#a concept? a fic? who knows

[sykloni]

Dannymay 2023

15. Full Hazmat AU & 23. Rogue Gallery

[lets-try-some-writing]

"The Titans were gentle beings, knowing neither fear nor pain. For all their power, it was the Primes who cared for them, guarding their innocent sparks." - Thundercracker, Speaker of Trypticon.

A lil bit of lore below the cut.

In my little continuity, the Primes were indeed Primus's firstborn, but they were made from the suffering of their maker as he fought to survive. The Titans though? They were born to give life, made to spread Primus's gifts to all creation. As such, they are naturally gentle and inherently incapable of violence.

They will not fight back if attacked, nor will they rise to the defense of their citizens (although they will provide weaponry and protection in the form of walls and the like). They cannot even comprehend why one would hurt another outside of the natural order of things. It is to the point where those who care for the remaining Titans have labeled them as having the cognitive capabilities of newbuilds. For all their age and wisdom, Titans are, at their core, the only entities in the universe to maintain a sense of innocence all throughout their lives. They hold no anger, no bitterness, and no grudges. Everything, in their optics, will play out as it should.

As such, the Titans have always had guardians to protect them from a reality that would seek to crush them into dust. During the first age, the Primes filled this role. In the modern era, seekers of Vos have taken on the mantle, guarding and speaking on the behalf of the three remaining Titans on Cybertron.

[nenoname]

stan twins the canon cptsd brothers i will always think about all your unaddressed issues that would make perfect plot fuel for your spinoff

and also the whole 'stan getting that poem by bill via a website which contrasts with bill getting one from the axolotl via a website' foreshadowing thing

like idk i would love something like su future but like more optimistic, aka not an accumulated breakdown that has to be mostly resolved off screen at the end :/// but something thats being kinda addressed throughout? (although would love to see one of them turn into a monster thats always fun lol)

stan having severe issues from his dad and those years of being homeless that we keep on getting more info on but never really getting confronted on (the drifter catalogue and tijuana incident...), him being completely alone for like twenty years when running the shack before soos comes along to the point that 1998 is noted as his low point, and him not really learning about bill+what he did to ford until ages after he killed him if he ever did get the full context

while i think amnesia and everyone seeing him as a hero actually helped with stan's 'i'm a worse version of my brother' thing its still a lingering issue too and we now got him being insecure over his own hands

ford being immediately thrown from 'being tortured by bill' to 'being stuck in the multiverse and being chased by bounty hunters constantly', him fully expecting himself to die when destroying bill, and him only now being safe for the first time in 30 years ....relatively safe, he's still in constant danger because of course he is

idk in the end the series wants them to be happy and they deserve it, its why i wasn't too worried about the book being like 'ooh bill is back!! and the book is haunting ford' thing cos i knew they'll be ok

[thevalleyisjolly]

It's a minor detail but I'm so emotional over Doctor Who making the universal human language in the future based on Cantonese.

[merakiui]

Okay speaking of magical girls.... Evil villain tako that has a crush on the cute magical girl at NRC but he doesnt know shes the magical girl that's trying to thwart his evil plan of taking over sage's island mwhaha

YES YES YES. And every week he gets his ass handed to him. You're determined to keep Sage's Island safe!!!! He's trying to get to know you through the fights. The (one-sided) sexual/romantic tension is too much. Tako who flirts at every chance during your fights... you genuinely want to take him out (defeat him), but he wants to take you out (on a date). And it's so obvious he's down bad for you, but you have no idea he's Azul Ashengrotto (your fellow classmate) and he has no idea of your identity either. Azul's trying to balance his love for the magical girl he fights on weekends and his darling classmate who he sees during the week hehe. How fortuitous that they are the same person.

Please imagine that trope where the villain ensnares the hero in tentacles, but it ends up looking more erotic than threatening....... orz evil villain tako whose tentacle is holding you upside down by the ankle and he's monologuing about how he'll take over the island and you'll get to watch, powerless against him. But then he looks at you and your skirt has flipped up and he's granted a gratuitous panty shot!!!!!!! Tako who gets a nosebleed on the spot. He's such a loser pervert. <3

Omg omg or you're squirming in the tentacles and ranting about how you'll get him for this, but Azul's trying so hard not to give into the horny thoughts because the way the tentacles are looped around you and squeezing is so attractive to him.

Like that one scene where Stocking's fighting the octopus ghost LOL.

