheless, I notice that reading Exordia filled me with this kind of tetchy, defensive intellectual competitiveness – which is a thing that most books do not do to me, though "my issues" remain a constant.

Perhaps – to psychologize myself further – this objection is downstream from the others, and has no life of its own. Perhaps I just felt annoyed with the book for other reasons, and at the same time felt like the book was asserting itself to be superior to me in some sense, and so I felt a need to say:

"No, all of this is bad somehow, because if it were good it would mean this whole book is good – and that would have dire implications for my own work, given how similar-and-yet-maybe-inferior it is to the incredibly-annoying-and-yet-objectively-superior novel Exordia."

Which is... extremely neurotic, and self-regarding, and also barely even makes sense. I don't want it it just be that, but maybe it is.

(The legitimately high-quality prose did not help, in this respect. It really is good! Five hundred and twenty-nine small-print pages of good. It's so fucking polished, way moreso than anything I could ever imagine putting out. And so fucking clever, so fucking smart...)

(Jeez. Get it together, man.)

----

However, there is one more thing that I notice.

There are works of fiction that make me feel smart, and works of fiction that make me feel dumb.

And I think, all else being equal, it is preferable to make the reader feel smart. Not by cheating, not by lowering your intellectual standards to what you imagine the reader can handle. But by trusting them, and then giving them something hard in a way you trust them to digest themselves.

Rather than... I don't know, bludgeoning them into cowed reverence through sheer force of accumulated, exhaustive, exhausting showing-off?

I don't know how objective this quality is, this feel-smart/feel-dumb thing. I'm sure it's reader-relative to some extent, maybe a huge extent. Maybe it varies so much that it's not even worth talking about in the abstract; you just gotta hope the right reader finds your stuff, and feels smart.

Still, here I am, talking about it.

What defines the works that "make me feel smart"?

Mainly that they are complicated and difficult by virtue of the complicated and difficult novelties they create, as part of the creative act that they are. They involve things which are equally hard for anyone to wrap their mind around, because no one had ever needed to wrap their mind around such things at all, before the work existed.

That, and the fact that these works – despite being inherently complicated and difficult – do not talk down to you, or hold your hand too much.

They act kind of like you already know what their deal is – which you don't, but then again, no one does. (The playing field is level.)

They say:

"Congratulations. You have passed the entrance exam. Welcome to the class. It will be hard, but I trust you to do your best. If you aren't smart enough now, perhaps you will become so, by your own efforts, by the end. Good luck."

They expect the reader to be a genius, but they know, deep down, that the reader is not really the right sort of genius – not yet, anyway. That is the point of presenting the challenge: so that you will rise to it, and see a new kind of thing, beyond what you had believed to be the horizon.

This is how I feel about Homestuck, say, or The Quincunx.

Or The Lymond Chronicles, or The Recognitions, or Ulysses.

Some of these are extremely dense with learned and carefully prepared authorial research. And, where this is the case, they are certainly not shy about showing it to you.

And yet, these works make me feel smart.

And then, there are works like Exordia, which make me feel dumb as fuck.

The end!

[c-e-d-dreamer]

Idk what is in the water over on the TikTok side of the fandom, but I am so tired of seeing video after video about how "unrealistic" the Valkyries in the Blood Rite is this week. Besties, this is a fantasy series. There are plenty of "unrealistic" elements of the story. Why are we so focused on this one?

I mean, I know why. But just say you hate Nesta and/or Gwyn for whatever reasons and move on....

And on top of that, is it actually that unrealistic within the confines of the world building??? People act like the Valkyries were training for like a week (and I do think SJM's pacing is part of the problem), but canonically, they were training for close to a year!

And sure, that's not as long as some of the Illyrians, but everyone acts like the other Illyrians were training for 500 years when in actuality the Rite is completed at like 18/19/20. And yes, I recognize that's still a difference, but fun fact! Someone who does the "run a marathon in 3 months" training program and someone who trains for 3 years can both run and complete the Boston Marathon if they both qualify!

And the Valkyries did qualify! They completed the qualifier after getting the best training from the best warriors in a regimented, daily routine for a year.

And they follow the same strategy that Cassian teaches them. He tells them that the secret to him, Az, and Rhys winning was that they worked together. That so many Illyrians make the mistake of going in with the "every man for themselves" mentality and spend most of the time killing each other and settling scores rather than working on getting to Ramiel. So the Valkyries do the same thing. They find each other. They work together and use their strengths to survive.

And yes, they do have advantages on their side. Their bracelets are what allows them to find each other so they can work together. The three of them don't have to deal with the steep learning curve that all the other Illyrians do of having their wings bound/losing their aerial abilities. Nesta and Gwyn aren't Illyrian so the beasts that roam every night aren't interested in them and the two of them are enough to mask Emerie's scent. And of course, simple luck has Nesta and Gwyn waking up first so they can escape and avoid the initial bloodbath.

But does that all not just add to the realism within the world building established?

