#again it was bad even for their standard of bad

[urdreamgirls-dreamgirl]

part one

“so how was your first day?” robin asks steve as he slides onto the barstool next to her and chrissy.

“it actually wasn’t that bad,” steve shrugs before taking a long pull from the freshly opened bottle the bartender slides his way.

“it wasn’t that bad?” chrissy asks, incredulous. “so he didn’t make you go to the erewhon all the way across town? the one he goes to because selena gomez was seen there once?”

“that’s why he made me go there?”

“yeah, he really likes that one movie she’s in.”

steve thinks for a moment. “the dead don’t die?”

“no, the one with the dancing,” chrissy snorts.

steve makes a face and then shrugs again. “i made him his breakfast, i drove him around, i organized his tshirt closet… pretty standard stuff for an assistant.”

“you organized his tshirt closet? what the fuck does that even mean?” robin asks, laughing.

“exactly what it sounds like,” steve grins at her. “anyway, really, it wasn’t that bad. sure, he’s insufferable but not anything i couldn’t handle. don’t worry about it.”

“well, thanks for doing this,” chrissy says. “vickie handled it for a while, but i guess once you’ve been fired twelve times in the course of six months, you have to draw a boundary with the thirteenth.”

“it’s really not a big deal, it’s not like i’m doing it for free,” steve responds. “the money is more than worth it.”

“still, i know how he can be. but he’s really not so bad. once he’s… comfortable.” chrissy frowns.

“whatever,” steve shrugs for a third time. “i’m just here for the cash.” he winks and gives her a reassuring smile.

~*~

the next morning, steve pulls up to eddie’s huge beverly hills mansion bright and early, just as he had yesterday. he punches in the gate code, waves to the security guy on duty, and makes his way inside to the kitchen.

eddie storms in while steve is halfway through cooking another omelette, this time with tomatoes and onions and freshly grated cheddar cheese.

“i don’t care, wheeler, i’m not making a fucking appearance and i’m definitely not doing it with him,” eddie snarls into the phone pressed to his face. he hasn’t seemed to notice that steve’s in his house again.

eddie waits for whoever it is on the phone to speak before he says, “well maybe i don’t want to fix it. maybe this is it,” and then hangs up the phone. he lets out a frustrated little scream before he turns to leave the kitchen, finally noticing steve by the stove. “you’re back,” he says, voice monotone.

“i’m back,” steve smiles, sliding the plate full of food across the large island toward him. eddie looks down at it like he’s surprised. “eat,” steve tells him.

“another sweater vest?” eddie sneers instead of picking up his fork.

“i like them,” steve shrugs, still smiling.

eddie rolls his eyes. “whatever,” he mutters and then picks up the plate and retreats from the kitchen.

~*~

eddie is deeply annoyed by how good steve’s omelettes are. he practically licks the plate clean when he’s finished, which only serves to make his bad mood worse.

“can i take your plate?” steve asks from the doorway of the living room.

“jesus christ, man, wear a fucking bell,” eddie grumbles before holding out the plate, forcing steve to walk across the room to the couch and take it from him.

“i’ll remember to announce myself from now on,” steve replies. “chrissy just called; you have another meeting with the pr team this afternoon. we’ll leave here in about an hour.”

eddie doesn’t respond and steve goes quietly back to the kitchen.

~*~

eddie tries to confuse steve with the directions to nancy’s office again, mostly just to annoy him since the car has a built in gps. steve ignores eddie, leaving him to play on his phone in the back seat. the windows are tinted dark, just how eddie likes it & it lulls him into a false sense of security to where he’s almost relaxed by the time they get to nancy’s office.

the meeting is a fucking drag. it’s just a rehashing of the morning’s phone call and eddie had already made himself perfectly clear. he’s not willing to fix anything. nancy and chrissy try to double-team him, begging him to think about the tour & the album roll-out & the rest of the band. the entertainment blogs are running wild with the rumors circulating about the other night and now they’re digging up shit that he wishes would stay buried.

“absolutely fucking not,” eddie spits out. “i refuse to be fucking cordial with that moron.”

“fine,” nancy says finally. “i guess we’re done here then.” she gets up from the head of the conference room table and leaves through the big glass doors and the rest of her team takes that as their cue to leave, too.

chrissy levels him with a look, waiting until the last intern has left the room before speaking.

“eddie, i know you’re pissed right now. trust me, i would be too,” she says, using that tone eddie always hates—the one that makes it sound like she’s trying to placate a rabid dog. “but the label has invested a lot of money into you and they need you to put in some work right now. take a minute, take a breath, and then we’ll talk again. but we need to respond; we can figure out what that looks like. i’ll talk to nance… maybe we don’t need a joint appearance. maybe you can just make a statement.”

eddie knows there are a ton of people relying on this tour & this upcoming album. he knows the band doesn’t deserve the hit from this. but what is there to even say? he’s just so fucking angry about it.

“fine. i’ll make an appearance. but i won’t, under any circumstances, be seen with him,” eddie tells her firmly. he slides his sunglasses back onto his face before pushing himself out of his chair and making his way over to the door. “just tell me when and where. and make sure nancy doesn’t make me sound like a fucking idiot.”

“great,” chrissy smiles so bright she looks like a teenager again. “i’ll talk to nancy. we’ll figure it out.”

any reassurance eddie feels is washed away by a renewed sense of annoyance when he sees steve waiting for him in the lobby, still wearing his pastel yellow sweater vest, drinking a purple smoothie from a straw and scrolling on his phone. he’s laughing at something on the screen and the sunlight comes through the huge front windows just right, making him glow golden, and eddie just feels something inside him twist unpleasantly.

steve looks up then to see eddie coming, but eddie breezes past him to the sidewalk. steve jumps up to follow, handing the valet their ticket. when the car finally pulls up, eddie says, “no liquids in the car,” before sliding into the back seat.

he sees steve shrug before smiling at the valet and handing him his half empty smoothie to dispose of and a tip.

the car ride home is silent. eddie practically leaps from the car before it’s even come to a stop when they pull into the driveway. there are packages on the table in the foyer, likely brought in by the security guy at the gate. “grab those,” eddie tells steve with a wave of his hand.

steve follows eddie into the kitchen, arms laden with paper bags and boxes. most of it, eddie knows, is free product and merch, stuff he never uses and mostly stuff he doesn’t even want. steve places the packages on the counter and watches as eddie sifts through them, clearly looking for something.

“do you want lunch?” steve asks. eddie ignores him, finally finding the package he’d ordered earlier today. he flings it across the kitchen island toward steve on the other side.

steve catches the package in his hands and arches an eyebrow.

“open it,” eddie tells him, nodding at paper wrapping. he opens the fridge to pull out a bottle of water and takes a long sip as he watches steve’s fingers tear at the brown paper.

once the package is open, steve huffs out a laugh, barely a breath, before holding up a bright pink cat collar with a tiny bell attached. he shakes it in the air, making the bell tinkle. the collar clearly will not fit him.

“fuck you, man,” steve says, still smiling.

“fuck you, too,” eddie says.

and then he leaves the kitchen.

[captain-kit-adventuress]

Let me tell you some things about American plumbers probably almost none of you know, especially because I've seen people complaining that plumbers make "$42 an hour while I can't even make $15!"

[Note that much of this is state-specific, so ymmv, but most states have an interest in keeping it pretty similar to what I'm going to outline.]

First of all, you have to be licensed, and anything licensed takes forever and costs a fortune. You spend 7 years as an apprentice plumber, which means taking full-time classes on top of full-time work, for which you definitely do not get paid $42 an hour, and you're lucky if you get $20. You're on the hook for all of the tuition and books and whatever else, tools and whatnot, and we all know tuition and books are out of control, but have you seen what decent tools cost these days? This in addition to all of the regular school stuff like a computer, an internet connection, probably a mobile phone of some description, etc. Some you may have already and some you may not.

That's just the education part. Next, even after you've completed your 7 year apprenticeship under extremely strict and exacting standards, for which you get paid almost nothing and have tons of expenses just like any other student, you're still under some kind of supervision for another few years. So you've put in about 10 years into this already and you're nowhere near pulling in the kind of income that people say plumbers make.

But once you actually get into being licensed and bonded and the whole shebang, maybe you get a job with a company, because it's really hard to hang your own shingle, especially in the larger communities where nobody knows anybody else or the quality of their work. You'll work for a plumbing company like anyone else, and let me tell you, it's like any other company where profit matters most and it's for shareholders and not anyone else.

Now comes the part you probably have never heard about: many, many, many plumbers don't really have health insurance for most of their careers, and if they do, it's like the shittiest insurance possible and they have to pay for much of their healthcare out of pocket. Except that these are plumbers, they're constantly on hands and knees on hard, unyielding surfaces, bending, lifting...really physical, difficult work. How many of you actually know how much a toilet weighs? it's anywhere between 50-120 lbs depending on a variety of factors. All that, in addition to actually diagnosing whatever the problem is and knowing how to fix it. Do that for the next 20 years of your life and you're not going to have any knees left, you're going to have a bad back, probably most of your other joints are shot or on the fritz in some way, and this is if you were healthy to begin with and didn't have many health problems during your career. Depending on the collective bargaining agreement, sometimes the unions will cover your healthcare at close to 100% after that, but when it was easier to prevent a lot of it by having time off and the ability to afford care? None of that is covered.

Not only that, but most plumbers don't really get paid time off from work, either, depending on what the agreements are. I know it doesn't seem like plumbers ever work timely, but everyone thinks they have an emergency when the plumbing breaks, and you've got to triage the for-real emergencies alongside the "Timmy backed up the toilet again because he keeps flushing his toys and now there's water and poop and who knows what else everywhere." That's not including the emergency answering services where they're relaying that stuff 24/7/365.

How is that different from most of us today, you might wonder? Because they're literally knee-deep in your shit from morning 'til night. All of the weird stuff you do to screw up your toilets, your sinks, your showers, your fixtures, your pipes, they have to deal with all of it. All of the clogs, the gross hair masses, the half-eaten food from when the disposal stops working, the people who don't know not to flush things they shouldn't, the people who do know and don't care, the floods when the sump pump stops working or there's so much rain it just completely overwhelms it, the people who are sure they can "fix" it, the people who listened to youtube or tiktok and picked the wrong accounts for advice, and most of all, metric tonnes of your actual shit and vomit and whatever other bodily excretions you've got. That is all hazardous enough on its own, and if you think it's gross, I don't think plumbers feel any differently, but it is a part of their job and there's no getting around it. They are paid to deal with all of the stuff no one else wants to even think about. And after they've been exposed to your biohazards for 10 hours a day, they themselves have to pay for any care they need to make sure they don't die from it. You know how many people have dangerous mold in their bathrooms and don't know it? I bet a plumber can tell you.

Those are the conditions with unions trying to fight for them.

[As one more note, not everyone wants to leave home, and that's fine! Why does anyone assume there are no tradespeople in cities when that couldn't be further from the truth? Don't be arses about geography.]

tl;dr: plumbers don't make the money you think they do, they spend half their career earning next to nothing and then when they finally start catching up their bodies are so shot they can't enjoy it; in the middle they have to deal with everybody's grossness and basic repair illiteracy, and they pay for most of it themselves.

source: I was an external auditor for a lot of trade unions.

some of the worst classism is white collar middle class americans against blue collar & minimum wage workers. “why does that plumber make more than me” because he’s been perfecting his craft for 30 years and you send emails. “they’re in the trades bc they’re too dumb to do anything else” ok take that engine apart and put it back together real fast babe. “they’re boring bc they never left their home town” have you considered they financially couldn’t? I am not saying it is anyone’s job to educate, nor you need to respect people who do not respect you, but while you maybe never sympathize we need to learn to empathize. consider why (who) allowed for massive parts of country to be uneducated and how many impoverished areas of this country haven’t had a voice for a very long time. we are all victims of the rich. remember it is up vs down

[winwintea]

stolen dance

PAIRING ↬ idol!park jisung x fem!reader

TAGS ↬ romance, fluff, they dance a bit, there is totally no angst, i would never lie!

SUMMARY ↬ jisung has been teaching you how to dance lately. but is it really to teach you or is jisung using these dances as a form of escapism to hold onto a deeper secret?

WORD COUNT ↬ 2.8k words

AUTHOR’S NOTE ↬ in classic winwintea fashion here is jisung's birthday fic <33 suffer.

PLAYLIST ↬ stolen dance - milky chance; show me the meaning of being lonely - backstreet boys

“Alright, alright, one more time!”

Jisung grins, as he claps his hands and beckons you to step back into the middle of the room.

The living room is bathed in the soft amber glow of a single lamp in the corner, casting warm shadows across the room. The faint hum of a speaker plays an upbeat pop track, its rhythm pulsing like a heartbeat through the air. A pile of mismatched socks and sneakers sits abandoned by the couch, proof of your long evening spent dancing. You groan dramatically, flopping onto the couch instead. “I can’t feel my legs anymore, Jisung. This is basically torture.”

“Nope, no quitting!” he says, darting over and tugging you up by the wrists. His hands are warm, steady, and they pull you effortlessly to your feet. “We’re not done until you can at least try to keep up with me.”

You roll your eyes but smile, letting him guide you into position. “I’m only doing this because you’re making me, you know.”

Jisung smirks. “And because you secretly love it. Admit it, you want to keep up with me on stage one day.”

“Oh, sure,” you laugh, stumbling a little as he begins to guide you through a spin. “Me, a world-class dancer. We’re talking about K-pop standards too. Totally believable.”

“Hey, don’t doubt yourself like that!” Jisung says, catching your hand to stop your wobble. “Besides, I’m a great teacher. You’ll be better than me in no time.”

“Better than you? Let’s not get carried away.”

He steps back, giving you a playful once-over. “Okay, fine, maybe not better. But decent. Maybe passable.”

You swat at his shoulder, which only makes him laugh harder.

The music shifts to a softer beat, and Jisung takes a step closer. “Alright, let’s try that one move again. Step left, then cross. No, your other left—”

You fumble the step, tripping slightly, and Jisung reaches out just in time to steady you. His arm loops around your waist, holding you close for a moment.

“Gotcha,” he says softly, his voice losing its teasing edge for a second.

You look up at him, breathless but grinning. “You know, for someone who claims to be a great teacher, you’re not very patient.”

His lips twitch into a smile. “And for someone who says they hate dancing, you’re not as bad as you think.”

The room feels still for a beat, the music fading into the background. Jisung’s dark eyes linger on yours, something unspoken passing between you. It’s the kind of gaze that makes your heart skip, though you can’t quite place why.

“Anyway!” Jisung suddenly blurts, breaking the moment as he steps back with a sheepish grin. “Let’s try again. I’ll slow it down this time, I promise.”

“Good. My feet are already filing a complaint,” you joke, shaking off the strange flutter in your chest.

He grins, taking your hands in his again, and the music picks up once more. The two of you fall into the rhythm, tripping over each other’s feet and laughing so loudly that it drowns out the sound of the song.

The days start to blur together, each evening spent in the same corner of the living room. The small space becomes your personal dance studio, the furniture pushed against the walls to give you just enough room to practice. Jisung shows up every time with the same excitement, the kind that’s so contagious you can’t help but play along.

“Step, step, and pivot—yes! That’s it!” Jisung exclaims, clapping his hands together as you nail the move for the first time. His grin lights up the room.

You beam, sweat dripping down your face, and collapse onto the floor. “Finally! That only took, what, twenty tries?”

Jisung flops down next to you, still full of energy. “More like thirty, but hey, who’s counting?” He nudges you with his shoulder, handing you a water bottle.

You take a long sip and gasp dramatically. “I didn’t sign up for this boot camp, you know. What happened to ‘just a fun dance session’?”

Jisung leans back on his hands, smirking. “This is fun! Besides, you’re getting so much better. Look at you, two weeks ago, you couldn’t even figure out which foot was your left.”

“Wow, thanks,” you deadpan, though your smile betrays your mock annoyance.