[gothsuguru]

Th....thinking about domestic!suguru who always makes his plates of food look good for his bb <3 whether it be breakfast, dinner or a snack, he always makes it look good in case his bb wants to take a pic 😊

this is making me feel so warm & soft bc you’re so right anon… i think one of his biggest love languages is acts of services and that includes making meals for his beloved! i think if you two live together then he’s absolutely perfected his recipes for your favorite meals, and if you don’t live together then TRUST that he’s toiled away in the kitchen with a stained apron, hair pulled back with wild pieces covering his face, and a small smile after he’s tasted his meal cooked with love (he can’t wait to cook your meal and casually bring it over one day — a small smirk on his face as he says “it was nothing!”)

((IT WAS ABSOLUTELY SOMETHING… satoru had to calm him down on the phone when he spiraled about if you would like the food or not)) (((satoru offered to be a taste tester and finished all the food -> suguru PROMPTLY bonked him on the head w a frying pan)))

BUT YOU’RE SO RIGHT!!!!! i think he feels especially honored and excited when you take a picture of the food he made because he PRIDES himself on plating! i’m talking abt he can do cute animal shapes one day and then elegant michelin style plating the next — my man has RANGE! <333 i think suguru ALSO has a notes app of your favorite food/snacks/beverages and ALSO an album of food he’s made for you/food you’ve made for him :’)

i think food is one of his biggest love languages :’) he wants you to eat well and bonus points if he can feed you with all the love too :’) if he fusses over you please let him, he just loves you so much & you’re too adorable 🙂‍↕️ and if you want to learn how to cook/already know, then suguru’s favorite activity/pastime is cooking with you :’) it’s very intimate and sweet, love belongs in the kitchen!

[lovesickeros]

☆ love; heretical and divine

{☆} characters tsaritsa {☆} notes cult au, yandere, drabble, gender neutral reader {☆} warnings blood {☆} word count 0.8k

To love a God is heretical. It is an act of blasphemy– it is to drag them down from their throne of hollow gold, to topple the pedestal the worshipers uphold on their shoulders like lambs at the herders heel. It is the act of forcing them to their knees and ripping that beating heart of glorious gold and beautiful, cruel divinity from their chest, so pure it burns.

To love a God is to make them sin. To make them painfully, horribly human.

To love a God is to sin.

The love of a worshiper is no love at all, brilliant in its raw purity, untainted by sin. It is fear and obedience masked by adoration so overpowering it corrupts. It makes the lamb so unquestioning in it's faith it will never question the knife that cuts, the teeth that rip, the claws that tear. If the Creator deemed them unworthy of the very life crafted by their hands, then they must have committed a sin so grave there lay no salvation for their horrid soul.

But she is no worshiper– her lips speak of heresy as easily as she breathes, her words nothing but lies, cold and cruel like the ice that crawls along her skin like webs.

She loves a God like a lover should.

A damned sinner reaching longingly for the heavens.

She loves a God in the subtle brush of their lips, their muffled voices behind closed doors as they indulge in curiosity untamed. She is a sinner through and through, but she feels herself fall further with every brush of her hand across their cheeks, every touch she bestows upon them like a lover. She memorizes the imperfections of their body like memorizing a map– every scar, every mark, every line drawn on their body like a canvas, her touch the brush that stains the pristine white.

No devoted lamb shall ever see the painting they create in these stolen moments– it is for the eyes of a heretic so vile it makes them shudder, their body dirtied by the love of a woman so vile even their divinity is obscured by the ice.

The lambs may be satisfied with fleeting glimpses of gold and empty words from lips that guide them to the jaws of the wolves, but she is not. Her hands crave them like a starving hound, aching to touch that imperfect skin hidden by the veil of gold that obscures the painfully human body beneath. She longs to free them from the golden cage that binds them– to see their wings blot out the sky, their divinity tainted by sin and making them all the more beautiful for it.

It is a longing that leaves a festering wound that cannot heal, will not heal. Even if it could, she would not let it.

For as much as she tries, deny it as she may, she is no better then the blind lambs following the herder who holds a blade in their hand, glittering like gold in the sun, stained by dull red.

She is a fool, and what a fool they make of her with the touch of their hands against her skin– so cold it leaves frost on their fingertips. Yet they do not fear the cold, mapping out every inch of her imperfections, carved into her body by her own hands.

She has always been a heretic, cursing the divine until she could speak no more, but if divinity can be found in them – in this love that consumes, that burns her hands and her lips – then she is a Saint, praying at the altar until her throat bled.

But in the end, she has and will always be a cold woman with hands stained with blood. Until it is all she can taste, until it is all she can smell, until it is all she can feel. These hands of hers, heretical and divine, will bleed the God from their veins– she will become the wolf to their lamb until the rivers of Teyvat run gold with their ichor, until the gold bleeds into red, the taste of their divinity on her tongue.