Anyways, I was feeling pissy after scrolling TikTok this morning so please enjoy this rant. Or don't. Idc

[therapyandprozac]

Title: Daddy

Rating: Explicit Smut

Warnings: Daddy kink ofc, Edging, Teasing, Praise kink, Toys, Light BDSM

Words: 1.2k

I didn’t add a name so this is for any fandom or character you wish! (is there a word for this?)

Posted before I could think too much about it 🙈 enjoy ☺️

“Can we talk about something?”

“Yes, love!” He smiles and focuses his attention on you. You blush, you’ve been practicing this conversation in your head for days but you still instantly turn bright red. Doing everything to avoid eye contact you cover your face with your hands. “Wow baby, look at that blush!” He says pulling your arms away from your face, you pull them back to you. However, he’s substantially stronger than you are and easily exposes your face. “What is it?” A huge smile crosses his face.

“I umm,” you start. He guides you to taking a few breaths and staring at the couch. “Well, we’ve been together for a while. We’ve talked about and have done…stuff…” You feel yourself turn into a tomato again as he smirks.

“We have indeed done ‘stuff.’” He laughs.

“What do you want me to call you?” You ask, squeezing your eyes shut.

“What do you mean love?” He asks, trying to understand your vague question.

“Like umm, like daddy or sir or something.” You pause and he stays quiet. Your heart races and you jump into a mini rant. “I just the last time we-, you were very…I don’t know...in character and I wanted to call you a title but I didn’t know which of them, if any, you wanted.” You rattle off incredibly fast before being abruptly stopped by the softest lips you’ve ever felt. A familiar feeling of the anxiety of finishing the question, waves away like a rolling tide, the only thing you needed was for him to respond.

“That,” His voice is deep in an almost growl as he continues. “Is an excellent question. No need for blushes or hiding, you can ask me anything without worry, my love.” He cups your cheek. “Which do you prefer?” He asks, his voice coated in velvet. You blush even deeper and look back at the couch quickly. He raises an eyebrow and repeats the question. You don’t answer, way too embarrassed. He waits a few beats before continuing “Would it help if I told you my favorite?” He whispers against your mouth.

You nod rubbing your nose against his. His pupils flutter as he leans forward and bites your ear gently. “Daddy.” He growls. His voice has a that sultry gravel that he only gets when he’s about to fuck you until you can’t walk. You moan and grind against nothing. He takes that as a sign and grabs you so you’re straddling him.

“You’re so hot when you’re too embarrassed to talk. You talk to people for a living, doll.” He nuzzles and kisses your neck as a blush covers your chest and cheeks. “But when you’re here…with me. You can barely put two words together.” You reach your hand down and palm him through his jeans, his breath quickens and he groans.

“Bed?” You whimper. He nods and follows you up the stairs to your room. Stripping along the way, once you get to the room you’re both completely naked. He pushes you against the door, he puts his thigh between your legs for you to grind against. You moan and whisper “Please…daddy,”

“Yes?” He says as if you aren’t coming undone on his leg.

“Please fuck me, god I need you.”

“As you wish.” He says and tosses you on the bed before he kneels in front of your glistening pussy. He gently runs his tongue up the entirety of your cunt. He toys with your clit making you squirm and beg for more. Quick flicks and slow licks, you love how he takes his time and savors every gasp and whine. He slowly puts two long, thick fingers inside, you groan and roll your hips. He plays your body perfectly massaging your g spot and clit with his thumb. All the while taking each of your hands and cuffing them to the bed. He brings you so close with rhythmic, well practiced precision before rapidly pulling his fingers out of you.

“Nope not yet,” he stands up, licking his fingers and smirking. “I am quite proud of you.” He opens a box with a ribbon on it and pulls out a big pink…something. He’s far away but all questions resolve when you hear the vibrations. He turns around delicately playing with the shaking, not so delicate object in his hands as he continues.

“I’m sure that question was burning in your brain for a while, wasn’t it.” You nod. “I can’t hear you, my sweet thing.” He says in a gentle sing-songy voice (think moriarty) as he walks slowly toward you.

“Way too long.” You whimper, already a desperate mess.

“I can hear you pacing, in the elevator at work…” He steps closer and massages the rumbling toy in his hand.

“You mumble under your breath, rehearsing it in the tub, the car…maybe even our last few times.” You instantly blush so deeply. “Hmm that looks like a yes.” You go to cover your eyes but you're stopped by the cuffs.

“Was daddy your favorite too?” You nod frantically with needy groans. Watching his hands get closer to your cunt, he stops and turns the vibratior off.

“Why?” You whine.

“There’s your beautiful voice!” He exclaims. “When I ask you questions,” he runs his fingers gently up from your legs, across your stomach, between your tits and up your neck, placing it finally and firmly to the side of your head to balance himself steadily above you.