The next night, the routine continues. The two of you move in near-perfect sync as Jisung teaches you a new routine to a faster song. Your steps are cleaner, your turns sharper, and when you finish the sequence without a single mistake, you both cheer so loudly the neighbor downstairs bangs on their ceiling.

“Oops,” you whisper, covering your mouth to stifle your giggles.

Jisung shrugs, unbothered. “Worth it. You nailed that!” He holds up a hand for a high-five, which you give him, laughing at how proud he looks.

But as the days pass, you begin to notice how your progress isn’t the only thing changing.

One evening, as you struggle through a particularly tricky move, Jisung stops mid-step. His gaze drifts off toward the window, his body going still.

“Jisung?” you call, snapping your fingers in front of his face. “Earth to Jisung?”

He blinks, shaking his head quickly. “Sorry, what? Did you say something?”

You frown. “You spaced out. Everything okay?”

“Yeah, yeah,” he says with a too-bright smile, waving you off. “Just tired, I guess.” He grabs the remote and cranks up the music. “Come on, let’s run it again.”

You hesitate but decide not to press him.

Later, after another exhausting session, you collapse on the couch, panting. “I’m done. For real this time. My legs are basically jelly.”

Jisung sits beside you, his gaze soft as he watches you. “You’re really doing great, you know.”

“Flattery won’t get you anywhere,” you joke, but the sincerity in his voice makes your heart skip.

“I mean it,” he says, his tone quieter now. “I just... I like seeing you like this. Happy. Laughing.”

You glance over at him, and for a moment, he looks... sad, though the expression vanishes almost as quickly as it appeared.

“You okay?” you ask cautiously.

“Of course,” he says, forcing a grin. “Why wouldn’t I be? You’re stuck with me, remember?”

“Lucky me,” you tease, but his words stick with you as the night goes on.

The dance sessions grow more frequent, his enthusiasm almost desperate. Every moment feels heavier, though you can’t quite figure out why. You catch him watching you sometimes, his smile softer, as though he’s trying to memorize the way you move, the sound of your laugh.

“What?” you ask one night when his eyes linger too long.

“Nothing,” he says quickly, spinning you around before you can press further. “Just... don’t stop dancing, okay?”

You laugh, brushing it off, but there’s something in his voice that makes you wonder what he’s not telling you.

The music echoes softly through the living room as you and Jisung move together, your steps slightly out of sync but improving with each pass. The rhythm feels effortless now, the usual fumbling replaced by a newfound fluidity. You’re laughing, breathless but exhilarated, when the sharp buzz of Jisung’s phone cuts through the song.

It vibrates insistently on the counter, the screen lighting up in the dim room.

“Hold on,” Jisung mutters, his usual smile faltering as he jogs over to check it. He picks up the phone and stares at the screen, his expression shifting to something unreadable.

You wipe your forehead with the hem of your shirt, catching your breath. “What is it?” you ask, noticing the way he hesitates.

Jisung’s thumb hovers over the screen, and for a moment, he doesn’t answer. Then, in a voice that’s a little too casual, he says, “It’s nothing. Just a friend checking in.”

You tilt your head, unconvinced. “Must be a pretty intense message to make you zone out like that.”

He glances at you quickly, forcing a small smile. “It’s not important. I’ll deal with it later. Come on, let’s not lose our momentum.” He sets the phone back down, face down this time, and crosses the room toward you.

Before you can say anything, he reaches for your hands and pulls you into a hug. It’s sudden, uncharacteristic, and tight. Tighter than his usual playful embraces. You blink, caught off guard.

“Uh, Jisung? You good?”

He doesn’t answer immediately. Instead, he buries his face against your shoulder, his grip unyielding. When he finally speaks, his voice is soft, almost fragile. “I’m just... really proud of you, you know? You’ve worked so hard.”

The hug lasts longer than it should, and something in his tone feels off. You try to pull back slightly to look at him, but he only holds on tighter.

“Jisung, what’s going on?”

He shakes his head against your shoulder and releases you just as abruptly as he hugged you. “Nothing. Seriously. Don’t worry about it.” His smile is back, but it doesn’t quite reach his eyes. “Now, come on. Let’s run through it again. You were so close to getting it perfect!”

“Are you sure you’re okay?” you press, still watching him carefully.

“Of course I am,” he says quickly, bouncing on his toes to reset the mood. “Now, less talking, more dancing!”

You hesitate but eventually let it go, letting him take your hand and spin you back into position. Yet, as the music starts up again, you can’t shake the nagging feeling that there’s more to the text than he’s letting on.

On the counter, Jisung’s phone buzzes again, the screen lighting up briefly before going dark. The message still sits there: "You ready to see her?"

The rhythmic click of Jisung’s shoes echoes down the hospital hallway, a stark contrast to the sterile silence that surrounds him. His hands are stuffed into his jacket pockets, clenched tightly as if to keep himself from shaking. The confidence and playfulness that had defined him earlier in the living room are gone, replaced by a hollow, heavy weight in his chest.

He pauses outside the door to a room, staring at the small plaque on the wall with your name printed neatly on it. His heart hammers in his chest as he exhales shakily, steeling himself before finally pushing the door open.

The fluorescent lights overhead hum faintly, casting an unforgiving brightness across the room. Machines beep softly, their rhythm steady and monotonous. And there you are. Completely motionless in the hospital bed, your face pale, your body almost swallowed by the thin blankets. Tubes and wires tether you to the machines keeping you stable, their presence stark and invasive.

Jisung freezes in the doorway, the sight of you knocking the air from his lungs.

“Hey,” he says softly, his voice cracking. He steps closer, his movements hesitant and unsteady. The sound of the door clicking shut behind him feels deafening.

He lowers himself into the chair by your bedside, his trembling hands reaching for yours. Your skin is cold, unmoving, and his grip tightens instinctively, as though holding on to you will keep you from slipping further away.

“I’m here,” he whispers, his voice barely audible. “I’m here, so… you can wake up now, okay?”

The only response is the steady beep of the heart monitor.

Jisung leans forward, pressing his forehead against the back of your hand. His shoulders begin to shake as tears spill over, falling silently onto the thin hospital sheet.

“You know,” he chokes out, his voice thick with emotion, “I taught you how to dance. I mean, not perfectly, but we were getting there. You were laughing so much, and—” He stops, his breath hitching as the reality of his words catches up to him.

Because it wasn’t real.

The living room, the music, the laughter— it was all in his head. His imagination, his desperate mind, had conjured you up to fill the unbearable silence you’d left behind.

“I just…” His voice cracks again as he squeezes your hand. “I just wanted to see you smile. To hear you laugh. Even if it wasn’t real.”

The weight of the truth crashes down on him, suffocating and relentless. His mind replays every moment of the past few weeks—the way he had clung to the image of you, teaching you to dance, pretending everything was okay.

His tears flow freely now, soaking into the fabric of your blanket as he clutches your hand like a lifeline. The room feels unbearably quiet, the sound of the machines and his muffled cries the only noises breaking the stillness.

He sits there for what feels like hours, talking to you about everything and nothing—how much he misses you, how much he needs you to come back.

“Please,” he whispers, his voice raw, “don’t let this be the end. 

But you don’t move. Not yet. And Jisung can only sit there, crumbling under the weight of his grief, as reality continues to sink its claws into him.

“I thought…” His voice cracks, and he pauses, choking back a sob. He grips your hand tighter, as if that alone could anchor him in this unbearable moment. “I thought I could bring you back. Even if it wasn’t real—” His words catch in his throat, and he pulls his hands to his face, muffling the anguished cry that escapes him.

Tears stream down his face as he looks back at you, his expression one of complete devastation. “It felt real,” he whispers, his voice raw and broken. “You were laughing. You were dancing. It was like… like you were still here with me.”

He lets out a shuddering breath, pressing his forehead against your hand as he begins to unravel completely. “I just wanted one more dance with you,” he says, the words slipping out in a strangled sob.

The silence in the room presses against him, suffocating and unrelenting. His shoulders shake as he cries, the weight of the last few weeks crashing down on him all at once.

“I don’t know what to do without you,” he confesses, his voice thick with grief. “You were the one who kept me grounded. When everything felt too hard, you… you were my anchor. You gave me a reason to keep going.”

He lifts his head slightly, his tear-streaked face staring at your still form. “And now…” His voice falters, his lips trembling as he struggles to find the words. “Now I don’t even know who I am without you.”

His gaze drops to your hand in his, his fingers tracing over yours with a tenderness that breaks his heart all over again. “Dancing with you, even in my head… it kept me going. It made me feel like maybe… maybe you were still with me.”

He swallows hard, the lump in his throat refusing to go away. “But they stole it from us,” he whispers, his voice barely audible. “They stole our dance.”

The words hang in the air, heavy and final, as Jisung lets out another ragged sob. His grief pours out of him uncontrollably, raw and unfiltered, as he buries his face in his hands.

The walls of the hospital room seem to close in around him, the sterile brightness only amplifying the darkness he feels inside. He leans forward, pressing his lips gently to the back of your hand, his tears falling onto your skin.

“Please,” he begs, his voice breaking. “Please come back to me. I don’t care how long it takes. Just… come back.”

His words are met with the same unyielding stillness, the heart monitor’s steady rhythm the only response. And so he sits there, broken and lost, holding on to you as tightly as he can, afraid to let go of the only piece of you he has left.

“I don’t know how much longer I can do this,” he whispers, his voice hoarse from crying. He looks down at your hand, his tear-filled eyes blurring the sight of your still fingers. “I want to believe you’ll wake up, but… what if you don’t?”

The question lingers in the air, heavy and suffocating. He lets his head fall forward, his forehead pressing against your hand as his shoulders slump in defeat. “I’m so scared,” he murmurs, barely audible. “Scared that I’ve already lost you.”

For a moment, the only sound is the steady beeping of the heart monitor.

And then it happens.

A faint movement—so subtle he almost misses it.

Your fingers twitch beneath his.

Jisung freezes, his breath catching in his throat. His head snaps up, his wide, tear-streaked eyes darting to your hand. “Y/N?” he whispers, his voice trembling with a mix of hope and disbelief.

He watches, his heart pounding in his chest, as your fingers twitch again—just the slightest motion, but enough to send a jolt through his entire body.

“Y/N!” he says again, louder this time, his grip tightening around your hand. He leans forward, his eyes darting between your hand and your face, searching desperately for any other sign of movement.

The heart monitor continues its steady rhythm, the faint beeping echoing in the room as the scene begins to fade.

“Please,” he whispers one last time, his voice breaking. “Please come back to me.”

TAGLIST ↬ @lyvhie @aquaphoenixz @galacticnct @yizhrt @polarisjisung @multifandomania @spacejip @peterm4rker @viasdreams @mango-bear

[inflamedrosenkranz]

So... Jayvik and Caitvi. In the same way that Jayce and Caitlyn are like brother and sister, I can imagine V (Viktor) and Vi bonding over the fact that they're both from the Undercity, and becoming very close friends as a result.

Coming from the same place, they have socio-cultural codes and practices and a vision of the world—in short, a whole habitus—in common. In fact, they like to hang out together when living in Piltover is too much for them, among a bourgeois elite that remains for them an oppressor by whom they will never be truly accepted, and whose codes they will only assimilate and reproduce superficially, the barrier between the two worlds and the weight of history between the two peoples being too thick and heavy for them to be able to really cross it and become so deeply imbued with the Piltovian habitus that they fully acculturate to it. Not that they want to, either, because to integrate completely into the topside society that is the source of a suffering deeply and forever engraved in their flesh would be for them to deny and betray their deepest selves and origins as well as their loved ones remaining in the Undercity, if not their entire people.

Their passing, as class defectors, is thus only apparent. That said, Viktor being older and having lived longer than Vi in Piltover, but also having evolved in the upper echelons of its intellectual and, by extension via Jayce, political elite, I can see him giving Vi advice and sharing his knowledge of the Piltovian way of thinking and living, or correcting some of her character or behavioral traits to help her adapt better in the upper city, especially since as Caitlyn's companion, who is the daughter of one of the most important local houses, she is unfortunately forced to conform to certain standards. In return, I imagine Vi allows V to drop the mask of forced propriety and rediscover a certain whimsy and insolence proper to Zaun, where despite the daily struggles for survival, the inhabitants retain a freedom of thought, an outspokenness and an nonconformism proper to the rebellious spirit of youth and to the working-class camaraderie inherited from hard labor and trade union culture in the mines. For instance, I can see V starting to use swear words again now that he's mixing with Vi, words he'd forbidden himself to use from the moment he had stepped foot in Piltover (even Jayce has never heard a profanity come out of his mouth).

That's why I imagine them getting together on a regular basis to unburden their shoulders of this weight of transclasses and outsiders perpetually out of step in an alien society. At first, they would meet in the less upscale corners of Piltie, those closest to the entrance to the Lanes, putting the world to rights while enjoying drinks at café terraces, window-shopping or sitting in parks. Then they would agree to go back down into Zaun, to reconnect even more with their roots.

Eventually, they would also insist so much that Caitlyn and Jayce come with them, that the latter would eventually give in, despite the constraints it would represent for them, the bad memories they had of Zaun and the remnants of a misplaced condescension for the place and its people still holding sway over them. But out of love, and understanding the self-sacrifice their lovers would make every day to live at Piltie, they would agree to this little compromise, far from 50/50 of course, but aware of how much it all meant to Vi and V, who would then feel allowed to show them the culture of the place and their expertise on it, making Cait and Jayce fall even more in love with them at the sight of the extent and number of their hidden talents, sadly unsuited to Piltover.

In the Undercity, V and Vi would stay one step ahead of their lovers, acting as guardians in dark, seedy alleys, or as culinary guides in restaurants serving suspicious dishes, heartily mocking their cumbersome gas masks. And, when Cait or Jayce would be interested in an item on the market, the other two would show them the fierce art of haggling with salesmen trying to rip off two Pilties lost in a foreign, archaic world, a chaos preceding the apparent cosmos of the topside. While Cait wouldn't be too much surprised to see Vi acting in this way, because it wouldn't be the first time she'd come with her to Zaun, Jayce, for his part, would rediscover his Viktor in a new light. Viktor stuffing himself with dubious foods. Viktor bargaining relentlessly with unscrupulous merchants with a gall and a sassiness Jayce knew he had but had never witnessed before, or at least not to such an extent. Viktor speaking different dialects with representatives of Zaun's various ethnicities and races, with Vi also taking part in the conversation; or V and Vi speaking in Viktor's native dialect (I happen to have a headcanon explaining his accent...)—until then, indeed, he'd never heard Viktor speak a language other than the official one common to both cities with his exquisite accent.

But then he'd hear V swear for the first time and he'd blush; or he'd be moved to hear him introduce him to different places or customs, telling him about them with the self-assurance of someone who knows them from the inside, and for the first time he'd really understand how his man must have felt in his early days at Piltover. Hence, just for a day in Zaun, Jayce would accept to become the outsider instead of Viktor, and from the new prism of his reversed social position, he would feel pride, wonder and renewed love for V.

He'd also watch in awe as his man would hail or greet old acquaintances randomly in the crowd, or would be recognized and approached by shopkeepers who hadn't seen him in years and would therefore be happy to hear from him again. Those V's hitherto unknown aspects he would keep jealously sealed in his heart and cherish forever.

He would also rejoice in V's bond with Vi, them so dissimilar in appearance, happy with their friendship consolidating a little more each day, and with these parallel bonds established between him and Cait, and Viktor and Violet, and he would hope and pray that all this would last until the end.

He would also be delighted to see V finally becoming an integral part of a social group and feeling at ease, finally letting down his guard and abandoning his false shyness in the midst of Vi, Jinx, Ekko, Mylo, Claggor, Vander, Silco and Benzo, he who were once rejected by Zaunites his own age because of his disability. And all together, they would talk about things the Zaunites have in common, and Cait and Jayce would feel left out until Vi, V or the others would provide them with an explanation.