Until she drags a God from their lofty throne and makes of them a monster.

There is no greater triumph to the heretic then to love a God into sin. To make a God sin to love.

To love is to be human, and they are no God.

Even if she must tear the gold from their very being until all that's left is something human. Even if Teyvat crumbles and decays, even if it begins over and over again..

She will do it again and again, until the gold can bleed no longer. Until her sins grow too great for Teyvat to contain.

To love a God is to devour, and be devoured. An endless cycle of sin that dulls the glow of gold into something new– something horrifying and divine, in it's own right. Something just as horrid as her, just as divinely corrupted by the sins she carries on her shoulders like a trophy, as gold as the sun and as cold as ice.

Divinity, carved into something human by love all consuming, until it all bleeds away and they begin their dance anew, for as many cycles as it takes.

An eternity, if she must, of dooming this world of theirs to fire and decay for a glimpse of the being snared by their golden shackles.

[volivolition]

DAY 4: DRAMA - Put on your prettiest face for the masses!

gonna start adding silly captions actually. [POINTS ACCUSINGLY] MELTY FUCK (AFFECTIONATE)!!

[swordoffrivolousthings]

Thoughts about Heroes of Olympus and how it could have been better. pt 2

This time I will get so nitpicky that I will change too much for this series to be considered a reworking of the original. More like a HOO as a source material / hopefully.

So, to the next 9 points! part 1

Diversity in the Camp Half-Blood cabin archetypes, because humans aren't a monolith

Aphrodite cabin? pff, just a bunch of boy-obsessed girlies, am I right? (no, go jump in a lake)

But seriously, humans are not the same. Why has Riordan been stereotyping a lot of the cabins at camp by one (1) characteristic? I don't know.

Cabin 10 (Aphrodite's Cabin): People can be interested in make up, clothes and dating people. But this is a series about demigods whose parents are Greek Gods. Utilise that in your favour. Bring forth Aphrodite Ourania (Heavenly) kids that are morbidly interested (or not) in love in all its forms as a concept, knowing what fulfillment romantic love can bring but not being interested in persuing it. Just the philosophy of it all. Bring Pandemos (common) Aphrodite kids that like people, seeing them go about their day. That gather in public spaces and people watch. Aphrodite Androphonos (Killer of Men) or Aphrodite Tymborychos (Gravedigger) kids that are just as bloodthirsty as some of the Ares kids, violent and petty in their rage, like their mother.

Cabin 5 (Ares' Cabin): (an older gripe of mine, I'll admit) Not all Ares kids need to be violent killing machines. Give me kids of Ares that despite however much they try, they can't seem to come out victorious (because Ares has a track record for getting absolutely obliterated). Bring forth kids that are all bark, no bite, that make so much noise with their arrogance, but it is mostly a front. ("Magnanimous, unconquered, boisterous Ares, in darts rejoicing, and in bloody wars", Orphic Hymn 65 to Ares (trans. Taylor) ) Ares kids that lead wars more on the political, intangible side of things. Slippery little shits that are just about invincible when turning a situation in their favour with their words.

Cabin 11 (Hermes' Cabin): Trickster archetype characters can be fun and enjoyable, but when you have a cabin full of them it gets boring. Hermes kids that are intersted in animals, specificly cattle, and that help in the CHB stables. Camp Half-Blood has milk now, too! Hermes kids that interested in death, the way to the Underworld, whose souls follow in the steps of their father and guide people when lost in the realm of Hades. Hermes kids that are honorable merchants, that trade without stealing. They are the ones that try to bring their more kleptomaniac siblings into line, but rarely succeed.

2. Bring the war with Gaia on a larger scale, magnify it by 1000 times over

Gaia wants to rid the world of humans so nature could heal. Let her bring upon cities terribly powerful earthquakes (magnitude 6.8 and higher). Make them frequent, frighteningly so. Let a horrifying amount of magnitude 8.0 or greater hit major cities all around the world.

Have Gaia fuck around with tectonic plates in the oceans, make her start tsunamis. Have those be frighteningly big, too. Drive the people into the mountains, further inland, make them evacuate islands or peninsulas and drive up population in the cities. Than hit those cities with earthquakes.

Forest fires. A lot of them. Dry places around the world exist. Start a fire. See how fast it becomes an inferno. Light California and Florida and Texas on fire. Let the characters that are from there (i.e. Jason, Hazel and Frank who care about Camp Jupiter, Will Solace) be horrified at what is happening. Have them react.