“It’s because I want to hear your answers, doll.” He leans in and rests just above your lips, you feel his breath on your lips. “So I ask again, what was your favorite one?” He whispers, the faint minty and familiar feeling of him talking into your mouth washes over you. You smile under his lips and gather all of the brat and (something)) energy you’ve pent up, sass laced tongue and with direct eye contact.

“Daddy.” The smugness falls from your face when you hear the vibratior turn on. A dark and twisted semi sadistic smile covers his face. He breathes in the moment time feels stopped while he looks you over. Light perspiration and pleading eyes, he loves teasing and gentle mind games with his desperate little plaything.

“Mmm, that's my girl.” His voice runs across gravel as he pins the toy to your clit. You cry out and immediately hold your breath to silence yourself. “Breathe baby!” You gasp and when you catch your breath you muffle yourself again and groan under your voice.

“For the love of,” he pulls the toy away and you whine. He taps your clit with the device making a rhythm of whines and groans spill from you. He goes on too long just teasing and taunting…edging you. He hasn’t edged you in so long.

“Oh god yes please, more daddy please please!!”

“Yes, beautiful sweetheart,” he whispers and bites your ear lobe, continuing his tormenting of your clit. You moan and pant heavily, after one deep breath and turning the vibrator to its max setting, you’re so so close, teetering on the edge until he groans against your ear. “Cum for me, my sweet girl.” Your brain snaps and you cum loudly with your nails digging into his skin a little of his blood runs under your nails. You nearly wail as the first orgasam of a very long night rips through your body.

[kxsagi]

a little rant then a smol request in the end bcs i wanna let it out and i have no one to talk about it with and this is kinda my safe place (and ik you can make me better with your great writing 😚😚)

~

so, i had this classmate that also liked blue lock and this classmate of mine liked nagi sm. he also acted like nagi (as in like both gamers, lazy but genius and vv tall and shi)

had confessed to him exactly 2 years and 5 months ago and got rejected because he wanted to focus on himself for now and i respected that because I totally understand when things get rough in life you want to distance yourself with others

and everytime i move on from him i keep coming back. the first time was after i got rejected, moved on and it came back just right before our Christmas break because he said to me "Merry Christmas and enjoy your break" (i know I'm a simp) and the second one was after our high school graduation and it only came back when i saw him after summer because we attend the same university (and in the same class too)

it's literally so hard to move on from him, like one of his friends had a crush on me that i had spoken to but cut him off (he was a red flag, and luckily i avoided it) because i was still crushing on this guy 😭

and months later (literally just this april) i noticed he keeps talking to all of our classmates, even my own group friends but when I'm in the picture he starts to avoid me and ignore me as if I wasn't even there?

so here i am, moving on and trying to get the closure i want but can't because he keeps running away from me and i guess that's a good thing (??)

so the request was to make a better ending than my life because oml i can't with this (yes it's a nagi x reader so i can just associate him with Nagi since they're the same) during their student night (prom) where Nagi realizes he just kept running away because he didn't want to fall in love but he knew he'd be better off with reader and confessed that night and they become lovers (yay)

(ps. sorry for the long message and sudden lovestory lore drop, i couldn't talk abt this to my friends because i know if i did, they'll just question my feelings because they know it's nigh impossible for me to move on and let on my efforts go to waste 😔😔)

– 🪻

“𝐢 𝐰𝐚𝐬 𝐚𝐥𝐥 𝐨𝐯𝐞𝐫 𝐡𝐞𝐫”

a/n: hey pretty! honestly, your feelings are totally okay, normal, and valid. us as girls tend to have crushes on people for a long time, and if he’s still single, then that’s okay! it’s nothing to be embarrassed about it and if he’s a green flag, if you think he’s good for you as a partner, i PRAY that you two get together someday! 

him avoiding you isn’t a bad thing, don’t overthink about it + i’m always here if you wanna talk about anything as well :)

side note: where i’m from, we have high school prom in hotel ballrooms. i’m not sure if it’s like that for other schools

side note #2: i chose i was all over her by salvia path as the title because i think the song is fitting for this scenario. nagi’s known to be lonely and he definitely finds comfort in others’ presence

the music is loud, the lights are spinning, and the ballroom smells like too much cologne and cheap perfume. your heels are already starting to hurt, your mascara’s a little smudged, and your best friend ditched you for their date ten minutes ago. 

and then there's nagi. 

leaning against the back wall like he always does. hands in his pockets. slouched posture. tie half undone. phone in hand like he’d rather be anywhere else. you catch his eye across the room and flash him a look that says really? you promised you'd try tonight. 

he shrugs. lazy as ever. but his gaze lingers longer than usual, like maybe there’s something on his mind. something heavy. 

“this is kinda lame,” he says when you walk over to him, voice low and bored like always. 

“you’re the one who didn’t wanna go in the first place,” you tease, nudging his arm. “but you still came.” 

“’cause you asked.” 

your breath catches a little. he says it so simply. like it’s the most obvious thing in the world. 

nagi seishiro doesn’t do effort. he doesn’t move unless it’s convenient. he doesn’t stay unless it’s worth it. but he’s here. in a suit he didn’t wanna wear. at a dance he didn’t care about. standing next to you like it’s the only place that makes sense. 