And all, they would watch Jayce out of the corner of their eyes, laughing and giggling at him swooning in front of his man, drinking in every word he would say and always seeming to restrain himself from falling on his neck to kiss him passionately in front of everyone.

But in short, I imagine Vi and V (along with Jinx and Ekko, sometimes) being kind of refuge for each other when their life in Piltover turns them upside down and even sometimes the understanding with their lovers due to their many differences isn't up to scratch and fights and conflicts are on the horizon. They both are friends and confidants, and they find the name of their duo rocks. What about Cai and Jay for the other two?

[mr-s33k]

Every Historical Inaccuracy in TGS part 1

In this episode of Enoch is a nerd, I'm going to tell you about the little details that aren't quite right so they can now bother you too.

First thing to be discussed is the police.

All in all not an awful representation. I can't really see their collars because of the cloaks which I can't say are exactly uniform regulation because I can't find any photos of cops with coats on from the 1880s. The sleeves are missing a bit of stripy-ness and their belts are missing the buckle but like I said, not bad.

The police are the only notable thing in the first chapter so on to chapter two!

This carriage shouldn't even really be big enough for Henry and wolf form Jasper, much less all those cages.

These are roughly the same as the carriage they're riding in albeit much less glamorous. You really only have enough room for yourself and maybe one other person. The space in here is more akin to what you'd get in a train which. is very not where they are.

Now this one will be shocking to you,

but Neil Degrasse Tyson was not alive in 1886.

This thing indeed. That's not very Victorian Marketing of you. I do know it wasn't intended to be accurate though so it gets my approval.

One does not simply go to the theatre this is the 19th century we're not animals we have standards! You can't just go in your casual clothes you have to dress up! At least Jekyll is wearing gloves but they've both severely neglected the procedure of Going Out.

Where did she even GET this dress? It follows none of the trends of the 1880s or. any time ever really. I'll be talking about character design more in another post but since she's not a main character I thought I'd go for it.

The term lesbian would not be popularized until the start of second-wave feminism in the mid to late 20th century. You're a little early Hyde but he's got the spirit. Hyde probably would've used the word "sapphic" in this instance because that was the more popular term. The term "lesbian" wouldn't appear in a medical publication until 1890.

The police station is so... tall and fancy? This isn't the usual 19th century police station look, they were pretty straight forward and simple and only one floor tall. I'm also wondering where they got the funding for this.

Now I've made a post on this one before but I'll say it again for the people in the back

This is not the procedure you follow to ask someone to dance in the 19th century. Typically you do not dance with women you've just met (unless you're flirting, which Jekyll doesn't do). They also skipped the step of filling out her dance card.

Dance cards were these nifty little slips of paper given to women at balls, much like the one Henry is attending. They looked like this:

Usually they would be attached to a woman's dress or wrist. They would be filled out throughout the evening by the different people she danced with. Henry didn't even ask for hers. Masher behavior. You're telling me he asked a woman he just met to dance and didn't even fill out her dance card? What a creep.

Now I can understand why Sage wouldn't add that detail and it's completely reasonable to assume there was a cut between him asking her and them dancing but the more important issue here is that they're Not Wearing Gloves. Their hands are touching someone call a doctor I just broke my 19th century sensibilities they now need to be amputated they're holding bands premaritally what is this I thought he was a gentleman.

I would like everyone to take note however that the gloves issue makes this scene more romantic

Robert's collar is unbuttoned and they're not wearing gloved Henry must've been loosing his mind.

please reblog this or at least like it I crave validation

[brainscrems]

It’s more abt context, like all language. Diff words have diff meaning in diff contexts. All machine learning is AI. So that includes voice to text that trains itself to recognize speech more accurately.

The verification for the medical stuff is the same as drug testing. But, it’s also REALLY hard to design a molecule w the biological properties u want by hand. Most of our drugs are either modified from molecules we find in nature or simply are those molecules. We know some certain properties cause some certain effects, generally, but we also need to make sure it doesn’t do things BESIDE what we want it to do. For example. The first S in SSRI stands for “selective”. This means the ONLY major effect on ur body it has is as a serotonin reuptake inhibitor. As opposed to SNRIs which are serotonin/norepinepherine reuptake inhibitors, or other drugs that effect multiple neurological or cellular receptors. So, for example, say u want a new antibiotic. There are various potential mechanisms of action on the bacteria. U give the computer lots of data on what molecules cause what effects and it looks for similar properties to find ones that work. But. Then again. Whatever it is needs to be something with low toxicity to humans, else it wouldn’t be much use. So u probably feed it some information on some bad things to avoid. It gives u some proposals but u gotta test them bc AI can make mistakes and is inherently probabilistic. U also can’t predict against ALL the ways it could poison u, and maybe mistakes even if u could, so u gotta do some testing on that too. Standard drug trial procedure. It’s probably generally more helpful w neurological drugs bc it’s way easier to run tests agains obvious downsides, but u still gotta do tests to make sure it won’t fuck up ur body in non-nerve ways. I’m not on expert on this, I just know the vague principles and it’s possible i got some of the ai bits wrong. However. The general idea is: Basically ur body is a bunch of (like. More than u could ever possibly count) if/then gates that don’t function 100% perfectly all of the time, but average out to be largely deterministic, and drugs and poisons hijack those gates to create different deterministic-ish outcomes from the ones u’d have otherwise. The issue is that everyone’s gates and needs r all slightly different due to genetic variation and environmental factors and generalizing to all humans is impossible. So we do numbers games to get the best outcomes on average that we can. We’re using the AI to find better, newer, and safer ways of targeting the gates we want to hijack while reducing the amount we fuck w the ones we don’t specifically wanna mess with.

(Source)

[elykyle07]

GOD ODYSSEUS GODLY WEAPONS

Hello again! I return with more content on the God Ody au! (Check the #God Odysseus au! Hashtag For more info on that!)

Last time I introduced the man/god himself and his design and today we are gonna talk about his arsenal aka his godly weapon! You know how gods have those, Zeus’ thunderbolt Poseidon’s trident so i figured lets give Ody one!

Now obviously Odysseus is an excellent archer with that being his most iconic weapon but bow and arrows do somewhat overlap with Artemis so i figured focus more on the arrows and quiver being the godly aspects than the bow itself so here it is!

Here is the text on the images in case you can’t read it

Wolf arrows

Godly arrows made of olive wood and the essence of wolves (fur, blood etc.)

When fired the arrows transform into wolves hunting down their target following the directive implanted in them by their archer, but will always default to the command of Odysseus.

Odysseus can bathe the arrows in the blood of fallen heroes (mainly parents) and they can be reborn as one of his arrow wolves.

The bow of Odysseus

The palintonos bow Odysseus carried as king he continues to wield in his divinity with new adjustments he has made over the years such as a carving of a wolves head howling at the moon and a sharp metal spike at the bottom for close combat.

Over the years he has carved many more of these bows to bestow upon those he favours including a bow for each of his children when the prove themselves strong enough to wield it. until they prove themselves strong enough to wield the palintonos bow they train with the standard training bows within Odysseus’ armoury of bows, filled with bows he has collected over the years from travels and offerings, as well as the many bows he has carved himself.

The quiver of Argos

Once just a normal quiver Odysseus wielded in battle but when he faced a tough foe seemingly unbeatable the spirit of argos his loyal hound escaped from hades having bested Cerbarus to aid Odysseus in battle, now Argos’ soul is bound to Odysseus! Quiver even taking on a shape similar to argos, with this physical object tethering argos’ soul to the physical realm argos now assists Odysseus fetching his fired arrows, even after death he is still playing fetch with his master, truly mans best friend.

Argos rested in hades for many years after passing on, eventually joining penelope when her time came as well and when argos learned of Odysseus’ new found godhood he was delighted in knowing his master would be able to help so many people now but when he saw his master in trouble against a strong foe in a battle that waged weeks he knew he had to do something, so argos went to cerbarus the guard dog of hades to ask for entry to the living world, when Cerbarus refused reiterating the orders given to him by his own master they fought with argos leaving defeated, coming back time and time again to no avail, but when argos came across hermes and explained his situation to the messenger god, hermes feeling bad for argos(and wishing to cause mischief for his uncle) blessed argos with holy moly, now empowered argos fought Cerbarus a final time coming out victorious! Argos then bolted across the mortal plane and helped odysseus slay his foe!

Argos is the pack leader of the arrow wolves (the wolves that form after being shot as arrows) if Odysseus or the archer isn’t around its argos’ orders the wolves will follow as argos leads them back to Odysseus.

So yeah that God Ody’s godly weapon(s)

[necarion]

I've never quite understood why Avatar didn't have more cultural staying power. I recently went and rewatched it when it came back to theaters, and it was as amazing as I'd remembered it. The plot remained kinda dumb, but way less so than I'd remembered given the fucking endless discourse on the subject. The white savior narrative was still slightly fucked up. But, again, compared to the shit coming out of Marvel or DC, it wasn't anything to write home about. Really, it was like every single plot point was nitpicked to death, in a standard basically no other contemporary film was.

@jadagul pointed out once that he had been judging the story of Avatar on a "real movie" curve, when really it should have been considered on a "superhero movie" curve. Like, seriously, is it any dumber or more poorly written than like 2/3 of the Marvel movies in that same time period?

I think there were a couple problems here. One was that there was this really surprising anti-Cameron group that was already declaring the movie to be a failure before it came out. It was going to be environmentalist propaganda (kinda true). Or it was going to be a "chick flick" like Titanic. There was still a sizeable contingent of people who seemed to be mad at themselves for liking Titanic, despite there being a romance with Leonardo DiCaprio in it. James Cameron had made a whole bunch of amazing movies that everybody loved, but his last one had been 12 years ago, and there had been a backlash to the fact that it was as popular as it was, so many of the folks who you'd have expected to be fervent fans of the guy who made Aliens or Terminator 2 just weren't defending it.

So, the tone of discourse for the movie was "this movie is visually spectacular" and "also kinda dumb". But the community for "kinda dumb" was insanely vocal, and I remember feeling intensely peer-pressured to admit that it was "dances with smurfs" or whatever. Liking it was actually kind of uncool, even among the nerds I went to school with (even though almost everybody came out of the theater in awe). And part of the problem was, indeed, that the movie was kind of dumb. So you couldn't really defend it on those grounds, and there wasn't a pre-built constituency of Cameron fans. (For comparison, there were (and still are) rabid defenders of Snyder's much dumber, and much more offensive movies.)

So there's this dynamic already pushing the tone of coverage against the films.

But combine that with the fact that the story was basically entirely serviceable for what it was trying to do, but nothing particularly interesting to discuss. I've seen much more interesting stories, and also far worse ones, that people love to talk about. So the only thing you can really say about it is "yeah, the movie was awesome" and "holy shit this was the most beautiful movie I've ever seen.

And then you take it home and watch it on your 2D screen and it's...kind of flat and lifeless. It lost an astounding amount in that transition. So there's the DVD sales gone. Avatar was basically the leading reason in the push for 3D TVs, but those just weren't ready for primetime.

And then comes the 3D movie mini-explosion, and these mostly fell flat. Avatar had worked as well as it had because Cameron planned for it to be in 3D from the very beginning, and pushed the technology as hard as it would go. In comparison, 3D up-conversion was neat, but it really wasn't using the technology as anything other than a way to sell more expensive tickets. And this got blamed on Avatar.

And then Cameron doesn't release anything else in the Avatar universe for over a decade, so there's nothing to build on. We heard all the jokes of Avatar 2-5 (or whatever) but there wasn't really anything. Not even any bad stories that could re-ignite investment in that world.

So, through a combination of

having a story that was well-suited to show what Cameron wanted,

that was kind of dumb,

with nobody who really wanted to defend the story because it was boring and kind of dumb

a very vocal cadre of anti-Cameron fans

and then no follow-ups for over a decade

then yeah, it makes sense that not a lot of people talked about Avatar.

Of course, then Cameron decides to finally release Avatar 2, and it's way dumber. He went all-in making it a magical alien planet documentary, and seemed to totally forget to, like, have someone read through that godawful, boring script. Maybe that validates what folks have been saying about Avatar 1, but that standard can be used to invalidate a whole lot of solid films by a lot of solid directors. I think the lesson is that auteur film directors should have a competent writer on-hand who they actually listen to, and who will tell them know. But we've known that for forever.

I know very little about this film except the trans subject matter, and that it has truly appalling songs, but it's hilarious it has all those Oscar nominations when it is this disliked by the audience of the country in which it is set, and is guaranteed to be forgotten by everyone a year from now.

It made me think of that "gay, black" film Moonlight, that won Best Picture 9 years ago, and how I haven't heard a single person mention it online or offline since that year. I even had to look up "best picture winners" on Wikipedia to remember the name. But according to the academy, that was the greatest motion picture of its time. Entirely forgotten today.

Whereas, if I go back through the list another decade, there are films like The Departed and No Country For Old Men winning that award, that millions of people still love and esteem and regularly talk about and recommend to others.

Another decade earlier, it's The Silence of The Lambs, Unforgiven, Schindler's List, Forrest Gump, Braveheart, The English Patient and Titanic - again: films literally everyone still know and love today, 30 years on.

The Oscars used to be a benchmark for timeless excellence in the cinematic arts, but now The Oscars are just a measuring stick for how far Hollywood has fallen into virtue signaling, ideological propaganda, incompetence and mediocrity.

[thekoalapastriesbakery]

Nascar! Male reader after being cheated on by his former boyfriend (thats pretty much friends with his entire team and even had sex with afew) moves to f1 for 2025 where he drives pretty reckless, and while he doesn't disobey team orders the team would rather he not get into situations where they need them, that is till jack doohan, kimi antonelli and oliver bearman become friends and reader falls in love with jack.

–🍑

i know next to nothing about nascar so sorry in advance for inaccuracies

the day you found out your boyfriend had been cheating on you was probably the worst day of your life. if it wasn't the absolute worst, it was definitely a contender for the top three.

everything felt like it had fallen to pieces so quickly. one day you were happily in love, you had a great team behind you, and a great circle of friends. the next you were hastily packing a bag of only the things you cared most about through blurred vision. your team, your friends, everyone seemed to take the side of your ex-boyfriend.

no matter how much proof you had, you got excuses of "but he's such a nice guy!" or "well, he's never done anything to me ..."

you couldn't count how many things you'd lost that day. your friends called you a liar and a coward. your team started icing you out, giving you the worse strategies and slower pit stops. the final blow came when you discovered that not one, not two, but several of them had slept with your boyfriend–often during race weekends when you were focused on, you know, not crashing the car.

the second you got a call and an offer from a formula one team, you took it. nascar had been fun for a while, but now it only reminded you of him and everything he took with him. you sent your team a two-line e-mail to tell them that you had a seat elsewhere and got on the next plane to the uk.

formula one was ... different. in good ways and bad. pro: it reminded you very little of your ex. con: it opened you up to a much more global audience; many of whom–given you hadn't leaked any of the proof of your ex cheating on you–had taken to believing the same lies everyone else had.

your driving, instead of being precise and calculated, became aggressive and reckless. you never disobeyed team orders, and you never raced in such a way that it would put another driver at risk, but when it was just you ... well, you found that you really didn't care enough for your own life to preserve it.

formula one had a whole media angle with the many new rookies on the grid. at first, you were determined to remain unattached and borderline cold. but the cheery personalities surrounding you slowly chipped away at your roughened exterior.

you weren't sure exactly when it broke away completely. maybe it was when ollie had called you one night, drunk off his ass, to excitedly tell you about a cat he'd seen on the street. maybe it was when kimi insisted on cooking you authentic italian food on your birthday (how depressing it was to realise that you couldn't remember the last time you'd celebrated it). maybe it was when you made jack laugh–really laugh–for the first time.

you didn't know when it happened, but it did. and you couldn't have been more grateful. ollie and kimi were the best friends you could ask for, and jack ... well, your resolution to never date again came to an abrupt end when the two of you found yourselves tipsy and alone in your hotel room.

slowly but surely, your driving returned to it's previous standard. you stopped spending nights crying yourself to sleep and spending morning bare-knuckle boxing a sandbag until your knuckles bled. you got better. you were happier.

and when the day finally came that someone else revealed the evidence of your ex's infidelity, all you could say was, "good riddance."