Another hit, because humanity can bare some more punches, would be to introduce a plague to the main crops like seeds, rice, potatoes, and drive the production of food down. Let food be a concern, see how long the billions of people can go without food being produced all the time.

Volcanoes. Just, active volcanoes. Spitting, gurgling, bubbling, always on the edge of eruption.

Have agrarian gods ally with Gaia. See how much they can fuck up with humans: Aristaeus (bee-keeping, cheese-making, herding), Britomartis (nets made for hunting, fishing, fowling).

Do not be afraid to put the fear of nature in people. Make the main seven (7) realise just how much power and influence Gaia has. Raise the stakes.

3. The gods have gone mad with pain, what are the effects

It is established that the gods kept the Greeks and Romans apart because of many things. One of them is because the two parts that compose the gods attack each other.

Now there are mad gods roaming the world. Nature would be even more affected than what Gaia is already doing.

Zeus/Jupiter would make storms and thunderstorms out of the blue, ravage the world. Tornadoes, erratic air flow, no air flow, so much rain the earth can't absorb it. Ozone layer? something is certainly happening to it.

Poseidon/Neptune would mess up the currents, fuck over the tides and create tides so big that they rival tsunamis. Coral reefs, they start to die, powerful surface currents, too many riptides, the salinity drops. Small scale earthquakes.

Artemis/Diana and Apollo/Phoebus, moon and sun? Well, imagine just how fucked up would it be for the day to suddenly last eight (8) hours and the rest of sixteen (16) to be night, or go even further. One (1) hour of daylight, twenty three (23) of night. Or change from one minute to another. Guess we have a problem huh.

The worst of it. There is no safe space. Apollo and Artemis can't retreat to Delos because half of them is repulsed by that place. No retirement and riding out the chaos until the Greeks and Romans work it out.

That means no godly help, but also no godly trouble, from anyone. The demigods are sailing blind into the unknown. Have the world border apocalyptic.

4. Tartarus and worldbuilding hellish landscapes

The Pit is the place where the monsters get reborn. The body of a literal god. Have the threat of him waking be there from the beginning. The way the ground moves with his every breath, the veins running deep with an almost ichor, but black and molten.

Make the air, beside being toxic, give other side effects. Damaged lungs, weakened bones, infections from the smallest cut. Not only it smells like the worst memories of whoever is unlucky enough to fall, but it preys on hem. Kind of like with Melinoe. Percy sees Gabe out of the corner of his eye, feels Luke's heavy gaze on his back. He turns around but there is nothing.

Have Annabeth feel the blood on her knees from when she knelt beside Luke's dying form/corpse. Let her hear Thalia's last yell towards the monsters that were hunting them when she died, echoing with Tartarus' every breath.

There is no water down there, and if there is, it is not safe. Have them suffer from dehydration, hunger, lack of sleep. Indulging in such things could mean death, so they don't.

Have the monsters, even half formed, emerge from their bubble of remaking and hunt them down.

Nico hadn't been safe either, but for him it was only a few days, not weeks. But he still hears Bianca's voice in his mind, even when escaped, that maybe he should have gone on the quest in TTC and have died. Because he had always been the annoying, pestering little brother and the world would've been better off without him.

Tartarus is weakness and pain and poison. It will haunt everyone that survives it, long after they've escaped.

5. Camp Half-Blood vs Camp Jupiter

The start of the conflict is dumb, and its resolution is even dumber. For this war to start, a minor, needless war, lets change some things. After the quest to find Thanatos/Mors in SON, a year goes by. Let Percy become integrated in the Camp Jupiter dynamics, have him learn the ins and outs of the place. Build trust and respect. Hell, have Octavian come to respect Percy.

Then the Argo II lands. Annabeth, instead of staying put and listening to the introductions Reyna makes, (which means being respectful to the leaders of the place you are currently in, those who are more important than you and your feelings) jumps at Percy. She judo-flips him when he is not expecting that. In what way could this be perceived by people that are wary of battle (the veterans) and kids that are out for blood, as kids are? As assault.

This sets the Romans from the start on the wrong side of the conflict. It does not matter they have a larger objective to achieve. Their pride, their praetors, both of them, were disregarded from their positions of power. One of them was assaulted. (and please do think of this situation objectively here, please) (According to legends among the Romans, every civil war between the Greeks and the Romans was started by children of Athena / from the Athena Parthenos PJO wiki <- just found this. wouldn't this be funny if it's true? Well, I'm making it true.)