“did you eat?” you ask, trying to change the subject before your heart betrays you and starts beating out of your chest. 

he shakes his head. 

you pull him toward the snack table. he doesn’t complain. he lets you drag him through the crowd, fingers brushing together until he just... holds your hand. casually. no warning. 

your brain short circuits. 

he pops a cookie in his mouth like nothing happened. 

you try not to explode. 

“you’re acting weird,” you mumble. 

“am i?” he says, chewing. 

you look at him. really look. something’s different tonight. not in his appearance, he still looks effortlessly good, like some model who wandered into a school dance, but in his eyes. they’re softer. warmer. watching you like you’re something rare and precious. 

“i’ve been thinking,” he says, voice quiet. 

that alone is shocking. nagi? thinking? willingly? unheard of. 

“about what?” 

he glances at the ceiling like the words are stuck there. “about you.” 

oh. 

your stomach flips. 

“i always thought love sounded like a pain,” he continues. “too much work. too many feelings. not worth the effort.” 

you nod slowly. “and now?” 

he meets your gaze. “and now i think i’ve been running away. ‘cause maybe i didn’t wanna fall.” 

you don’t say anything. you can’t. the music fades into the background. it’s just the two of you. the lazy genius who always kept things at arm’s length, now looking at you like he’s finally ready to let go of his fears. 

“but then there’s you,” he murmurs. “you make everything easy. even when it’s hard. and i don’t wanna keep running.” 

your breath hitches. 

“so... can we be something? like, for real?” he says, cheeks slightly red. “you and me?” 

you blink. once. twice. and then you smile so big it hurts. 

“took you long enough.” 

he lets out a soft chuckle. it’s rare. boyish. genuine. 

you pull him onto the dance floor, ignoring his halfhearted grumbles. he puts his arms around your waist, lets you sway with him, lets the world blur. 

and in that moment, nagi seishiro realizes love isn’t something to avoid. 

not when it feels like this. 

© 𝐤𝐱𝐬𝐚𝐠𝐢

[tillsfan]

a dive into Till’s feelings regarding Ivan and Mizi!

ivantill’s whole thing is being INSANELY complicated. i am a full on believer that they have mutual (unrealized) feelings, but i think the word “love” is definitely too vague to properly describe what they have. vivinos said a “deep LOVE/HATE” relationship for a reason.

i think till both genuinely feeling love for ivan yet hating him at the same time is absolutely reasonable. ivan has pushed and pulled till his whole life. till never felt secure near ivan, as much as he cares about him. but, ivan was always there. till felt comfort with ivan’s presence despite the lack of security he gave. till heavily valued ivan’s opinion, getting upset when ivan implied he didn’t see till as a friend. he trusted ivan enough to attempt to run away with him, and he potentially would have spent the rest of his life with ivan if they actually escaped.

i while love mutual love ivantill as much as the next guy, saying their feelings were 100% romantic is wrong. their emotions towards one another being so raw is something that defines them, which is why it’s difficult to put their mutual feelings into a specific box.

another thing we need to take into account is that neither of them know what love really is. they inhabit a world that isn’t MEANT for humans to love. they were never taught what love is and how to feel it. this is part of the reason they could never develop properly. they live in a world where the concept of romance and relationships aren’t properly established between humans.

but, i do believe like they could’ve had a chance under different circumstances. they were a slowburn that was never able to properly develop because, again, they lived in a world that didn’t allow them to, and they both ruined things for themselves. ivan had a huge tendency to self sabotage because of his severely low self esteem. he convinced himself that his feelings were shallow, and projected that onto till through his actions, confusing and distressing the latter. in addition, till was avoidant of the reality in front of him, ivan. due to till feeling such a lack of security with ivan, and never being able to understand ivan, he avoided intimacy with him altogether. till also just has a fear of intimacy in general. there was a significant amount of miscommunication between both parties.

in addition, saying that till didn’t love mizi is just. false. he dedicated all of his life to her, she was literally his muse. he loved her in his own way, even if he had to put her on a pedestal to do so. yes, he didn’t know anything about her as a person, but that doesn’t mean his feelings weren’t real. saying he never truly loved her undermines so much of his character.

mizi was till’s coping mechanism, yes. he adored her from a distance. he liked the idea of her and not her as an individual, but that doesn’t make his feelings any less real. he loved and cared for her. we saw how torn he was after mizi disappeared in round 5. he almost DIED because of his grief, before ivan ‘saved’ him. his feelings towards her were as authentic as they could be for someone who kept everyone at a distance.

while you could say till’s love for mizi isn’t inherently romantic, the same can be said for ivantill. nothing stated in the patreon confirmed what EXACTLY till felt towards mizi besides her being a fantastical figure to him. and his “love” towards ivan doesn’t HAVE to be romantic (even though i believe it is), it could very much be platonic. vivinos is purposefully vague with what kind of love each character feels because, as i said, feelings aren’t something that can be properly established in this universe.