[sashaaababy]

Candy - Che Ecru

Authors Note: This is a Toji fanfic;) Ive been saying i was working on a fanfic so here it is? i hope its up to standards, and for all you horn balls ill highlight the first word of where the smut starts

Summary: Reader is a young and broke dropout who was offered a job as a bartender at a strip club since she was friends with the owner. toji is a divorced single alcoholic

Wc: 2,621

Cws: Oral, rough s*x, An*l, creamp!es, p in v, nsfw, smut, dacryphilia, doggy, age gap, spit, c*m play, tummy bulge, size kink, toji is BIG, daddy kink, headlock, biting, choking, slight p!ss, reader has daddy issues, Not proof read!!

Being a drop out college student meant being on bad terms with your family, not contacting them for months, and working as a bartender at a strip club. Which also meant dealing with creepy old men wanting to fuck you on the daily, but it was the only way for you to pay for your cheap lower class apartment. You had daddy issues mommy issues shit, all kinds of issues, you hated your life and would kill to change it. but you cant, so you get dressed putting on your work uniform (a skirt and white collard shirt) and look in the mirror straightening yourself up and brushing your hair, throwing on whatever makeup fixed your eye bags. You grab your keys and purse and walk out the front door, and down the stairs of your apartment, "y/nnnn i feel like i never see you, you work late yeah?" the creepy old man at the front desk always tried to make small talk with you and you always tried your best to ignore him and walk faster out the broken revolving doors that lead into the apartment complex. Once your out you scramble for your keys in your purse and unlock your car door.

The drive feels short but you wish it felt long, you dreaded work but once again the bills aren't going to pay there self. You get out of your car and walk to the more expensive revolving doors that lead into the strip club, unlike the ones to the apartment complex these one actually work. "y/n! omg i feel like i havent seen you in forever" one of the girls run up to you and give you a hug squeezing you so tight you feel like you actually cant breath "didnt you see me yesterday?"you let out a soft giggle patting her back slightly as she lets go of the tight hug she had on you "hmmph yesterday was a long time" she pouts "i have to get working ill see you later yeah"

you set your stuff in the employee locker room and walk out to the bar table serving people there drinks and receiving tips from people who are probably to drunk to even drive home but is it bad you couldn't care less? "can i get the cotton Candy margarita" you hear a deep raspy voice from behind you as you were putting away a few bottles you turn around and see the man who was talking to you, he looked like shit, i mean no he was attractive but he looked like he had just been through the worst moments of his life "you gonna get me my drink, sweets? or no" you scramble for your words "o-oh yeah sorry about that" you turn back around embarrassed for staring make him his drink and hand it to him and like every start of some cheesy romance show, your fingers brush and you try to think nothing of it until he try to make small talk with you "you look pretty young to be working here ma, how old are you?" you stare again, not because he looks like shit but because this guy is huge like muscles that could crush you on accident without even trying, "your staring" you snap out of your gaze "oh- uhm I'm sorry, I'm 22 recently- my friends owns the place so he gave me a job here since i was kind of looking for a job" you stop yourself before you go on a ramble about how your a drop out low class apartment living failure "ahhh i see" he takes a sip of his drink looking around the bar and back at you, this time up and down like he's checking you out, you look away and clean a cup to act like your distracted or busy. "do you dance?" your eyes snap back to him giving him your full attention "dance?", "yeah like on the poles and shit" of course he meant that, gosh you feel so stupid "oh- uhm no I've never tried it before, I'm to shy for that kind of stuff." your eyes go back down to the cup you were cleaning "thats a shame" thats a shame? what does he mean thats a shame? does he wanna see you half naked on a pole? no you don't even know the guy. thoughts rush through your mind completely distracted to the fact that the guy has already left and also, left a $100 bill on the counter, your a bit disapointed you didnt get to say bye but whatever.

You walk back to to the locker room to grab your stuff, you walk outside in the cold fresh air and get inside your car to drive home, but this drive felt long, unlike it was driving to work, driving home you couldn't stop thinking about the interaction with that man, yes yes you have spoken with many people at work serving them drinking, shit you even have regulars who come in everyday and speak to you, but this guy was oddly mysterious and come on the way he just left?the $100 tip? way weird. But before you can stop thinking about it, your already home stepping out of the car and into those broken revolving doors that you need to push to get past, luckily that weird creepy guy isn't on his shift and its a lady who's about to fall asleep, i mean it is roughly 2am so its completely valid, you take the elavator all the way up to your floor and walk down the eerily quiet hallway, you dig for your keys in your purse and unlock the door and sigh as you step into your sad embarassingly small apartment, you set your stuff on the counter and sit on your bed to count your tips, you go through them when you come across the $100 bill and see something on the back of it, his phone number, you look confused not knowing if this was an accident or he meant to do it. you ignore it and put the cash away in your nightstand and stand up to take a shower and get ready for bed you turn on the shower and strip off your work clothes waiting until the shower is warm enough to step in.

You step out of the steamy hot bathroom and dry your body off scrambling through your drawer to find some pj's, once you do you climb into bed and stare at your ceiling not able to get that man and the phone number off of your mind, you grab the $100 bill from your nightstand drawer and text the number, only to see if he meant to put it or if it was an accident of course, "hey, this is the girl from the strip club, the bartender who served you your drink, did you mean to put your number on the bill or?" send. you set your phone down not expecting him to respond to the text immediately since it is 2am at night, *ding* your phone goes off just as your about to close your eyes, you reach for your phone and see the number pop up as a message notification "Hey sweets, you can start by saying thank you for the tip" you read the message slightly annoyed "thank you." you type back and hit send before falling asleep not being able to stay up any longer.

You wake up to your alarm and check your phone to see no reply back from him, you notice you don't even know his name but you move on with your day as that was just a random thought, when the time arrives to get ready for work you do your usual routine and grab your keys having that creepy guys at the front desk try to make small talk while you quickly walk out, the get to work and start taking peoples orders, and it is BUSY your exhausted as the night drags on, but then that same man comes by "hey sweets" you look up at him "you didn't answer my text" you say in a softer voice than usual, you hate to admit you were a bit sad he didn't text you back, even though you didn't even know him or his name, your life was insanely boring and he made it slightly interesting "what was i supposed to say to a thank you?" he pouts and you almost believe he was actually sad you didn't start a real conversations, you change the subject "i don't even know your name" you say softly looking at the empty glass in your hand pretending to be occupied so you don't have to look him in the eye "Toji". "Toji" you repeat feeling the way it rolls of your tongue "it sounds nice coming from you sweets" he says resting his chin in the palm of his hand, and you cant help but feel your face heat up a bit "im y/n, your weirdly comfortable to someone you don't even know" you say with a smile finally making eye contact with him, "let me take you out" your face visibly heat up at the sudden ask, take you out? he doesn't even know you but how could you not, i mean look at him. "okay" you say acting unbothered trying to hide the fact your screaming inside "perfect, ill pick you up after your shift" he says it so calmly like none of this is new to him.

Next thing you know you're getting into a mans car you barely know, "you buckled up ma?" you nod nervous for what your getting yourself into "where are we even going, its super late i doubt anywhere is open." he shakes his head "don't worry that pretty little head of yours alright?" and you listen obediently sitting patiently in the passenger seat of his car. he pulls up to an expensive looking building and thats when you realize its a penthouse, your at his house, on the first time going out with him? i mean your already here and you cant change your mind now. He gets out and runs to the other side of the car to open the door for you before holding his hand out to help you out of the car, you look up at the building as you step out, you have butterflies swimming in your stomach, you hands are sweaty your scared if he can feel it, "cmon ma no need to be nervous" he kneels in front of you putting his face in your hand looking up at you "i have sum good food, games, i don't expect anything from you i just want you to have a good time ma" oh this man is down bad which is surprising for how scary and big he looks, but you give in feeling more comfortable and not as he gets up and leads you inside and into the elevator you both walk into his dimly lit penthouse and your shocked, food on the island table, a pool table, being a broke drop out you never thought you could ever step foot in a place like this or breath near a place like this, you look around fascinated and excited at the food "did you make this?" Toji wont lie to you he didn't make it, his house keeper did "hah, no i have a house keeper she's a great cook" you look around at all the sweets and eat a cupcake happily, he comes up behind you hugging your waist and resting his chin on your shoulder "is this okay ma?" you nod slowly shocked but comfortable having the man twice your size hold you like this, in some way you felt safe even though being here with a man you haven't even known for a week is probably insanely dangerous.

And it was, because next thing you know your getting your brains fucked out on the living room couch, he's putting you in doggy style forcing your back in a arch you didnt even know you could do, pounding his cock into your warm cunt, bullying your cervix with his fat tip kissing it and your g spot making you feel that deep stretch with his girth, your eyes rolling to the back of your head as wet *plap plap* noises fill the room while you gush all over his cock and balls, "f-fuck baby your pussy's so h-hah tight" he's digging his nails into your hips you swear it will leave marks in the morning, he leans forward putting his weight and chest on your back as his arm reaches around putting you in a headlock that makes your brain feel fuzzy and your vision go blurry, all you can feel is his cock drilling your pussy "h-hnngh T-toji s-stop -i need to -pee" he thrusts even faster you swear he's just being mean "h-hah i don't care" you whine and try to squirm away from his cock but the headlock he has on you keeps you in place "T-toji seriouslyyy" he uses his other hand that was on your hip to reach under you and push on your bladder "i s-said i don't care" you whine and piss on his cock and his thrusts only get faster "f-fuck your such a dirty fucking slut on my c-cock" he bites down on your neck trying to muffle his whimpers and grunts, he moves his hand towards your lower belly feeling the bulge in your tummy "f-fuck you f-feel that baby? thats d-daddys cock drillin your belly" you start crying from the overstimulation and the orgasms hes taken out of your body "f-fuck baby your so small compared to me, i don't even know how this small little hole is taking me s-so well- oh fuck!" you feel warm thick spurts of cum fill your hole shooting directly at your cervix as he pumps it deep into you with long slow thrusts making sure you get your fill, "fuckkk baby just like that- milk daddy's cock cmon sweets don't s-stop" he flips you over onto your back as he slips out of your gaping pussy so he can watch the mix of juices run out of your hole and onto the bed sheets "fuck baby your beautiful" he climbs closer to you hooking his arms under your legs spreading them wider as he settles his face between your thighs licking his dry lips before leaning in and looking up at you with his gorgeous eyes. Sucking on your clit flicking it with his tongue before giving your hole attention, sticking his two thumbs inside and spreading it wide so he can look inside, "fuck i filled you up good huh baby?" he sticks his tongue in fucking it in and out tasting the mix of you both combined spitting on your pussy and playing with it "fuck baby, tastes js like Candy" he uses 2 fingers sticking them inside while he sucks on your clit while your a crying whiney mess trying to push his head away but it just makes him flick his tongue faster on your clit, "T-toji s-stop it i cant-" tears stream down your face from the overstimulation "your so pretty when you cry baby, you have no idea" and once you cum one last time for him he kisses your clit before crawling back up to you and hugging your waist pulling you up close to him and kissing all over your neck before having you fall asleep on top of his massive body that you barely cover half of.

[crashdevlin]

High Walls in Gotham

Author’s Note: I'm so happy to be back!

Summary: Jason has known Y/n since they were running together on the streets. Now that they’re in their 20s, Jason is Red Hood cleaning up the streets of Gotham with bullets and blood, and Y/n is White Witch, the criminal elite’s favorite fence and Black Mask’s favorite advisor. With their places in Gotham so opposed, does their past even matter?

Pairing: Jason Todd x Reader

Word count: 3438

Story Warnings: a bit of angst and mutual pining.

~~~

When rain falls in Gotham, it turns an already-dark city into a cloud of ink-colored oil slick. The city doesn’t care, though. It keeps going through the rain. Businessmen do their business, taxis run their fares, criminals plot their crimes, and heroes foil them.

Jason Todd continues through the rain, too. Three parts hero, two parts criminal, and one part little boy who never really grew up.

My security system goes off to inform me that I have a visitor approaching the door of the apartment. A blur of black and red passes the camera as I pull up the video on my phone. I get to my door and open it, just as he raises his hand to knock. It takes him by surprise and gives me a chance to get a good look at him. Red hood and matching mask, brown fatigue pants, black and red boots. His eyes are grey today.

He covers his shock quickly and pushes into my living room. “Shipment of guns coming in. Big one. I want details.”

“Please, come in, Jason. Would you like anything? A drink or perhaps a lesson in manners?” I greet him as I shut the door.

“Save it. I want names, dates, times. Now,” he demands, crossing his arms over his chest and glaring at me.

“Come on. If I knew something, I’d tell you. Sounds like you know more than I do.”

His eyes narrow further and I can tell he’s wishing he could intimidate me like he does other criminals. Well, it’s just too bad for him that I know him too well. “Quit playing dumb, Y/n. You get your fingers into any pie you can reach in this city. Last time an arms shipment came through, you were the one who told me about it.”

“Exactly.” I cross my arms and look bored. “I knew something, I told you. This time I don’t know anything, so that is why I have nothing to tell you.”

Jason glares more before sighing. “Fine. Let’s play a game. You answer a question honestly, and I’ll leave.”

I smile and nod. “Sure.”

“Who are you working for right now? And don’t even try that self-employed bullshit. You’re always in someone’s pocket.”

I lick my lips and take a breath. “Black Mask,” I respond.

“Black Mask again, huh? Figures. He’s the only one crazy enough to work with you repeatedly without killing you. ‘Kay, next question.”

I put my hand on my chest in mock offense. “Are you trying to wound me, Jason?” I nod. “All right, then. Next question.”

“You dating him?”

“What?”

“Dating, fucking, whatever.”

I laugh out loud, the sound echoing through my suite. “Are you serious, right now? I’d never let Roman touch me! He’s rich but he’s a fucking psycho. I have standards!”

“So you aren’t protecting him because you’re screwing him. So why are you protecting him?”

“I’m not protecting him. Black Mask doesn’t need me to protect him.” I shake my head. “I don’t know about any shipment of guns. I swear.”

He stares at me, examining my face for any trace of deception. He sighs when he doesn’t find any. “Something’s not right. I know guns are coming in. I’ve heard a dozen people whispering about it, but no one knows anything.”

“Have you asked your former mentor? Or any of the other birdies?” I ask, taking a step closer to him.

He tenses at the mention of his former family, jaw tight and anger in his posture. “Damn it. You think they might know something?”

“I learned a long time ago that Batman and Robin know what’s going on in this city. Much to chagrin.”

“Yeah. Which means they know about you working for Black Mask. They know you’re working with any criminal who throws money at you.”

I blink at him a few times before smiling tightly. “I’m not a stripper; no one throws money at me.” I step toward my kitchen, turning my back so he won’t see my emotions on my face. “And I’m a small fry. If they know about me, I’m likely listed as ‘nameless fence slash goon number 3’.”

I grab a beer from my fridge and distract myself with opening and drinking it. “You think I believe you’re just a fence?” he challenges, following me into the kitchen. “I know you better than that.”

“What, exactly, do you think I do, then, Jason?”

“Black Mask keeps you around for a reason, Y/n. If you’re not fucking him, you’re advising him, and if you’re advising him…” He grabs my shoulders and forces me to face him. “Then you’re protecting him, and if you’re protecting him, you’re lying to me.”

“I protect myself and those I care about. Roman doesn’t qualify,” I respond, glaring slightly as I look up into his eyes. “Now, I answered your questions. I’m done with your game. You can leave now.”

I move away from him, intent to show him the door, but he grabs my elbow to stop me. “I’m not-” he starts, but I’m done with our conversation. I spin back, gun from my back holster pressed against his temple.

“Let’s not,” I say coldly.

He looks at the gun for a moment. “You’re not left-handed. Think you could actually-”

“Safety’s already off and I doubt accuracy would matter much at this range. Would you like to meet God again?”

I’d never pull the trigger but he doesn’t know that. He puts his hands up and steps back. “Fine. I’ll talk to Dick, see if he knows anything.”

“Good idea,” I say as he walks toward the door.

“Oh, and, uh,” he turns at the door and smirks at me. “Your safety is on.”

I roll my eyes as he leaves. Of course the safety was on. I wouldn’t actually clock him with a loaded gun if the safety wasn’t safe. I sigh and take a seat on my sofa. I hate that I love that idiot. As terrible as it seems, I would’ve been better off emotionally if he had just stayed dead.