This is a very strong basis for mistrust for the Greeks. It doesn't matter in that moment that Percy is Greek too, because he was practically adopted as a honorary Roman.

Annabeth continues to try and gaslight Octavian. And this time the Romans (Reyna and the rest) don't fall for it. It is manipulation, however small or seemingly insignificant. That can't be trusted.

But Percy's reaction, his endorsement doesn't help either. He may love Annabeth, but him also gaslighting Octavian to cover for her prophecy, is not ok. This is the stepping stone for the Romans losing their faith in him.

Jason? Well, he was taken from them and made Greek, which translates to do not trust, now. This is a logical conclusion to add to the fact that Leo's body is stolen and used to set fire to New Rome, potentially harming civilians, innocents.

And then, the anger would naturally translate to seeing Camp Half-Blood as a threat and wanting to eliminate that threat before it bites them in the ass. So the Romans do what Romans do best: preventive defense/warfare, what they used to conquer half the known world.

I'll admit that I've not read the finale of Blood of Olympus recently, but the Athena Parthenos helps with nothing. more about it in n. 8.

6. Death is chained, but death still affects things

Death is the finale. So why can people come back from the dead without something having changed about them? Especially when they need to make their own way back, which doesn't make sense but ok. (like, how would they find the places that lead back to the surface?)

So, have those that have come back to life be uncanny, or too canny.

Example a) Hazel - she is a daughter of Pluto. Have her appearance be just a little off, more god than human. More corpse than alive. Riordan gave her gold eyes? Ok, so have them not be natural, but a result of being dead for 70(?) years. She has adopted some gold in her time as dead, maybe because she is a daughter of Pluto and his domain is also wealth.

Example b) Jason - he is killed by Hera's true form, but comes back soon after. Have him see just a little too much, a bite too well. Things that the Mist covers even for other demigods. Have his eyes emit a low glow in the dark. Or when it becomes dark, have his eyes spark like lightning, quick, than disappear.

Just, make dying important, because it changes you. Otherwise it is just cheap.

7. Roman on Roman, Greek on Greek, Greek on Roman, Roman on Greek

Gaia's conflict is more than just black and white. Have demigods and humans that can see through the Mist want to help her. A majority of Satyrs and dryads and nymphs would join her.

Have demigods become spies for Gaia (she doesn't want then, nor need them but she will allow them to exist, for now) to learn how the others plan to retaliate. What they think that they can do against a primordial goddess.

This happens in both camps. And the spies are not subtle about it, because it is a cause worth dying for. This leads to paranoia in both camps.

It makes the conflict not only Greek vs Roman, demigods vs Gaia, but also family against family, friend against friend.

Drive the fact that people are willing to do what they think is right, and die for it, as deep as bone. Make the theme of the conflict (which I hope is clear that is governments/associations/powerful individuals that don't believe in climate change vs. what the fuck is actually going on, especially with this inner conflict in both camps)

8. Athena Parthenos and the inefficacy of it all

Why is the Athena Parthenos, a single statue that is tied to Athena only, the catalyst that offers the gods peace, rids away the madness.

The Athena Parthenos is a symbol of Athena's pride, and the fact that the Romans where smart enough to hit where it hurts most. Why would it be the thing that heals the rift between the gods? After all, the Greek and Roman gods are two being that share the same 'body'/spirit/are tied together inexplicably. And the two (2) parts hate each other.

I just don't see why it would affect the other gods. Or even Athena. This is what the wiki has to say: "[...]  the capture of the Parthenos was seen as an act of belittlement to Athena, and the source of the seemingly eternal conflict between Greek and Roman demigods" from the Athena Parthenos wiki. Why is it the source?? The Romans and the Greeks have been fighting for other reasons, not some statue. That was just a war prize for the Romans, if we were to take this logically.

The Romans emulated Greek culture and religion, which I guess is why the Greek gods started to become Roman. It doesn't explain why it heals the gods.

Why would the gods even need to be healed? They seem to be aware that it is the way it is. They tried to keep the Greeks and Romans apart because they knew this would happen to them. (or my guess, in other words)(don't get me started on the fact that Riordan chose to ignore that Minerva also has warfare and strategy domains in Roman mythology, all for a subplot badly executed, in my opinion)

9. War ends, but scars remain

I will admit now, I don't know how to work out a satisfactory conclusion to the original HOO and the version I've been cooking. I don't. I think that BOO was badly plotted and it would take a total remake for me to get something useful out of it.

But this isn't about how I would tie together the ending. I want to talk about the aftermath of war, taking into consideration, this time, both the original and what I've been working up to.