hope u guys enjoyed my rant Yay 🌹

[flamingpudding]

I'm so sorry I didn't get to finish but as Dan's Teekl is a Phoenix snake and he takes after Vlad since of dressing

When something big is going on the magical world and they need King Phantom's help he decides to bring along his children this is how the Justice League finds out just like Robin is a past dumb title so is Klarion all the Justice League deal with a bunch of hyper up chaotic children who have been antiheroes let's find out

I wanted this to be just like a we are robbing thing except with Clarion all of them showing off the fact that Teekl have never been a cat would be so funny to me

Anywho I haven't been able to come up with anymore ideas for Dan is Klarion but I did come out with this one hope you find it funny sorry that I messed up on the first part of the writing

Okay... so version one got deleted, per my rant post notices... so here is version two hopes to that it will still be as good... also... i didn't remember how I ended this the first time soooooo yea... sorry again for having messed up in between...

[Link to the first part of the Ask here!]

I hope this will still be as enjoyable....

------------------

Vlad didn't regret a lot of things but he regretted having told Bruce Wayne that he had a way of summoning the Ghost King. Why you ask? Because Bruce Wayne apparently leaked that information to the Justice League.

Well originally Vlad had told Bruce only about this because he was after the deal he had wanted for years with Wayne Enterprise. That man had been able to avoid Vlad for years now, and during his years when he hadn't been a redeemed man it had infuriated him.

But he was a redeemed man now. He had reformed his entire Company and since Wayne Enterprise was contracted with the Justice League, he had felt it was appropriate to boost that his Company had valuable connections too.

He also just wanted to rub it into Brucie Waynes face that he wasn't the only one with big name Hero / other worldly connections department. Okay it might have been a bit of an ego thing left. But he was a redeemed man.

And because he was a redeemed man he had not used his ghost powers to throw Batman out of the window the hero had used to barge into his hotel room at 3 -goddamn- AM only to demand the method on how to summon the ghost king.

No sir, Vlad was a redeemed man, he was nice now, a good guy.

He only grumbled and demanded the reason, which apparently was a demonic thread to the magical world that indirectly could wipe out the entire world itself. Great, little badger will not be amused hearing about that.

Daniel would be cross with him for using the summoning stone in the middle of the night but Batman was giving him a valid reason to use it. Surely Daniel would understand right? Plus Vlad could use that as change to see the little badger again. It had been a while since he last saw him.

Well Vlad regretted agreeing with Batman with the condition that he would be the one to do the summoning. That man in a bat suit did not hesitate to drag Vlad with him then bringing him, blindfolded mind you, to a place where he then was faced with several heroes, including but not limited to the Justice league.

Just great.

At least Vlad got to inform Danial about the situation and the reason for his summon as Ghost King via summoning stone, even if that blond British man had scoffed when he saw Vlad pulling it out, about the situation and what the little badger could expect the moment he stepped out of a portal.

What Vlad did not expect were several RED portals opening and similarly dressed young adults as well as one teen stepping out of them.

"Sup old man! Mom told us you called him about some world ending problem!" Dan greeted him in his Klarion get up, perfectly styled hair and his ghost pet, a phoenix snake, Snape (yes Dan named his pet after a mage from a wizard movie series) on his shoulders. Vlad could feel the distinctive illusion magic around the pet and he was pretty sure everyone without ghost powers were not able to see through it.

"KLARION?!" One of the present heroes yelled.

And of course all of the kids had to answer in reflect turning to where the voice came from at the same time.

"Yea"

There was a brief moment of silence in which Vlad face palmed.

"Ah sorry, that was on reflex. Old habits die hard!" Ellie laughed, she had grown into a young woman and was currently wearing what looked like a black suit crossed with a 90s style witch dress.

"I am the current Klarion, lose that fucking habit already." Dan grumbled annoyed as he crossed his arms glaring at every sibling that had answered to his alias.

"I am telling mom you cussed." Ellie instead grinned instead, before she looked around for a moment before her eyes landed on Nightwing, her face instantly lighting up. "ROBIN! I mean Nightwing! I haven't seen you in ages!"

"Do I know you?" Vlad could feel sorry for the hero, but these where the phantom kids, so he wasn't in the slightest and he was still cross with he heroes for waking him up at 3AM!

"I am hurt! Don't you recognise me!" Ellie gasped and Dan unashamedly elbowed her for acting so familiar.

"Misrule." He warned her. Ellies current Anti-Hero -Chaos Agent- Alias Vlad remembered. A name she specifically chose because it sounded like Miss Rule and she knew that the word play would annoy Nabu. That girl had some serious beef with the Ancient of Order.