~~~

I spend a lot of time at the Black Mask Club. Roman likes having me around…and I like people-watching. There’s so much information that can be gleaned from watching interactions. I watch a couple clowns walk in, followed by the pigtail-wearing blond. Joker doesn’t follow, but the fact that his goons are with her says that Harley and Joker are back together. Wonderful. I approach and offer a smile to the clowns before Harley turns to me.

“White Witch! It’s been forever!” She wraps her arms around me and I return the gesture. She shoos away the goons and offers me a seat next to her at the bar. “Yer a fixture here lately, ain’ ya?

“Even when I’m not on his payroll, it’s a good idea to keep tabs on what Roman’s up to.” I throw a look at the goons. “I see you’re back with Facepaint.”

She shrugs. “Aw, Mr. J ain’t so bad. He bought me this bracelet to apologize.” She shows off a diamond tennis bracelet I recognize as having been stolen a week ago.

“You know I don’t judge, Harley, but-”

“Yeah, ya do,” she argues. “Yer still salty that my puddin’ put down your puddin’.”

I smile politely. “I do not now, nor have I ever had, a ‘puddin’. I’m just saying…deserve better.”

“Does she now?” A higher pitched manic voice behind me says. I have to work to keep the smile on my face as the clown joins Harley at the bar. “I give Harley everything she could ever ask for.”

“Of course! A happier woman, I’ve never seen,” I force out, keeping the smile despite the fact that I want to take a crowbar to Joker’s stupid, smiling face. “You two have a good night. Enjoy your drinks.” I turn away and walk toward Roman in the VIP.

“What crawled up her stovepipe and died?” Joker asks.

“She’s just lonely. Don’t worry ‘bout her.” At least Harley has the decency to keep her observations about me and Jason to herself. The last thing I need is for that clown monster to know I have a soft spot worth exploiting.

“Fuckin’ clown,” Roman says as I step up into the VIP area.

“I didn’t know you had a problem with Joker,” I say as I grab a glass of wine and take a seat beside him.

“Everyone with half a mind has a problem with that crazy fuck. He’s unpredictable.”

“I knew there was a reason I liked you, Roman.”

“Has nothing to do with me bankrolling your lifestyle, then?” he jokes.

“Absolutely not,” I respond with a smirk. I take a sip of wine and settle in for the night, trying to ignore the clowns. Joker doesn’t deserve to be sitting in a bar with a beautiful woman at his side. He doesn’t deserve the cushy cell in Arkham that he’ll be in next time Batman takes him off the streets. Joker deserves an unmarked grave in a pauper’s graveyard. Of course, Batman would never put him down. He’d never do the right thing. He’d only do what he thought was right.

Jackass.

~~~

I leave the Black Mask Club at about 2 in the morning. I wave off the bodyguards that want to walk me to my car. I don’t need them. I sigh when I see Red Hood leaning against my car door. “Two nights in a row. You’re gonna make me think you’re sweet on me, Hood.”

“So I was thinking about our talk, ya know, before you pulled your gun on me,” he starts, ignoring my comment as he stands up straight. “You said you protect the ones you care about. I didn’t think there was anyone you cared about besides yourself.”

I nod, faking a thoughtful expression. “You’re right. You know me so well. I do only care for myself.”

“No, I’m thinking I was wrong, actually. I think there must be someone you actually give a fuck about.”

I push past him to open my car door but he puts his hand on the door to prevent me from moving. I push down my anger and look up at him. “Years ago, there was a dumbass boy I gave a fuck about, but he died about a decade ago.” I take a deep breath and look up into the eyes of his mask.

His posture changes but I can’t see expression because of that fucking mask. “Sorry. I was just-”

I roll my eyes, happy that it went over his head. “You were just pushing my buttons.”

“I was teasing. I didn’t think… what happened?” he asks, stepping back to let me open my door.

“Gotham happened,” I respond before getting in my car and turning it on. He steps back and I peel out of the parking lot.

I wish he would leave me the fuck alone sometimes. I had to see him dead already. I had to mourn him already. I can’t see him die again, not for this city and not for the goddamn Bat.

I wish I really was as cold and heartless as people think I am.

~~~

“Think we got one of ‘em to take the bait,” Roman says when I enter his office in the morning. I offer him a cup of coffee and take a seat in the armchair in front of his desk.

“Yeah? Did you get the Bat to bite?”

“No. Un-fucking-fortunately, I think it’s the other one…not the kid, the other bird.”

“Nightwing? Used to be Robin?” I ask, my stomach dropping a bit.

“Yeah. These idiot ‘heroes’ and their stupid fuckin’ names,” Roman sneers.

“Like Black Mask and White Witch and Poison Ivy and fuckin’ Calendar Man?” I snap, my heart racing with fear. Jason went to Dick. Dick is going to lead Jay into a trap.

“You got a fuckin’ problem, bitch?” Roman growls, leaning forward.

I lick my lips and shake my head. “Ya know, I think I might be PMSing. You need me to stick around or can I go home?”

“Yeah, get the fuck out of here. Don’t need your fucking attitude,” he dismisses. I stand and walk out of his office, forcing myself to walk to avoid his attention, but I want to run. I need to warn Jason. Now.

I race to Jason’s apartment, swerving through cars and going 80 in a 45. I screech to a stop, easily parking in front of the building and running inside. I slam my fist into the wood of his door. I wait a few seconds then hit the door again. Jason finally opens the door and I push into his apartment. He looks over at me, exhaustion on his face. He runs his hand through his hair as he closes his door.

“I hope you have a good reason to wake me up when-”

“Shut the fuck up and listen to me,” I interrupt. His eyes go wide at my tone. “Do not go to the docks tonight.”

His eyebrows come together in confusion. “How do- Wait.” He crosses his arms over his chest and glares at me. “You lied to me. You do know about the guns.”

“Of course I do; it’s my job to know this shit. The point was for you not to know because it’s a fucking trap.” I step closer to him. “Roman was hoping to catch the Bat so he put rumors out in the world about the guns. It’s not for you.”

“What, you were gonna let Black Mask kill-”

“Yes! Let Bruce finally get what’s coming to him, sure! But not you,” I insist. “Not again.”

Jason blinks a few times before his expression softens. “You know I can’t just let those guns into the city.”

“Let someone else take care of it, Jason. Please,” I whisper.

He runs his hand through his hair. “Who? Especially knowing it’s a trap, who can I give it to?”

“Give it to Gordon. Let GCPD actually do their jobs for once. Or tell Batman. Let him know it’s a trap, that way he can prepare, but don’t walk into that shit.”

“Dick and I-”

I grab his shirt and look up into his eyes. “Don’t. Go.”

He looks shocked at the intensity in my expression. “Okay. I’ll…toss it to someone else.”

I sigh in relief and let go of his shirt. “Good.” I move to leave, but his hand wraps around my wrist and I turn back to look at him,. He’s looking down at his ugly carpet, white strands of hair falling into his eyes.

“That dumbass boy from your past that you were talking about… is he…”

I scoff and shake my head a little. Had to know he’d figure it out after this. “Still a dumbass with anger issues despite being murdered years ago? Yeah.”

He closes his eyes for a second. “What if…this dumbass…what if he cared about you, too?”

I take a deep breath as tears threaten my eyes. “Then he’d be a bigger dumbass than I thought ‘cause he’d be clinging to me the way I’ve been clinging to him.”

He takes an audible breath, his fingers tightening around my wrist. “You’re clinging to the real him… the old him. Do you want him back? That him, not the… ghost you’ve been talking to?”

I shake my head, the tears finally welling up. “You’re not a ghost, Jay. You came back…and you’ve been angry, but… anyone who doesn’t understand…they never fucking understood you in the first place,” I say, thinking about Batman admonishing him for becoming the Hood.

He looks over at me, his eyes green and wet with unshed tears. “Do you? Do you understand why I became the Red Hood?”

“Of course.” I discretely wipe my eyes and clear my throat. “You grew up seeing the same thing I did, the true darkness in the heart of Gotham. Then Batman took you from the streets and gave you a purpose more than just surviving. He taught you his morals and gave you a place at his side and that place next to him, it got you killed. And then…”

“And then I came back… broken and changed,” he says, his voice low.

“No. Not broken.” I blink away more tears. “Changed. Of course you changed. You came back different, angry at the way his morals put you in a place to…” I look down, anger filling me. “Joker should never have been allowed to live after the first time he escaped Arkham. Throwing them in jail over and over does fucking nothing. It’s a stupid cycle that Batman perpetuates because he knows that he is nothing if he doesn’t have anyone to fight against. You shouldn’t have had to pay that price for him.”

He looks over at me, shocked by some part of my diatribe. “You…” he starts, his voice cracking.

I lick my lips and take a deep breath to try to regain the composure I usually pride myself on. “When Bruce Way adopted you, I was so jealous. Even when I watched the Boy Wonder beat up my dad’s drug dealer and I heard your voice from under that stupid domino mask… I was happy for you. But when Joker killed you… I wanted to kill Bruce. It was his fault.” I tuck my hair behind my ears. “If I’d been older, if I hadn’t been a 15 year old girl with no access to billionaire Bruce Wayne… I would have tried, but I knew I couldn’t get close enough.”

“You still feel that way? After all these years?”

“Never stopped.” I clear my throat and pull my hand away from him. “Anyway.”

“Don’t ‘Anyway’ me. We need to talk about this.”

“What do we have to talk about? This doesn’t change anything. You’re still going to be trying to clean up the seedy underbelly of Gotham…and I’m still going to be stuck in that seedy underbelly. We can’t stop being who we are and we can’t afford to be each other’s weaknesses.”

Jason nods. “I get that but I want…can’t we just talk a bit longer?”

I take a breath and step back. “What do you want to talk about?”

“Tell me something I don’t know about you. Something I missed after I left you behind to go play hero with Bruce.”

I tuck my hair behind my ears and look at his dirty carpet beneath our feet. “I used to dream of moving away somewhere, having a normal life. Used to dream of living that normal life…with that dumbass boy.”

“Yeah? What happened to that dream? What shattered it?” He moves to try and catch my eyes. “Was it the boy? Or because of Batman?”

I look up, smiling tightly. “It was me, actually. I realized that I’m never gonna make it out of Gotham. It was a nice dream though. It’s still kinda my happy place, where I go to rest my mind when the real world gets too harsh.”

“Tell me about the dream life. Where do we live? What do we do?” he asks quietly.

“A little farm in the middle of nowhere. Upstate somewhere, ya know. Just some chickens and goats roaming around. I’d work at the diner in town and you’d do something with your hands…mechanical stuff, maybe. We would have breakfast every morning on the porch and watch the sunset every night.”

Jason’s eyes get misty. “And what about kids? Are there…kids in the dream?”

I smile softly. “Sometimes. Sometimes it’s just us but sometimes there’s a baby.”

“And we’re…happy? Together on that farm, we’re happy?” he asks, his voice practically a whisper.

“That’s how I know it’s a dream, silly. Gotta be fake if I’m happy.”

“So, you’re saying…” His voice cracks and he clears his throat. “...being happy with me is only possible in your dreams?”

I laugh humorlessly. “You tell me, Jason.”

He runs his hand through his hair. “You know it’s not that simple. We can’t just throw away our responsibilities, our missions. But God, I wish we could.”

I smile sadly and pat his chest. “Exactly. We’re both still here and, well, we aren’t going anywhere…together or otherwise.”

“Dammit. We’re stuck, aren’t we?”

“Yeah,” I confirm softly. “But we’re alive. Stay that way for me, Jason. Please.” 

“I can do that…for your…happy place.”

I go to my tiptoes and press my lips to his cheek. “Thank you, my dumbass boy,” I say before pulling open his door and running down the stairs.

[wisegirl25]

They WERE on opposing sides

Ekko and the Firelights were vehemently against the Shimmer trade, taking down Silco and eradicating Shimmer from the streets of Zaun was their biggest goal, even before tackling the conflict with Piltover

Jinx didn’t care about liberating Zaun, that was Silco’s goal. She worked for Silco because he cared about her, and she wanted to prove herself to him.

Ekko and the Firelights are always the ones to attack Jinx/Silco’s goons first, obviously they have good reason to, but Jinx isn’t just hunting them out and killing them like a lot of you people seem to suggest

Caitlyn hitting Vi and Vi hitting Powder are entirely different things. For one, Vi was a CHILD when she hit Powder. Probably around 15/16, Caitlyn is a grown ass woman who should know better, she was in the wrong in every way in that situation

The worst part aren’t her actions, it’s her lack of remorse. Grief doesn’t excuse any of her actions, and she shouldn’t get a free pass because of that.

Jinx doesn’t “get a pass” she’s a fucking VILLAIN. Caitlyn is supposed to be a “hero”, that’s why they’re held to different standards. We don’t expect Jinx to be a good person because she doesn’t parade around pretending her actions are for the good of anyone, because they’re not.

Their character arcs are entirely different, Jinx is supposed to be a (somewhat) redeemed villain, Caitlyn’s bad actions were just not addressed at all because she’s supposed to be portrayed as a good person, which she’s not.

That’s not to say she isn’t redeemable, but she sure as hell isn’t any better for Vi than being around Jinx is

You’re also seeming to forget that Jinx is not mentally stable. Don’t even bring up the “well neither was Caitlyn at the time” bs because grief and schizophrenia, bipolar/borderline personality disorder, and psychosis are not even close to being the same thing. Jinx’s actions are fuelled by her emotional regression due to her trauma, which is such a huge part of her character that people always seem to ignore. She needs help, but unlike Caitlyn she doesn’t have the resources to access proper care for her issues.

Of course she’s killed Ekko’s comrades, but again, the Firelights were an Undercity Gang directly opposing Silco’s reign, he knew what he was facing. He’s able to look past that because if you apparently missed the entire point of episode 7, we know Jinx would have turned out differently if she had help available to her, and I cannot stress enough that Caitlyn DID have doctors and professionals to help her through the grief of her mothers death, and instead chose to become Caitler

After seeing how the oppression in Zaun led to such drastic measures such as BOMBING the council being made, instead of seeing how the system was setting Zaunites up for lives of drug use, starvation, and homelessness, she decided that all Zaunites were inherently evil and the girl who needs antipsychotics is the root of every bad thing to happen to Piltover.

So logical, so heroic.

People talking about “how can you criticize Caitvi for being toxic when timebomb literally tried to kill each other” PISS ME OFF so bad

Jinx and Ekko were on OPPOSITE SIDES OF A WAR

No shit they’re trying to fucking kill each other

Nothing romantic happened until well after a lot of growth for both characters (and even then it was in an ALTERNATE UNIVERSE)

Timebomb had history together—they were childhood best friends

Meanwhile Caitlyn HIT VI even though they’re on the same side (unprompted, they were arguing and not in a physical fight, that’s called abuse), asked her to become an enforcer KNOWING her trauma, and never apologized for a single thing she did

And all of this within at the very most a few months of knowing one another

It’s almost like—and hear me out—Vi fucking trauma bonded to the first person to show her kindness after being beaten and abused in a prison cell for 7 years

The difference between the ships is that for one, they BOTH tried to kill each other, it was even. For the other, it’s just one sided. Caitlyn in no way deserves Vi and I’m tired of acting like it’s such an amazing ship just cause it’s wlw

As a wlw myself, we deserved better representation than this half assed attempt at romance, season 1 caitvi was absolutely amazing, season 2 ruined it

[caligvlasaqvarivm]

Actual Ultimate Classpecting Guide

For real this time.