Aftermath in the original HOO - the Romans just leave? Like there is no meeting that I can remember that the leaders had. Just Reyna and Piper talking about feelings (not judging, but not the feelings I wanted discussed) and then it's Leo's funeral. I say that some animosity should have still remained, because these guys had killed some enemy soldiers. Lives had been lost, even if the 'rift ' is healed, there should still be some hard feelings. I would suggest the Romans not opening up New Rome, and subsequently the university they have there. Because they can be petty while still not actively at war with the Greeks. Like, this is the best I can do in terms of scars and consequences.

Aftermath in this HOO thought experiment - Well, the world is shit. Hundreds of thousands, if not millions of humans, have died horrifically. Society will need to deal with this trauma, that is for sure. But focusing on the demigod side of things; most demigods would be dead, lets be serious. Killed by the civil war or by each other because of paranoia. They still need to be separated, because the hatred is still there, and the gods can't help. So who would need to do some damage control? Our Six, of which, preferably, only three (3) are still alive. The pain is deep and the wounds are raw, and Percy, whom I think we all know has the luck and wits to survive despite it all will, be fed with the entire situation. Meaning that he would most likely abandon the godly world and go back to his family. Try to live a normal life, or not. Hazel and Frank will not be allowed back in New Rome, because they are traitors, and the Greeks will not have them because they are Roman. The same will go for Percy, also - Romans will not take him back, and the Greeks see him as too Roman. Maybe only Piper, if she survives, will be allowed back in Camp Half-Blood, but that depends. And maybe the shit with Gaia isn't done, because you can't kill gods.

So, uh, 18 points of what I would change in HOO later, I find that I haven't run out. Which is either terrifying or absolutely insane seeing how well the original series was written and just how half-assed this one is. Like, Riordan, HOO was clearly a way to keep making money and not a passion project. And I don't mean it in the mean way, because it had good moments and interesting ideas, but they were poorly executed. Or I needed to read between the lines to see the subtext he was to cowardly to include outright. (not that I'm saying I could do better beside a published author)

Hope you enjoyed my ramblings.

[empydoc]

every so often i forget guy, like, writes

makes you wonder if he ever wrote anything about honey; if he ever wrote a cringy poem, or a longing letter he never gave them. makes you ponder on if he ever spent nights staring at a blank page, hands hovering over his keyboard as he struggled to focus on what he was trying to write for something unrelated, when all he could think about was them, and only them.

personally, i feel he’d never admit to it, but there’s certainly a page somewhere- whether it be physical or digital- of him trying to articulate how he felt about them early on with words that he’d struggle to utter in their direction in the first place.

[dawnbreakerluna]

The mischaracterization of Sylus aside from him being compared to b00ktok characters who are abusers is really frustrating to see & albeit almost immature. The fact that the introduction to his character is focused on and 'romanticized' above the overall of who he really is. It is perfectly okay to not like him because not everyone is going to like every single love interest in this game, but condemning people for being drawn to him is definitely not okay.

I'm no longer surprised yet am disappointed at what fandom has become for its severe stress of characters only being able to identify in a black or white scale of morality/appeal. Granted, I've learned a lot from my own mistakes of how to interact with fandoms over the past few years. However I don't ever recall fandom policing ever being this bad at ALL.

People severely dogging on Sylus for choking out/kidnapping the MC is, to me, the equivalent of the flock of BG3 players saying they killed Astarion because he had a knife to their throat when they first met him. Please make this make sense, LMAO. Especially considering that the new Star Wars Acolyte series involves a similar moment between the two lead characters, whose relationship development appeals to a significant amount of the audience and as far as I have seen, doesn't wander from the chemistry later on.

Anyway, my point is: trust, there are people who are sensibly consuming the content they're into. People understand the depths of the media they're consuming. As a Sylus fan myself, I understand that choking/kidnapping/handling with force is very much not an ideal encounter for a first meeting in real life.

However, because this is a fictional character in a fictional space, I'm considering and taking my appeal to it as a means of exploring what it is I like. Think of it as exploring kinks. I'm dipping my toe into the water safely where there's no life-threatening obstacles, so I can gauge how deep I am willing to go and not go.

(I will briefly mention my months-long infatuation with Johnny from the Texas Chainsaw game. There's a myriad of Johnny lovers who have explored more extreme umbrellas of dark content with him, because they are comfortable doing so. While I had made my own content, I simply left the topics I didn't like alone because at the end of the day, most people consuming the content related to this character/franchise are aware of their limits. The same can be said with any character, Sylus be damned.)