"Oh shush little brother! Let me reconnect with the kids I used to mess with!" She shushed Dan ruffling his hair and nearly messing up his horned hairstyle, before turning back to Nightwing. "Don't you remember my lovely Armadillos? Though I only know you were the Robin I first meet because I looked into Grandpa Clock's time mirrors..."

There was a brief moment of silence on the other side where the heroes stood and Vlad swore he could have heard a pin needle drop.

"Oh god..." One of them finally spoke up as apparently some kind of realisation sunk into the heroes. But before Ellie could add anything more the one Vlad recognised as Red Robin cut in.

"Klarion is like Robin!"

"RR what are you...?"

"The title of Klarion got passed down like Robin!"

There was another brief moment of silence before Dan, Ellie and the rest of their siblings burst out laughing.

"It took you idiots this long to see that?!" Dan called them out, laughing as he hugged Snape.

Vlad would probably feel sorry for the entirety of the heroes before him if he wasn't amused by this himself, even he had seen the differences whenever 'Klarion' got passed on.

"For your information, I was the first Klarion, so i could mess with Nabu." Ellie grinned. "I was also the one that used a bit to much eyeliner."

"I never got the the horned hairstyle right."

"I was the one with a fancy black suit."

One by one the phantom kids listed of all the differences in their versions of Klarion until they all looked towards the youngest Dan, the current Klarion.

"What?" He grumbled as his elder siblings grinned at him.

"Fucking fine. I use a suit similar to the old man's style and I like to do more than just mess with Nabitch." He muttered after enduring his siblings stares for.

"And you cuss." Ellie grinned brightly causing the rest of the siblings to to chuckle.

Vlad recognised the look in Dan's eyes and before the kids could break out into an argument or a brawl, depending how violent Dan was feeling, he coughed loudly to get noticed by everyone.

"World threatening situation." He reminded everyone. "Where is your mother? The Ghost King?"

"Oh Mom is already dealing with the situation." Dan shrugged. "We more or less came to watch and see the heroes suck and fail at 'Order' to rub it into Nabitch's face."

Vlad really wanted to scowl the kids and he was going to but then the heroes cut in again.

"Can we get back to the thing about Klarion being a title passed down like Robin? With how many different Klarions did we have to deal with over the years!?"

"Red Robin not the right time..."

"Yes the right time! So many comments from Klarion make sense now! Like the first time he went right up into my face!"

"Red Robin!"

"Oh that was still me! The first Klarion!"

[galaxygurlll]

Brotherly support... and teasing

Warnings: None

Word count: 850 words (I actually got a little carried away there at the end, and it's actually 891 words, so sorry!)

Requested: Yes

Reader could be Lando's little sister and it's just events where Lando is like playfully threatening Oscar but is like actually very supportive of the relationship and actually shipped it before it even happened. something like that please.

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"So, when can I have the talk with him?" My dear old brother, Lando Norris, just casually asks me as we sit down to have dinner, wiggling his eyebrows and smirking lightly, "Lando!" I scold him as my head flicks up after placing my napkin on my lap. He just laughs.

This causes me to roll my eyes, used to this behaviour with him ever since his teammate, Oscar Piastri, and I, got together. Both of us honestly, and rightfully so, thought that the older boy was going to be pissed. Oh, how wrong we were.

He seemed, to excited, like he was planning stuff.

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NOTIFICATION ALERT!

1 NEW POST FROM y/n_norris

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Photo dump! First three are my annoying brother, last three are my amazing lover! Happy 4 months!! 🫶

Tagged: lando, oscarpiastri

❤️ 128K    💬 917   ✈️ 1,092

Liked by lando, oscarpiastri, friend1, friend2, and 128,982 others

oscarpiastri 🫶 🫶 🫶

--- y/n_norris 🫶 🫶 🫶

----- lando Ew, stop, gross

fan1 Love the different aesthetic

--- fan2 Was about to say the exact same thing!

----- fan3 The perfect mix of chaotic and calm to level out our girlie

friend1 Still can't believe lando made you carry him

--- y/n_norris I know right, so rude

----- friend2 Very 😂

lando I swear to you, if you do not stop hugging my sister oscarpiastri, I swear

--- oscarpiastri You swear what mate?

----- lando I swear stuff that you do not need to know of right now. But know that I am watching your every move mate 😁

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"Hello there, love," I exclaim as I reach Oscar and give him a slight peck on the cheek, avoiding the way my brother is fake puking in front of us, "Not in public you two, you're going to embarrass me," he tells us both in that stern brotherly joking tone that he's loved to use lately as I roll my eyes.

Little did I know though, my Lando had actually been basically praying to the gods above to get me, his sister, and Oscar, his teammate together since almost as soon as the young Aussie joined McLaren in 2023.

Little did I know that was me and Oscar would express our dying love for each other to the English man, and even though he had found it quite cute to begin with, and actually did root for us, he just wanted it to stop.

Well, that didn't go to plan for him as now he gets more rants in, but, he can now tease us more than ever.