Buckle up, this is a really long one. For everything that's posited, I can provide textual evidence; that being said, I'm not going to be including the textual evidence within the essay itself, because it's already long enough as-is. As such, please feel free to ask for clarification or sources on any assertion, and I'll do my best to provide.

Before we begin, there's some things to discuss about how we're going to be approaching classpect in the following essay. In numbered list form for our short attention spans:

1. There is a concept Hussie talks about multiple times in his book commentary, "personality alchemy" - the idea that there are these "platonic ideals" of certain characters, which can be mixed and matched with others, in order to create new characters. The examples he gives are of how Eridan was a proto-Caliborn, how Kanaya has shades of Jade, how Nepeta was a proto-Calliope, and how Sollux and Eridan have shades of Dave in them. Classpecting is fundamentally a form of this personality alchemy:

2. Class describes the character's arc and emotional hurdles, while Aspect describes the character's base personality traits by which this arc is experienced.

3. For example, all three Seers struggle with hubris: Rose's need to be the smartest person in the room led to her being manipulated by Doc Scratch, Terezi's obsession with meting justice led to her engineering a situation where the only option was to kill Vriska, and Kankri's desire to be seen as a spiritual leader amongst his friends led to him furthering their divisions and harming them.

Then, when their pride is shattered, they cope by inflicting willful self-blindness: Rose turns to drinking herself stupid (the opposite of Light's sway over knowledge), Terezi gets down with the clown (the opposite of meting out Mind's justice, as it's a Gamzee W), Kankri goes celibate (Blood L) despite his clear romantic feelings for certain teammates.

4. As for Aspect: note how all three Life players share the personality traits of optimism, stubbornness, and obstinacy. All three Breath players share an immaturity and naïvety, and are quite frankly irresistible to people for some reason. All three Light players share a need for the spotlight and a tendency toward long-windedness and persnicketiness. So on and so forth.

What's interesting is, if you start analyzing characters that share Classes and Aspects, these specific types of similarity crop up over and over - all our Knights struggle with insecurities and facades, both our Bards have a crisis of faith. All three Breath players have an aspect of immaturity and childishness to their characters, and all three Light players are deeply concerned with appearing intelligent and feeling important.

5. As a result, this guide is NOT intended for classpecting real life people, because we are complicated, we contain multitudes, and we don't have arcs. This is primarily an analysis of what Class and Aspect mean in Homestuck based on textual evidence, because I genuinely believe that you can basically figure it out if you read carefully.

6. Duality, and the idea of "equal and opposite," are major themes within Homestuck - Prospit and Derse, Skaia (described as a crucible of birth and creativity) and the Furthest Ring (the literal afterlife). Which classes are involved in an Active/Passive split, and opposing Aspects, are the same way. This is the primary method I used to determine the Active/Passive pairings and opposing Aspects. After all, as Callie describes, both Thieves and Rogues are classes "who steal" - so, too, do I try to unify Classes by a common theme, even if they diverge wildly in how that theme is expressed (as Thieves and Rogues do). In the same way as the opposite of "up" is not "apple," but "down", because "up" and "down" are both fundamentally concerned with relative vertical position, so too can be defined concepts like Breath and Blood, Hope and Rage, Light and Void - as well as the reasoning behind Class pairings like Heir and Page, Maid and Knight, and Seer and Mage.

7. Descriptions for both Class and Aspect are left deliberately vague and up to interpretation within the comic itself, and this is by design: the actual manifestations of an Aspect can vary wildly given the Class, and even individual person, that it's tied to. Calliope even makes note of the fact that, under the right circumstances, someone can manifest effects that appear to be the opposite of their aspect. She's also careful to couch her language in "may" and "can" - because these concepts are intentionally somewhat nebulous and malleable. As such, while this guide certainly lays down what can be gleaned and inferred from the text, do note that Homestuck runs on a soft magic system, and as such, nothing stated is firm, 100%, must-always-be-this-way - just an overview of what we've seen.

8. There is often great overlap between Aspects, Classes, and Classpects - which Calliope herself notes. Heart and Blood are one of the most salient, as they both have a fixation on relationships, and Calliope mentions that under the right circumstances, a Classpect may even be able to manifest what appears to be the opposite of their Aspect. Again, Homestuck operates on a soft magic system, so this is a feature, not a bug.

ASPECT

There's a little less to say about Aspect, not because it's less complicated, but because "base personality traits" are much more nebulous compared to Class's sway over character arc. Still, Aspect represents the fundamental way a character is, and thus, color every interaction that character has. There's a reason Ultimate Selfhood is sought through Aspect, not Class - Aspect is the core of the character's being, what makes that person that person.

That all being said, Class has major sway over how an Aspect manifests, and certain classes can even invert the Aspect and even the character's role in the party. As such, these descriptions must be parsed carefully in relation to Class. Moreover, due to the soft magic system, there is at times overlap between unrelated Aspects, which can also be exacerbated by Class - Heart and Blood being the most obvious in this regard. Still, overall, you'll find the Aspects to be fairly distinct from one another.

Please also note that every Aspect can deal with its literal counterpart by default - Light players can wield lasers, Breath players can wield the breeze, et cetera. Because this kind of goes without saying, and because the non-literal stuff is more interesting to discuss, I'm not really going to go into too much detail about the literal qualities.

Finally, something interesting to note is that nearly every Aspect follows its own Hero's Journey cycle - full actualization for each one usually means reaching around to its opposite Aspect, and taking lessons from them - for example, Breath players need to learn maturity and responsibility, while Blood players need to learn relaxation and whimsy. Thus, an Aspect at its worst manifests in two ways - either a toxic overabundance of the Aspect's worst traits, or such a dearth of the aspect that it begins to resemble its opposite. Only by reaching into the opposite, however, can the player be tempered and reach full maturity - can they become more of who they are.

SPACE / TIME

Space and Time are both concerned with physical reality, goals, and the way one approaches them.

Space is associated with "the big picture" - with recycling, reproduction, and the interconnectivity of all things. The aspect also presides over the enjoyment of the journey over the destination - Space players serve as reminders that the present moment is as important as the end goal. Space is often a more passive Aspect, being the stage upon which the story is set. They're the hosts of the party, and the one who marks the ending.

Its players reflect these tendencies, often being feminine, with penchants for life-giving acts such as gardening. Their personalities tend towards frivolity and silliness, finding it difficult to stay on-topic or bring full gravitas to serious situations. Perhaps a better word would be "distractable;" when the aspect is so concerned with all things in connection with each other, it's easy to lose track of details, and it's easy to enjoy things simply as they come. Space players tend to be kind, patient, and forgiving, which is a strength as much as it is a flaw; it's easy for malicious actors to take advantage of this compassion, or for the Space player to find themselves in a poor situation by being overly permissive. They can easily be painted over by stronger personalities, and tend to struggle with romantic relationships, as they attract many with their kind and giving natures, and few are naturally so considerate of the Space player in turn.

"Passive" is a good word to use; at a toxic overabundance of their Aspect, Space players are trampled underfoot. They become enablers, servants to dark forces, or so lost in their own worlds that they neglect the one they live in. With their Aspect "inverted," a Space player becomes a demon of poor prioritization. Distracting not just themselves from their true purpose, but others, too, the Space player will wreak havoc by overemphasizing unimportant topics and ignoring important tasks. This superficially resembles Time, in that the Space player will become fanatically dedicated to their task, but note that the poor prioritization is still Space-esque at its core.

Still, within this nadir is a valuable lesson: the strength of self-assertion, and the determination to see a goal through. These will allow the Space player to weed their garden, separating good from bad, allowing it to flourish like never before.

Time, in contrast, is associated with "the little things" - with details, minutiae, and processes. Time presides over the struggle toward something greater, the endurance of hardship with an eye on the prize - the destination over the journey. Time players are the ones keeping track of the tasklist, marking off each item as it reaches completion; they are the tireless workers keeping the whole engine running.

Time players, thus, are ones whose lives are marked by struggle. They are highly goal-oriented; in contrast to how Space players can easily move from goal to goal, task to task, Time players feel bound to see things through to the end, finding satisfaction only when they've achieved their desired result - and only until they come across the next goal in their journey. A Time player isn't happy without a goal to work towards, a craft to polish, a prize to win - but this driven nature can easily be its own downfall, as it leaves little room for the player to admit to their own shortcomings, or ask for help from others. Moreover, their focus on minutiae can leave them blinded to the bigger picture, and it's easy for a time player to fall to despair, able to do nothing more but spin their wheels. They're prone to directionless anguish, frustration, and resentment towards the seeming futility of their actions, becoming destructive and defiant even when it doesn't serve them to do so.

At a toxic overabundance of their Aspect, Time players become explosively destructive. The ultimate "goal" of all things is death, with which Time is associated, and accordingly, Time players have a penchant for aligning themselves with futility and entropy, struggling so hard that their thrashing leaves a trail of annihilation in their wake. With their Aspect "inverted," Time players detach entirely - they can become so fed up with struggle that they simply opt to lay their weapons down and let the end take them. It's very easy for them to come to the conclusions that either everything matters, or nothing matters. This superficially resembles Space and its big picture thinking, but note that its framework of struggle, and whether or not a goal needs to be pursued, makes it a Time concern.

But the inherent meaninglessness of existence is, in itself, an important realization to make - that whether or not anything "matters" in the grand scheme, things can still be worth doing, worth caring about, and worth investing in. This realization allows the Time player to attack their goals with renewed vigor and greater clarity, which in turn means that the party becomes an efficient, well-oiled machine.

BREATH / BLOOD

Breath and Blood are both concerned with directionality, interpersonal relationships, and autonomy.

Breath is the Aspect governing freedom, liberty, and independence; it is a force that breaks shackles, clears out social norms, and refutes "the rules," whatever those rules may be. Breath players can't be tied down, whether by physical bonds, societal rules, or even the ineffable forces of the narrative itself. They are leaders of example, pioneers, and trailblazers, opening new paths for their teammates to follow.

Breath players are goofy and gullible, often with hearts full of childlike whimsy, naivety, and even immaturity. They are friendly and well-meaning, fond of simpler things, and easily swayed by others. They approach the world with a sincere and innocent good-naturedness, like a baby animal before it learns to be fearful of danger. Something about this sincerity seems to make Breath players irresistible to others, and they often find themselves the subject of romantic attraction. However, in this childishness is also the great pitfall of many Breath players - their natures are naturally conflict-averse, and egotistical the way a child can be, failing to see beyond themselves. They can be incredibly callous when not considering the consequences of their actions, or the viewpoints of others.

At their worst, Breath players are irresponsible and callous. They'll shirk the consequences of their actions, blaming anybody but themselves, or simply choose not to care who they hurt in order to get what they want. They may even choose to stop making choices for themselves, leading to the "inversion" of their Aspect - a voluntary loss of freedom and independence, derived from an Breath-like aversion to responsibility, which superficially resembles the bondage of Blood.

But if they are able to overcome these tendencies, a Breath player will learn what true responsibility looks like - responsibility for themselves, their choices, and the effect they have on others. Armed with this, a Breath player's ability to break bonds can be focused into a clear force for good, clearing away all obstacles and harmful societal standards, leading the charge into something new and beautiful.

Blood, in sharp contrast, is the aspect that governs bondage, contracts, and interdependence. It is a force that binds. Under Blood's sway are not only romantic entanglements, but familial, friendly, and societal ones as well. This aspect sees overlap with Heart, but the division is this: Heart concerns itself with feelings, and Blood concerns itself with compatibility. Blood players are diplomats, forces that remind us all that we are more similar than we are different, and that that similarity should bring us together when we are on the verge of pulling apart.

Blood players, reflective of their Aspect's association with bonds, tend to be neurotic and obsessive. They have a tendency to over-examine and overthink, constantly fretting over the infinite and infinitesimal variables that influence the shape of society and interpersonal relationships. However, this judgmental nature stems from a deep well of idealism and empathy; Blood players can't help but care about others and wish for the best for them. In a way, this makes them one of the most mature members of the team, being concerned with its overall well-being. Unfortunately, their prowess does not extend inwards, and their assessment of themselves is usually direly incorrect - all the worse because Blood players always feel responsible for those around them. Blood, being the Aspect concerned with interdependence, is the weakest one when all alone.

Thus, it's easy for the Blood player to wind up controlling - desperate to make sure everyone is moving according to their vision, they'll become iron-fisted dictators, with a "my way or the highway" approach to social interactions. It's easy for them to wind up pariahs of their own making, becoming so critical of others, or so adamant about enforcing their own will, that they inadvertantly sever their ties - something that superficially resembles Breath's independence, but is truly a result of Blood's neuroticism.

But with that space and separation can come great clarity. Blood players must learn to relax their grip, and allow people room to breathe - including themselves. Once able to grasp that sometimes bonds must be forged with a soft touch, Blood players' natural empathy shines through, allowing them to build something so much kinder and greater than the sum of its parts.

LIGHT / VOID

Light and Void are both concerned with knowledge, ontology, and "narrative relevance".

Light (as well as its counterpart) are perhaps best understood through the lens of "narrative" - this idea that, of all things that do and don't exist, and all events that do and don't happen, only the ones put to page are "relevant". Thus, Light is associated with knowledge and luck - that is to say, it's associated with the knowable, the objective, and the concrete, and the ability to determine "important" events. Light players have read the book they're participating in, and able to serve as luminary guides from one plot point to another, lighting the lampposts for others to follow.

Light players, naturally, are erudite and educated, possessing keen intellects and cunning minds. They are fond of knowledge itself, of markers of status and prestige - whether that's wealth, the adulation of the masses, or a massive library. They harbor a desire to be important, to be seen, to be acknowledged, and are happiest when they are looked up to. Conversely, they deal poorly with being looked down upon. Their confidence transmutes easily into hubris, and they struggle with having that pride challenged. As such, they tend to be volatile and unpredictable, quick to retaliate against those who threaten their egos, or obsequious to those whose acknowledgement they desire.

Their desire for the limelight can quickly spell disaster - they can become incredibly cruel, harsh, and egotistical in their pursuit of narrative significance. They forget, in their obsession, that they, too, are fallible and flawed, and the inevitable reminder can come very harshly. Light players struggle with moderation, and as such, when they feel shame, they'll often take drastic measures to cope with it - deliberately darkening their own influence or intellects, removing themselves from the "story" entirely - something which superficially resembles Void's penchant for the background, but which is firmly rooted in Light's obsessive need for drama.

But in experimenting with narrative insignificance, Light players can reach an epiphany - in their absence, others may shine, and that can be a wonderful thing. Light players, then, can learn to shine not just for their own sakes, but for the sake of others, allowing them to weave a story even more brilliant than any that can be weaved alone.

Void, in contrast, is the blank spaces between the words. That which is secret, subjective, unknowable - these are Void's domain. It's associated with taboos and hidden things, sexuality and pleasure. It's also associated with the empty canvas - the blank space before creation, and the oblivion to which creation is eventually destined for. Thus, it stands for infinite possibility, though the collapse of those possibilities into a reality removes that reality from Void's domain.

Thus are Void players ever cosigned to the background, though this generally suits them fine. Void players are very self-possessed. Where Light players tend to exaggerate and complicate, Void players are honest and simple, preferring straightforward solutions. They don't tend to think very hard, instead letting intuition and emotion guide them to where they want to be - which makes them one of the more stable personalities on a team. However, this simplistic, feelings-driven approach often leads to pleasure-seeking behavior, poor impulse control, and overindulgence in vice, and from there, to irrelevance, with which Void is so closely interlinked.