((Also, many have made Sylus out to be worse than he really is. I promise you he is the most tame of very extreme characters you're thinking about!))

[variousqueerthings]

my cute post about fourteen with the noble family is flying off the shelves, but not enough people interested in the queerness contained within the deeply intimate erotic implications of fourteen/fifteen being consciously inside one another? no fans of science fiction premises queering the visceral physical nature of knowing someone/oneself deeper than anyone else? the queerness of asexual reproduction depicting an intense connection with the self that is nigh-indescribable but is canonically beautiful and loving? the queerness inherent in fourteen's and fifteen's relationship with one another retroactively stretching back to encompass every single iteration of the doctor? the queer ideas encapsulated through depicting one being with oneself like that? the queerness that is pushing the limits of thinking up language about how we relate to our own/others bodies in space/time that is possible in science fiction? nobody think bi-regeneration is very sexy queer-coded?

[not-equippedforthis]

one am and im thinking what if i wrote a fic premise where kirk and spock are at this dance/buffet diplomatic event but then their pursuers enter the building and theyre trying to be discreet about trying to locate the two of them and for some reason or another they cant afford to give away their location so kirk and spock are trying to mingle with the crowd but theyre going to be found and kirk is murmuring ill try and locate a backdoor mr spock but in case prepare for- matters going south very quickly but then spock's oh so logical brain says why dont they blend in until they pass so he takes kirk by the elbow and starts leading him to where the couples are dancing to a fast and upbeat song because hes the son of an ambassador and dance is a way of connecting the mind and body of course amidst his vulcan upbringing he was taught how to dance so he takes kirk and begins to lead them at a fast pace and kirk's eyes are twinkling with amusement and surprise and surpressed nerves thrumming like a songbird like a new strategy, mr spock? and spock goes indeed, captain, odds indicate they will not look for us here and he loops them round and round but kirk is a charmer of course he knows how to dance and they spin round and round like two binary stars long after the spies have gone and kirk is following the rhythm he employs to win over any flirt but most of all hes losing himself in the easy spin and air of dancing with spock to the tune of the words unspoken between them forever implied and the light is hitting him like a nebula and kirk's intuition is his downfall tonight because he pitches spock in a perfect low dip and their eyes meet and he realises and-

[rivalmelty]

they are fukuzawa’s boys, adopted twins, and menaces to the yokohama police

(pls do not tag as beast)

[toziers]

i don't know how much interest there might be but i want to try and run(?) some sort of like. fic/art posting? for the five year anniversary of it2019? i know i myself will be posting a fic but it would be so cool to flood the tags with a round of fresh content in honor of the half-decade. any ideas any concepts from the crowd...?

[necrotic-nephilim]

for the ask game (1)

au where bruce is attracted to his robins and batgirls. he tries not to think about it or act on it, but it's getting more difficult with every new member of his team he acquires. does anyone know? do the robins and batgirls notice his weird behavior? what do they do about it? do they ever find out the truth? who would think it's terrible and who would find it strangely hot/comforting/nice? does bruce ever act on his feelings?

for the ask game!

oh my GOD do i have thoughts for AUs like this, i love this shit so dearly, dirtybadwrong Bruce who's trying to keep a lid on it my beloved.

i think the fun of this AU is if characters would notice Bruce lusting for themselves vs would they notice Bruce lusting for a different Robin/Batgirl. like does Dick pick up on it when it's just him and Bruce? no, because it's just. him and Bruce. he and Bruce are weird and complicated and hold endless bounds of nuance. that's just How Bruce Is, and Dick is the "test run", in a sense. he knows Bruce is new to this whole sidekick/family thing and is giving Bruce grace for being rough around the edges. but when Bruce starts looking at Jason or Tim or Cass that way, that's when Dick starts to notice. it's never enough of a suspicion he feels justified to bring it up, but the thought lingers. he's hyperaware and grows less and less comfortable with leaving them alone with Bruce. it's a weird game of chicken, Dick and Bruce staring each other down when Bruce's touch lingers too long. each waiting for the other to say something first. if Bruce ever broke and actually acted on his feelings, Dick would be eaten alive by the guilt of knowing something was up, but never saying something until it was too late.

obviously, Cass would know. there's no world where Cass *doesn't* know, the nature of who and what she is would immediately clock it. but the issue is, Cass doesn't have a good framework of what family looks like. she doesn't really understand familial vs romantic love bc she has no firsthand experience of what a parent's love should even look like. so she never calls it out. she just watches. i'm a fan of Cass believing this is normal and believing she too can express and act on attraction that's vaguely incestuous. maybe it's with Babs, maybe it's with Dick or Tim or Bruce himself. but she recognizes this as Normal and Accepted within the Batfamily, so it severely fucks up her understanding of familial love and i just. man it's my favorite thing about Cass in Batcest honestly, is how you can play with her lack of experience with love, boundaries, and sexuality.