For example:

"So, you gonna steal my sister again over to your side of the garage, or am I not gonna have to fight you this time? Reminder, she is my blood," before chuckling to himself, patting the slightly nervous Aussie on the shoulder, and just, casually strutting away.

Another example:

"Might have to kick you out of the house soon if you keep kissing my sister mate," causing me to just swat him away with my hand as I snuggle up against Oscar and mumble, "No." Lando then gives Oscar a glare, but I can tell it's a playful one. I mean, he's not even that scary, to be honest.

------------------------------------------------------------------------------

NOTIFICATION ALERT!

1 NEW POST FROM oscarpiastri

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My love! Happy 4 months! 😘

Tagged: y/n_norris

❤️ 596K    💬 2,239   ✈️ 1,872

Liked by y/n_norris, lando, friend4, friend3, and 596,072 others

y/n_norris Blessed to have you! 😘

--- oscarpiastri 🫶

----- lando Please stop this, otherwise I will run you off of the track when the season starts

------- mclaren lando!

--------- lando For legal purposes, that was a joke!

friend4 Adorable! Can't wait to see you two!

fan4 Happy 4 months to you cuties!

fan5 Wish I had this type of love

--- fan6 Well, I'm sorry that I'm not an F1 driver

----- lando You should be. Do better!

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"Might have to put a barrier between you both if this keeps going on," Lando speaks, all smug-like whilst leaning against the wall, "Oh, piss off Lando Norizz," I comment back causing him to gasp, hand on his heart in shock, jokingly.

Then, he speaks, "That's it, no more seeing him for the rest of the day! Come on Oscar, let's go talk to our team." And he walks off, making huge gestures, causing Oscar and me to roll our eyes before saying our goodbyes for now, and going our own ways.

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"You're going to help me plan a date, with your sister?" Oscar comments to the British man in front of him, arms crossed, "Yes!" Lando responds, all jittery, "And you're not gonna kill me?" The Aussie questions, eyebrow raised.

"Oh, no, no, no, no, no! That, I'm going to do later! If you ever break her heart that is! Now, let me tell you everything about her-" Oscar cuts him off, "I practically know everything there is to know about her mate-" He then gets equally cut off, "No you don't! Not when I'm around! And besides, if you cut me off again, I'm not even going to allow this date to happen!" Lando explains, causing Oscar to just nod, uncertain.

"Alright, so, what do I need to do?" The Aussie asks, "Glad you asked!" Lando responds, all hyper fixated on making this his sister's best date yet!

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Note from author: I just wanted to quickly add that I just figured out how to put photos all grouped together! By accident! So now it doesn't look so clunky and I can add more to chapters and requests! Yay! Also, hopefully, this was good! Haven't written in a little, and haven't ever written a playfully threatening piece before, just so y'all know! Also, this will (hopefully) be my last author's note!

[11queensupreme11]

Yes, I am making a reaction fic....... eventually lol

i know it says i started this back in 2023, but all i really did was make a cover. i didn't start making any chapters until a few months ago hehe

BUT ANYWAYS YES YOU READ THAT RIGHT! i am making a reaction/reading the books/watching the movies fic for arsenic blues!!!! in this case, it will be ror reacting to pjo

for anyone interested to learn more, go under the cut!

(this started off as me just giving you some info about cerulean cyanide, but then i ended up ranting about how much i loved the pjo tv show lol, soooo if you haven't watched it, don't go down)

first off, THIS IS MY FIRST TIME MAKING A REACTION FIC! i've read a lot of them, but i have no experience in actually making one. i'm kinda nervous ngl 😅

secondly, i've already started... somewhat. i've copied all chapters of the lightning thief into a google doc and made necessary edits, but i haven't written any reactions... YET. i want to include the ror gods AND humans as members of the audience, and since i haven't written about the ror humans as thoroughly yet, i won't be writing the reactions until i get to act 2 of arsenic blues, since that's when the ror humans are introduced. this is important for me because i don't have their characterizations down yet, and won't until i actually start writing about them and their dynamics with percy. same goes with cú chulainn, he's a literal love interest, but won't get introduced until act 2!

thirdly, because of what i said up there ^ cerulean cyanide won't be published until act 2 is finished to avoid spoiling what happens during ragnarok and the god's apocalypse.

fourthly, IT WILL BE INTERMIXED WITH THE TV SHOW!!! i fucking LOVED the show and (most of) the changes that were made, so i'm totally going to add them into percy's past that the ror characters will be reacting to.

so what elements of the show should you expect to see? glad you asked!