Void players are especially prone to vice, and at their worst, will become so drunk on pleasurable activities that they pursue them to the active detriment of the party's goals or the Void player's self-improvement - making them the ultimate irrelevant character. They can also very easily drag others into their mélange, with a forcefulness that resembles Light's illuminating guidance, but which is ultimately rooted in Void's pursuit of personal pleasure.

But there's a lesson to be learned in Light's domain: how to bring themselves into relevance and greatness. A Void player, once they learn to pursue not just personal pleasure, but a greater satisfaction for the collective whole, can drag the Void behind them, kicking and screaming, to where it'll be of use.

MIND / HEART

Mind and Heart are concerned with what it means to be a sentient being, with identity, and with why we do what we do.

Mind is the Aspect associated with logic, rationality, karma, ethics, and justice. To a Mind player, they "are" because they "think". They are keenly aware of the consequences of every action, and well-versed in cognition and behavior, such to the point of manipulating others with ease. Deeply concerned with the "effect" of cause-and-effect, Mind players are always cognizant of debts and credits, where justice is owed and where it has been over-meted, and their subtle machinations culminate, like well-placed dominoes, in grand and explosive finales.

Mind players are schemers - it's in their nature. They have a tendency to view the world as a puzzle or game, with themselves and the people around them as pieces on a board, and set as their standard rules the laws of ethics and karma - owed debts and overhanging credit - guilty and innocent. Mind players are wickedly cunning, and have an high success rate with every scheme they commit themselves to, but the grand downfall of all these tendencies is that they tend to lack in a sense of identity, and have a poor grasp on their own emotions or desires. While they may know how to provoke a desired reaction, they don't know how to change someone's mind. They often find themselves grappling very painfully with their own selfhood, with feelings of emptiness, inadequacy, or uncertainty.

Thus, a Mind player at the worst zenith of their Aspect is heartless and cruel. Leaving no space for empathy or even personal feelings in their plans, the Mind player will plot for an ending as heartless as they are. But a Mind player is never truly without emotion, and ignoring their own feelings causes them to manifest in terrible ways - Mind players have a tendency to seek toxic, codependent relationships, hoping to find external validation, subjecting themselves to the wishes of others, which can appear like Heart's fixation on feelings and desire.

But in recognizing their own need for emotional validation, and the importance of their own feelings, a Mind player can realize that there's an entire dimension to the game they've been playing that they've been ignorant of. When a Mind player learns to temper their schemes with empathy, compassion, and kindness, how much more success they'll see - and how much happier that grand finale will be!

Heart, then, is associated with feelings, motivations, intuition, the soul, and the self. To a Heart player, they "are" because they "feel" like they are - and they're keenly aware of the multitudes that are contained within themselves. Deeply concerned with the "cause" of cause-and-effect, they're drawn to desires, those of themselves and of others, especially where strong feelings are concerned. Heart players are gifted with an intuitive understanding of those around them, both their good and bad qualities, and are tasked with the grand task of bringing out the best.

It stands to reason, then, that Heart players have a firm grasp on who they are and what they want. For the same reasons, it's difficult for a Heart player to truly hate or condemn another person, because they are so adept at understanding them. However, this understanding comes with a price - because the Heart player is so aware of themselves, they can't escape their own worst traits - nobody self-loathes as accurately as a Heart player can. Nor can they ever truly be untruthful with another, making them poor manipulators. Capable of presenting a different facet of themselves as the situation calls for it, certainly, but just as it's impossible to lie to a Heart player, who always knows how someone really feels, it's impossible for a Heart player to lie to themselves.

With this sincerity comes vulnerability. Heart players wear theirs on their sleeves, and at their worst, this can make them demanding, needy, and sensitive - so eager to connect with others emotionally that they'll cramp themselves to fit others' desires. But they can't ever keep this up for long; Heart players have a tendency to withdraw from others after being hurt too often, finding it easier to be alone and silent about their feelings than to deal with the pain of rejection. They may even work to manipulate others, preying on their emotions and desires to force them to act in their worst interests. This superficially resembles Mind's cold logic, but unlike Mind's cool rationality, Heart's aloofness is a mask, an attempt to avoid pain by pulling away.

But this isn't purely a negative, because a Heart player can learn a healthier form of detachment, and separate out healthy and helpful desires from harmful and detrimental ones. Given this clarity, the Heart player becomes the team's emotional core, able to raise up each teammate's best qualities, while helping them deal with their worst, enabling everyone to be the best possible version of themselves - which the Heart player knew them to be all along.

LIFE / DOOM

Life and Doom are concerned with outlook, with journeys, and with trials and tribulations.

Life is an aspect concerned with healing, growing, and improving. It is associated with beginnings, optimism, and positive emotions. The very essence of Life lies in its healing abilities, in this idea of overcoming the odds and triumphing over hardship and difficulty. Life is action, movement, and motion, and its players can scarcely hold still. Life will find a way - and Life players harbor the same immutable belief; they are the most stubborn weeds in the garden, the cockroach that survives the apocalypse, and the beating heart that refuses to stop.

Life players tend to be optimistic and confident. They are self-assured individuals, with a stubborn belief that good things are on their way, and any hardship they face is not only temporary, but something that can be overcome. They can find the silver lining in any cloud, and enjoy themselves under any circumstance. They love to nurture, to care for others, though this love has a tendency to be one-sided. Indeed, Life's stubborn nature is its players' greatest pitfall; their persistence easily becomes obstinacy, and their confidence can become condescension. Their self-assured nature easily becomes egotism, and they can have great difficulty grappling with those who don't share their views - even coming to oppose those who bring emotional pain and suffering that can't be easily fixed.

It's very easy for a Life player to decide another person isn't worth their attention, and opt to leave them behind - after all, Life has to move forward, no matter what it tramples in the process. At their worst, they're stubborn to the point of not listening to anyone but themselves, confidence becoming blockheadedness. This focus on forward progress without looking back can even cause Life players to become harmful to others, so focused they are on their own growth that they don't notice that they're choking everyone else out. This may resemble Doom's death in its worst case - arresting everything else, eventually blocking even their own path with unruly, out-of-control fecundity.

Thus, a Life player needs to learn to more gracefully accept Doom's influence - to pause, slow down, and consider viewpoints that are negative, unpleasant, or difficult. A Life player, endowed with moderation, will be able to cultivate a bountiful garden, rather than an unruly jungle - a place for all to flourish and live in plenty, never wanting for anything.

Doom, then, is the aspect concerned with death, with rest, and with endings. Doom is associated with suffering and with negative emotions, with peace, with sleep, and with dreams. Doom players have a natural penchant for prophecy, and are often dual dreamers, able to take advantage of both Skaia's oracular clouds and the Horrorterrors' voices over Derse. All things must eventually come to an end, and not all times will be good; in these troubling times, Doom players shine, as they are the guides who call the murk home, and know best how to navigate rough waters, course-correcting until the storm passes.

Doom players tend to be deeply pessimistic. They experience, to a much more magnified degree than others, negative feelings and impulses, and it's difficult for them to see the world without seeing its flaws, first and foremost. They are not healers, but commiserators, those who understand greatest that sometimes there's no way to deal with tragedy but to simply sit with it and wait for it to pass. The counterpoint to Life's insistence on breathless positivity, Doom is a reminder that pain, grief, sadness, shame, and guilt are not unnecessary things - in fact, excising them can lead to terrible consequences. Doom players are the universe's martyrs, often taking it upon themselves to course-correct, to sacrifice themselves in order to give others a chance to continue on, to avert a terrible fate.

Unfortunately, this tendency also brings with it a tendency for Doom players to wallow in misfortune, or worse, to take themselves out of the picture, giving up entirely on seeing a better ending. As if energized by their own sense of futility, a Doom player at the "inverse" of their aspect may seem to echo a Life player's focus on forward progress and motion, actively spurring their team on towards an untimely demise.

A Doom player must learn to harness this sense of progress for good, rather than harm. A Doom player, once able to grasp the joy of life even in the greatest depths of despair, will be able to fill even the darkest hours with peace, meaning, and hope.

HOPE / RAGE

Hope and Rage are concerned with permission, and are the lens by which we define reality.

Hope is described by Hussie in the book commentary as being "framed as the most powerful aspect" because it is, literally, an aspect that defines reality. Its specific ability is lies in reducing the "fakeness attribute" of something, thus making it "real". Hope is associated with convictions, with idealism, with faith, order, holiness, and, of course, with magic - which Hope turns real. Hope is permission itself - a reality-breaking ability to look at the world and decree that it must be another way, a way in which the Hope player believes it ought to be.

Thus, Hope players tend to be hard-headed zealots, with no self-awareness whatsoever. Their inclination towards powerful beliefs makes them very difficult to dissuade from a path they've set their minds to, and their specific suite of abilities makes them terrifyingly likely to make their vision come true. Hope players are usually not particularly cunning, nor particularly intelligent, nor even particularly empathetic. Given the Aspect's focus on conviction and faith, it's usually very difficult for Hope players to notice anything occurring beyond their own minds and feelings. Thus are Hope players hopeless optimists, hopeless romantics, and hopeless in general - often great sources of embarrassment to their teams, as their naked sincerity is painful to witness. However, their ability to define reality does not leave them when their beliefs are faulty (which they often are, given Hope players are not particularly introspective, either), which is what makes a Hope player so dangerous.

A Hope player can easily be set on the wrong path - as convicted as they are, and as difficult to shake from that conviction as they can be, Hope players can easily march down a path of destruction, if not persuaded with a deft touch and gentle guidance. In the event that their faith is broken, Hope players easily become despondent and lost, floundering and wishy-washy, which superficially resembles Rage's self-consciousness, but is truly just a lack of direction.

But Rage has a powerful lesson to teach Hope players - that of questioning themselves, interrogating their own beliefs. Once their convictions have gone through rigorous scrutiny, revised into the best, brightest versions of themselves they can be, a Hope player is a worker of miracles - speaking into existence a beautiful future on faith alone, proclaiming that how they see the world is how the world shall be.

Rage, then, is the power of denial. If Hope reduces the "fakness" of a thing, then Rage reduces its "realness". Rage, too, is a means of defining reality, in this case taking a torch to the aspects of reality that it rejects. In more passive Classes, this works in subtler ways, stoking others towards destructive fury. Rage is associated with anarchy, chaos, revolution, destruction, anger, and nihilism. A Rage player will not suffer a world that does not satisfy them, breaking it to pieces, such that something new can take its place.

Therefore, Rage players are prone to harboring anger and resentment, discontentment with the status quo, and faith only in that what currently exists must somehow be dismantled. However, unlike Hope players, who can't help but be pathetically sincere, Rage players are incredibly self-conscious, and often try to mask and hide their embitterment and anger. This, ironically, leads to further ostracization, as others can tell they're being inauthentic. This only further compounds their sense of alienation, and drives them further into smoldering resentment. This makes Rage players sound volatile and dangerous, and they are - but the same fury that moves them is the fury that ignites revolts and tears down oppressive regimes, a necessary and vital well of energy and momentum. It takes careful handling to ensure that the team's Rage player can channel this energy towards righteous causes, rather than marking all as a target for their destructive ire.

In the worst-case scenario, the Rage player turns that rage out indiscriminately, deciding that there is nothing worth fighting for - only unpleasant things to be brought to ruin. This is Rage at its toxic overabundance. Conversely, a Rage player can retreat so harshly into their mask that they allow others to dictate their beliefs, taking them to heart - an action motivated by Rage's destruction (this time, turned inwards) that superficially resembles Hope's convictions and faith.

The true path for a Rage player is a healthy balance - to allow themselves some of Hope's sincerity, and by doing so, to become more sincere and true. This will let them release the pressure of their mounting ire, such that it can be converted into productive, rather than destructive, energy - the heralds of a revolution, razing away the faulty, corrupt old systems such that something better and new can take their place.

CLASS

As previously stated, Class governs a character's character arc - the character's starting circumstances, whether their conflict is primarily internal or external, and what major aspect of their Aspect becomes a hurdle for them to overcome.

In the same way an Aspect's sways tie into the character's base personality, the character's Class abilities tie into the kinds of struggles they face, and have great influence on how their Aspects manifest.

That being said, a character - and their Class - are always subject to their Aspect, as their Aspect is tied fundamentally into who they are. Thus, it can be said that a Light player will always have an affinity for knowledge and provide Seer-esque guidance even when not in a Seer role, a Doom player will always have prophetic abilities even with a non-prophetic class (note that Mituna, an Heir, still had prophetic visions, despite those generally being the realm of Mages and Seers), and a Life player will always have a penchant for healing, even paired with a destructive Class like Prince or Thief (the Condesce, after all, could still extend life; a Prince of Life would likely manifest not as one who causes plants to wither and die (this would actually suit a Prince of Doom), but one who destroys in the way of nature overtaking an abandoned shack, or a forest breaking down a body).

This means that when a character's Classpect inverts their Aspect, it doesn't mean that they suddenly become a hero of the opposing Aspect - rather, it means that, at their very worst - at the nadirs of their character arcs - they will lean so much into their Aspect's worst traits that it will superficially appear as the opposite, when all it really is is an absence of themselves. Dave, a Time player, usually so attentive to detail (despite his disaffected facade, he's always paying rapt attention to Karkat's rants, and noticing all the clues pointing to his destiny of defeating LE), at his lowest emotional point (arguing with Grimbark Jade after sobbing about his lost childhood whimsy), states that he doesn't think Lord English is that big a deal, and never even did anything directly bad to him or his friends - when he was literally directly haunted by LE via Cal his entire childhood. Similarly, Rose drinks herself stupid in order to cope with her mother's death.

Note how, superficially, this almost appears to be an invocation of Space's "big picture thinking," its passivity and permissibility, or how Rose's case appears to be Void's tendency to indulge in vices and pleasure - but they're not. Time's worst traits superficially resemble Space, Light's resemble Void, and vice versa - Grimbark Jade is the Condesce's taskmaster, and Porrim at her worst was as much of a nag as Kankri, trying to do a Time player's managerial job. Horuss and Equius at their worst won't shut up and won't stop talking over their partners. So on and so forth.

Finally, Calliope tells us a couple things about Active/Passive pairings. The first is that Calliope introduces the idea of paired classes with the idea that both Rogues and Thieves "steal" (and later, that both Princes and Bards "destroy"). This presents the idea that both classes can be roughly summed up with the idea that every pairing can be summed up with a common theme.

The second is her description of what makes a Class Active versus Passive - that Active Classes move their Aspect to benefit themselves, whereas Passive Classes allow their Aspect to be moved in order for others to benefit. In a way, they're like active and passive voice in grammar (to tie in with the way Classes and Aspects are so tied to ideas of narrative and character arc) - an Active Class performs their Aspect, and a Passive Class allows the Aspect to be performed "by others" (the famous piece of advice regarding telling the two apart being that a sentence written in passive voice can have "by zombies" tacked to the end of it - eg, John is attacked "by zombies", as compared to active voice - John attacks).

Thus, the Class pairings, along with their basic themes, are as follows:

KNIGHT - / MAID +

"One who controls."

Knights and Maids are paired together through two key factors: the first is that they both hold leadership or managerial roles; the second is that both classes carry the connotation of serving a Lord. Fittingly, they are both struggle with the control of malicious forces - Knights with prophecies indicating their role as heroes, Maids with direct usurpation by malicious forces.

PAGE - / HEIR +

"One who inherits."

Pages and Heirs are paired together because they both fundamentally deal with the great inheritances placed before them. Pages can come into incredible, limitless power - but they must struggle and work hard for it; Heirs begin the game in societal comfort and wealth, and must learn to defect from their decadence.

THIEF - / ROGUE +

"One who steals."

Thieves and Rogues are highly adaptable, as Thieves are capable of fantastic on-the-fly adaptation, whereas Rogues have an infinite toolbox at their disposal. They are both provocateurs, shakers of the status quo, though the Thief does so for personal gain, while the Rogue does so to right injustice.

MAGE - / SEER +

"One who guides."