Tim is the fun one for me. because my favorite flavor of BruTim is when Tim knows, as he agrees to be Robin, that there's a non-zero chance that Bruce is going to be Weird and agrees anyway because he's decided it's an acceptable risk. so Tim knows from the get-go because he's expecting it. if Bruce acts on his attraction, i think it's either with Tim or Cass first, because they're the most likely to confront him about it in a way that isn't entirely negative. Tim has accepted it's a possibility and Cass just seeks being loved and touched so. it leads to the first time someone's ever confronted Bruce about it. and the thing is, Bruce really doesn't like confrontation about his flaws. the first time Tim tries to imply he's okay with it, Bruce would lash out at the idea, tell Tim how inappropriate that is and benches Tim for a week. it'd probably take a united front from Cass and Tim to get Bruce to even *admit* to the attraction. still Bruce wouldn't allow it to happen and he brushes them off until finally, the dam breaks. it's fun if there's a cause like sex pollen, but i think it's *more* fun if it's just. a random fucking Tuesday and finally Bruce is at his limit. he has no real reason, there's nothing particularly different about that day's routine. he just sees Tim or Cass striping armor and sighs and gives in.

i don't think Steph, Jason, or Babs would notice until anything substantial happened. not because they're not wicked smart, but just because none of them were looking for it. Jason put Bruce on a pedestal when he was alive, and when he came back from the dead he wasn't close enough to be noticing Bruce's interpersonal dynamics outside of his narrow scope. Steph has no real framework for what healthy fatherhood looks like, so if Bruce's touches linger, if he stares too long, she just shrugs and assumes it's how it is. and Babs was just never quite close enough to Bruce to notice. if and when she notices, is when actual sexual things start to happen between Cass and Bruce. because Cass would see no reason to hide it. Babs would be pissed, but it'd be tricky to navigate. Cass would be an adult, even if she's only 18/19, so technically, she's old enough to be consenting. if nothing else, Bruce is a careful man. even when he breaks and gives in to his desires, he covers his tracks well. he makes sure he has enthusiastic consent and there's no legal recourse that could be taken. age of consent and all that. there's not much Babs can *do* other than try to tell Cass (and/or Tim) that this isn't normal or okay. not that it gets her anywhere, but god would she try.

by the time Duke comes along (if we venture out of the pre-Flashpoint era) i think it's a sort of. open secret, in the Batfamily. talked about in nothing but hushed whispers and knowing glances. at some point, they've all had sex with Bruce, caving all for different reasons. some more than others. Tim sees it as a duty, Cass sees it as a way of seeking comfort, Steph sees it as getting Bruce's approval for once, etc. it's never forced on them, but eventually, they all come to Bruce sooner or later. and that's the fun irony of it, i think. they try to convince the others not to, but would go to Bruce on their own well. because complicated reasons they can't put into words. sometimes, Bruce is just a messy man who doesn't realize how prized his Attention to for the rest of the Batfamily. that weird duality of not liking him, but also wanting desperately for him to like you. all of them have dealt with it, at some point. so for Duke, it takes a while for him to understand this... whole dynamic. it's Cass who tries to explain it to him, and he's a little horrified, a lot confused. especially when Bruce starts staring at him a little too long as well. i think he'd only want to watch first but well. they all cave eventually.

also fun bonus if we venture into the Dark Knight Returns universe for my bestest girl Carrie Kelley: there's such a like, "i'm fucking around and i'm finding out" vibe to Carrie. like Tim, she's very proactive in just. deciding she's going to be Robin and she's ready for whatever that entails. (IMO canon Carrie is closer to fanon Tim than canon Tim is but *that* deserves its own post-) like she takes one look at the old man that is Batman and goes yup. he's never fucking getting rid of me now. if Bruce started having weird feelings about her, i think she'd have *fun* with it. she's decided she's in it for the long haul and for whatever being Robin means so. she's almost teasing about it, seeing how hard she can push before Bruce snaps. since it's an older, gruffer Bruce, i think he'd express open annoyance at it first, almost a sort of banter about how Carrie behave. but of course he caves and Carrie leans into it, because there's a fun in having all of Bruce's attention to herself. in the main timeline, Bruce is pretty split with so many Robins and Batgirls, but during their era, it's *just* her and him and she's very proud she's got him all to herself.