POSEIDON 💙

poseidon in the books is great, but i loooooove the new stuff they put in the tv show. in the books, we're mostly told that poseidon loves percy and there are times where it's shown, but it's kinda hard to pick up since the books are written in PERCY'S POV, and since poseidon is literally restricted from interacting with him, it's hard to notice how much he actually loves his son when he's not even allowed to be AROUND the dude who's perspective takes up the whole series.

but in the tv show, it's not just percy's perspective that's explored! that little moment poseidon had with sally told us SOOOO MUCH about how he actually felt for the both of them. and when he and percy finally met??? THE ANGST AND LONGING THEY BOTH SHOWED UHDFSIGVSVGD I LOVED IT SO MUCH

AND THE FACT THAT HE NOT ONLY SAVED PERCY FROM ZEUS BUT ALSO SURRENDERED??? HE GAVE UP HIS PRIDE AND PRIDE IS SUCH A HUGE AND IMPORTANT THING FOR GODS BUT HE GAVE IT UP WITH NO HESITATION AHHHHHHH 😭

so yes, expect to see a lot of the poseidon scenes from the tv show

HERMES BEING AT THE LOTUS CASINO

i actually really like the fact that hermes was shown in here instead of the next season. some people were confused as to what the point was for having him in the casino and why he tricked the kids into staying at the casino longer, but i found this post on tumblr that explains why he could've been there:

in the last olympian, we (and percy) find out that hermes knew all along what luke's fate would be; that he would rebel against the olympians, bring forth kronos, become his host, etc. he knew ALL OF THAT. but he was never allowed to tell him (ancient laws), so he tried to CHANGE luke's fate in order to save him even though he knew it was pointless.

we get a bit of that in the tv show. hermes was there because he wanted to change luke's fate. he tricked the kids into staying at the casino longer so they would pass the deadline. war would come, and luke would get away with his thievery and nobody would know it was him because they're all too busy trying to kill each other. but ofc, like always, it didn't work because you can never change fate.

i love how the show showed us that hermes was trying to change his fate in the first season whereas in the books, it only started in the second book where he was introduced for the first time.

THE GODS' CRUELTY AND THEIR LOVE

the gods' cruelty and apathy was much more obvious in the show's first season compared to the first book. in the first book, most of the gods shown were jerks at best but the tv show really showed us how horrible of a family they are (most of them at least) to each other and their kids

like what show!ares said, his family loves to stab each other in the back, they love to hurt each other to get a higher leg up; they're not really a family. the audience and percy becomes VERY aware of that unlike in the books where it's more sugar-coated at the start.

we're shown very early on that they're not good people, but at the same time, we're shown that some of them DO care.

hephaestus was abused and mistreated by his family, but he refuses to be like them which is why he released percy from his trap; because he realizes that he and annabeth are good kids (ending the cycle). hermes loves his son and desperately wants to change his fate despite being told over and over again that its pointless. poseidon loves percy and wishes to be a proper family with him and sally, but isn't allowed to.

there are some good gods out there, which is why percy decided to stand by them instead of taking luke's offer to bring it all down. he's been shown that some gods ARE good. unlike in the first book where you don't really meet any decent gods, so book!percy honestly didn't have much of a reason to defend them, yet he did anyway when luke left camp. the show gave him (and us) a better reason to actually defend them

in the show, he's exposed to the god's cruelty, but he sees that it's not as black and white as he once thought "oh all the gods are bad and none of them care for their kids >:(", he sees the good in some of them and it's enough to make him want to save them instead of letting them crash and burn (like luke, who's blinded by his anger and hatred *cough cough* fatal flaw!!!! *cough cough*).

LUKE AND PERCY'S RELATIONSHIP

SHOW!LUKE WAS SO MUCH BETTER THAN BOOK!LUKE IMO.

book!luke was trying to kill percy very early on and was pretty much pretending to be his friend the whole time. yes his intentions and character get fleshed out as the books go on, but his relationship with percy... didn't offer much.

then there's show!luke who genuinely liked him and wanted to recruit him rather than kill him (that's why there's no scorpion scene). his betrayal was more personal and painful for percy. the fact that annabeth was there to watch it all happen was even better (not for her though LOL).

(and dont even get me started on how show!luke didn't hate grover like in the books. the genuine fear in his eyes when he found out that percy gave the shoes to him and the way his eyes got all misty??? he fully blames thalia's "death" on him and him only THE ANGUISH WAS SO 😭😭😭)

AND I THINK THAT MIGHT BE ALL?

so yes, these are some of the changes you should expect to see!

i wanna really contrast how different things are between the ror and pjo verse. ror gods are very close and tight-knit whereas the pjo gods are... well, "a mess" as percy so eloquently put it.

ror gods aren't forced under the tyrannical rule of zeus, their zeus is chill and just wants to have fun. they have no restrictions to follow and their divine laws aren't as oppressive

whereas pjo gods are under the tyrant rule of zeus and can't even interact with their kids.

ror gods are independent while pjo gods have to rely on the preservation of western civilization to stay alive and use demigods to break rules, etc etc.

pjo gods (some, at least) are kinder and have no issues falling in love with humans and loving their demigod children while ror gods are cruel assholes who commit genocide against humanity despite being the ones to create them

and etc etc.

ANYWAY, I HOPE YOU GUYS ARE AS HYPED UP AS I AM!!!! 🥳🥳🥳 can't wait to start writing reactions for the first time ever 🫨