Mages and Seers are tied together by the gift of prophecy and future sight. Seers are privy to the endless branching paths that the future may take, while Mages are gifted with the ability to outright determine a future that will certainly happen, appearing to be prophecy.

WITCH - / SYLPH +

"One who changes."

Witches and Sylphs are individuals blessed with great magic, but poor judgement. Sylphs heal and nurture, but are drawn to those with strong desires, and enable them to cause great harm; Witches, meanwhile, possess strong emotions, which they often use as moral guidance, for better or worse.

PRINCE - / BARD +

"One who destroys."

Princes and Bards are representatives of society - the one who determines its course, and the one who recounts its passing. Princes suffer from a toxic overabundance of Aspect, and are prone to spectacular meltdowns, whereas Bards are always poised for a crisis of faith. Both are responsible for catastrophic failures - but also breathless victories.

INDIVIDUAL CLASSES

KNIGHT

"One who controls [Aspect] or controls using [Aspect]."

Knights are frontline warriors, rallying points behind which the party falls into line. Although they are often leaders, just as often, they are logistical planners, strategists, or simply the team's beating heart. They are almost always thrust into positions of narrative significance, often carrying grand destinies or even outright heroic prophecies on their shoulders. The are the party's rallying force, its center, and a guiding light - the one to lead the charge, behind which the party will follow.

The primary character struggle a Knight will have is with crippling insecurity. Knights are prone to self-loathing and imposter syndrome, and will often adopt a façade in direct opposition to their aspect (ie, their fundamental personality) in order to cope with their feelings of inadequacy. Thus, their relationship with their aspect becomes love/hate - though they're naturally drawn to their aspect, and even naturally skilled at utilizing it, they have a tendency to become their own worst enemy, as their insecurities make them push their façades, and their façades distance them from their aspect.

"Controlling their Aspect" means that the Knight has easy access to their Aspect, wielding it like a tool or weapon - for good or for ill; "controlling using their Aspect" is what grants Knights their leadership abilities, able to dictate how others ought to act in accordance with the Knight's Aspect - whether their understanding of their Aspect is high or low, whether their advice is good or bad.

Therefore, at their worst, a Knight will fall prey to their insecurities, retreating into their facades, rejecting their Aspect, which will allow disharmony or misuse of it to proliferate throughout the team. They may even wind up deliberately twisting their Aspect's presence within the team so that they never have to be confronted by it; these distortions ripple outwards and eventually culminate in major catastrophes, all on account of the Knight's negligence.

But at their best, a Knight is a shining beacon and guiding light; when they come to terms with themselves, and allow themselves to be comfortable in their own skin - when they no longer allow themselves to be ruled by their insecurities and anxieties - they ensure that their aspect is harmonious wherever it appears throughout their party, and can wield it expertly as a weapon, as if it were their own flesh and blood.

MAID

"One who allows control through [Aspect] or allows [Aspect] to be controlled."

Unlike Knights, which take positions of frontline prominence, a Maid is a managerial presence in the backlines, though no less crucial for the smooth functioning of a party. Just as the invisible hands of the hired help keep a household running, the Maid will be called upon to provide vital services to keep the game stable, even if those services are more noticeable by their absence than their presence. Maids are often the party's unsung heroes or even shadow leaders, tugging at invisible strings, fingers on the pulse.

A Maid's primary character struggle will be that of escaping oppression. Maids tend to start the game in positions of subjugation or subservience, especially to malicious forces, and their abilities often end up being exploited to serve their masters' ends. Therefore, one may even have the impression that a Maid is ruled by their aspect, held prisoner and slave - at least until they're able turn the tables.

"Allowing their Aspect to be controlled" means that Maids are capable of directly dispensing their aspect unto others - a Maid of Time can dispense time unto foes, pausing them in their tracks; a Maid of Life can grant so much life that they can revive the dead. Their boons are great and direct, straightforward in a similar manner to Knights. "Allowing control through their Aspect" grants them their uncanny managerial abilities, as their aspect dictates the realm in which nothing occurs without the Maid's knowledge or permission, a realm made available to whomever the Maid's allegiance lies with.

Thus, at their worst, the Maid becomes a saboteur. Exploited by malign forces, their abilities to allow control over others through their aspect, or control of their aspect, makes them perfect vehicles by which their aspect can be hijacked or usurped, and made to turn against the party, and they often find themselves placed into these positions through no fault of their own. It takes the party banding together to shake off the forces that would keep a Maid in bondage.

However, at their best, Maids ensure that the party can never go too far off the rails. There is a place for everything, and everything will be in its place; a Maid is a supply line, a safe haven, and a promise that everything will be neat and tidy when the party returns from war. When the Maid belongs to themselves, their homestead becomes a fortress, and nothing occurs under the Maid's watchful eye without their express permission.

PAGE

"One who works to inherit [Aspect] or inherits [Aspect] for themselves."

Pages are a class defined by promise. As the name suggests, a Page begins weak, but has the great potential to develop into one of the most powerful players in the game. The exact nature of a Page's powers are vague, not because they are insignificant, but because they are so great that it's difficult to encompass them all. At the apex of their arcs, Pages are capable of miraculous feats, overpowering even Lords and Muses - if only they could reach that point and stay there.

A Page begins the game weakest of all, reflective of their long journey of growth. Where most classes only fall into deficit of their Aspect at their lowest emotional points, Pages begin their arcs in deficit - exhibiting character traits opposite to those their Aspect normally encompasses. Moreso than any other class, a Page must learn to grow into their Aspect. Weak-willed, naive, and easily hurt, Pages require careful nurturing if they're to come into their own.

"Working to inherit their Aspect" describes the endless journey of growth the Page must undertake - one with many missteps, backslides, and setbacks along the way. Still, they "inherit their aspect," meaning that their full potential, when realized, is overwhelmingly great - practically becoming their Aspect in humanoid form, capable of utilizing it to its glorious full potential.

However, their nature defeats them, and even if they can attain this state, the Page usually can't stay there for long. At their very worst, the Page's deficit of their Aspect's better qualities can turn the Page into a gravitic well of misfortune - an albatross about the party's neck, the centerpoint, if not inciting incident, of a massive disaster, as their team is sucked in by the Page's natural weakness.

But this is only true as it contrasts to a Page at their best - having grappled and won with the greatest of all weakness, a Page is poised to come into the greatest of all strength. Shown kindness, compassion, and support, a Page at full power reflects a party at their best. A Page at full strength is breathtaking to behold, an unstoppable force of nature, their Aspect made manifest.

HEIR

"One whom [Aspect] grants inheritance or inherits [Aspect] for others."

Heirs, in contrast to Pages, start the game strong. They usually belong to the upper echelons of their respective societies, a position of great wealth, leisure, and comfort, and are set to be inheritors of even greater wealth. Similarly, their Aspect comes to them as if of its own will - it is powerful, but difficult for the Heir to control, reflecting the wealth and status they've enjoyed as birthright.

An Heir's main challenge is that of examining their privilege, and learning where they wish to spread the gift they've been given. Because of their positions of sheltered comfort, Heirs are not particularly world-wise, and often harbor massive blind spots to the suffering of others and the ills of society. As such, they tend to be fairly aimless, given great power but no strong motivations, and have a tendency to simply indulge in their Aspect without contributing great help or hindrance to their team at all.

The Heir's Aspect is practically an independent entity. Being one whom "their Aspect grants them inheritance" refers to how the Heir starts powerful, able to summon their Aspect to perform great, miraculous acts. However, it is highly intuitive and difficult to control. The Heir's challenge lies not in attaining great power, but in attaining control over, and the ability to direct, their existing abilities. Once they do, they can "inherit their Aspect for others" - Heirs become a conduit through which their party can experience their Aspect, making it a usable pool of wealth for them all to draw from. However, because of their comfortable positions, many Heirs end up dallying, finding no pressing need to do so.

But this dallying hides a ticking clock. An Heir's inheritance will come to them, one way or another, and if they aren't ready to receive the great responsibilities that come with such great power, then the power will eventually consume them. An Heir with no clear direction will eventually become lost to their Aspect, entirely removing both from play. Like how wealthy inheritors simply become part of the status quo, so, too, does an Heir disappear into their Aspect, fixing it in place.

Thus, Heirs must learn where they have been blind, where they have been foolish, and what it means to be underprivileged. Then, once they turn their energies towards addressing those injustices - to taking responsibility for building a better future - when their wealth comes to them, they'll be able to distribute it where it's needed most. An Heir, fully-realized, brings their Aspect to heel, and makes it a resource available to their entire team, as if welcoming them all into the family.

THIEF

"One who steals [Aspect] or steals using [Aspect]."

Thieves are, as the name suggests, greedy - much of their arc revolves around a desire to amass wealth, though what's considered "wealth" varies based on the Thief and especially their Aspect. They tend to be callous people by nature, capable of ignoring or trampling over the feelings of others in order to take what they want, in the hopes of filling an emotional void the Thief may not even be fully aware of.

The Thief's playstyle is one of careful resource management. Reflecting a natural tendency to take "wealth" from others, Thieves are unable to use their Aspect without first "stealing" it - a subtractive act which leaves the victim bereft of the Aspect, weakening them in the process. Because of the finicky nature of these abilities, it takes great cunning to be a Thief, and the Class both demands and requires the player to be adaptable, flexible, and quick on their feet, able to effect complicated schemes and engineer the perfect situations for their powers to have the greatest effect. Thieves aren't necessarily strong, but they have a very high victory ratio, because they're experts at turning a situation to their own advantage.

"Stealing their Aspect" refers to the fundamental way in which the Thief class is played, this resource management game; "stealing using their Aspect" reflects how the Thief often becomes a malignant force within the party, viewing their own teammates as caches of wealth to plunder. Thieves are naturally prone to hurting others for their own purposes, craving drama and attention, and being of such callous dispositions that they're able to perform extreme acts of cruelty given the right motivations.

Thieves often become a target of ire within the party, disruptive forces whose quest for personal wealth and fulfillment comes at the cost of those around them. At their worst, they can bring so much heat down upon their own shoulders that the party feels the need to treat them like an enemy, which is disastrous for party harmony. Moreover, it's disastrous for the Thieves themselves, as Thieves seek wealth to compensate for some emotional emptiness, and making enemies of their friends only serves to deepen their ennui.

Thus, a Thief must be taught that true happiness and fulfillment doesn't come from the struggle for wealth, but from the building of something better with those they care about. A Thief, thus turned to heroic purposes, becomes the party's pinch hitter - an adaptable spy, an unpredictable maverick, an element of surprise - and above all, a reliable ally, capable of turning any tide in the party's favor.

ROGUE

"One who steals from [Aspect] or steals [Aspect] for others."

Rogues, on the other hand, call to mind such figures as Robin Hood, stealing from the rich to distribute to the poor. Rogues are at their best when they're agents of a well-planned heist, as they possess an unlimited toolbox - their own Aspect - to play with. Their Aspect is a treasure trove, just waiting for the Rogue to plunder it and share its riches - if only the Rogue can figure out how.

Rogues are forces of revolution. They naturally carry a rebellious spirit, one which bristles at injustice, takes a stand against authority, and questions the status quo. Their ideas are unfocused, however; they know they must rebel, but usually don't start with a clear idea of against who or what. They know that their society is injust, but they don't know how to address that injustice. They know there are villains, and may even know these villains' identity, but they don't know how best to defy them. In a similar way, they're often lost as to how to utilize their Aspect beyond its most basic applications, and usually require external assistance in order to bring out its full potential.

Rogues' true potential lies in "stealing from their Aspect" - an additive act, rather than a subtractive one, as a Thief's stealing is. Rogues are capable of removing their own Aspect's sway over another entity, allowing it to exhibit the characteristics of the opposite Aspect; a Rogue of Void can create things out of nothing, a Rogue of Heart can tease out behaviors and actions. They can also "steal their Aspect for others," allowing them access to their own Aspect's suite of abilities as well. This allows the Rogue incomparable flexibility, their abilities - like their dispositions - rebellious and subversive.

But their rebellious spirit, coupled with their lack of understanding as to who their real enemies are, is dangerous when left unchecked. Rogues often suffer from a failure to start, giving up on trying to understand the deeper implications of their abilities, and of the society they can't seem to find contentment in - but they can also suffer from a worse fate: rebellion without a cause. Rogues' free spirits can lead to them bucking the status quo in ways that actively harm others, performing acts of taboo or poor taste just because that rebellious energy needs to be put to use somewhere. These can have disastrous knock-on consequences, as some things are taboo for good reason.

Thus, Rogues need to be guided - to make connections with others, and come to a greater understanding of the world at large. Once they know their target, and what needs to be done, the Rogue makes sure there are no obstacles along the way - no safe is uncrackable, no prison inescapable, and no problem unsolvable, so long as the Rogue is there to work their magic.

MAGE

"One who guides [Aspect] or guides [Aspect] for themselves."

Mages are prophets, of the "always correct" variety - or so it seems. In actuality, Mages don't "predict" the future, they "choose" it - in a setting where the future is mutable, the Mage's ability is to speak into existence a future they desire, to tip the scales of causality and collapse possibilities into a single definite course. Their Aspect is the lens through which their "prophecy" occurs, a realm in which they command the fabric of reality itself.

As if to karmically balance this incredible power, Mages are afflicted by deep and terrible sadness. They start the game miserable, having been subjected to the greatest injustices their Aspect can offer, tormented by guilt, shame, and self-loathing. Their worldview has been shadowed with a lens of suffering and anguish, and so, too, is their view of the future. Mages usually begin the game having already set several prophecies into motion, and these early prophecies are usually obstacles that the party must overcome.

Mages "guide their Aspect" - this refers to the way their prophecies, that is, their chosen futures, always come true. Their visions may be limited to the sway of their Aspect, but it remains a powerful ability nonetheless. "Guiding their Aspect for themselves," then, outlines the Class's Active nature - the futures the Mage picks must be ones the Mage believes will come to pass.

Unfortunately, Mages have a tendency to pick ugly futures. This isn't out of malice or anger; this is because Mages start the game sad, and without intervention, grow sadder. They're prone to spirals of negativity, self-loathing, and depression, and as their outlook dims, so, too, do their forecasts. Mages suffer, but even suffering can grow familiar - can even appear comfortable or desirable, if the Mage suffers long enough. It's easy for them to grow so accustomed to misery that misery is the only outcome they can see - spelling doom for the rest of the party, one prediction at a time.

But a Mage whose party shows them kindness and forgiveness, compassion and empathy, can pull them out of their misery. How beautiful, then, the future appears! A Mage who believes in a brighter future is a force to be reckoned with. When a Mage can bring themselves to say, "and everyone lived happily ever after," you had better believe they did.

SEER

"One who who is guided by [Aspect] or guides [Aspect] for others."

Seers, meanwhile, are the true future-sighted, able to see the myriad paths the future could take. Like Mages, their Aspect serves as the lens by which their vision is colored; the Seer can sense, with fine accuracy, which paths are closest to the sway of their aspect, and which paths will take them further away. As if gifted with a guide to the game, their intuition is tied directly to the mechanics of SBURB, and they serve as the party's guides, a role indispensable in a game with so many moving parts.

Seers will struggle with blindness, first by hubris and ego, and then by self-harm. Seers begin the game quite full of themselves, proud of their prowess in their Aspect - usually arrogantly so. When this pride is inevitably shattered, Seers have a tendency to deal with their feelings of shame and guilt with willful, self-induced blindness - as if flipping a switch, they become ashamed of the pride they once placed in their Aspect, and seek to place as much distance between it and themselves as possible. There's comfort in ignorance, even if it renders the Seer useless.

Seers are "guided by their Aspect" - able to sense its presence, they gravitate toward it, and towards futures with it in abundance. And, in the same way, they "guide their Aspect for others," lighting the way for others down the path of greatest reward. Seers truly love their Aspect, no matter how much they may misplace their faith in it, and seeking it out is a great joy for them.

This is why a Seer at their worst is so tragic. By inducing intentional blindness within themselves, they are functionally deadening the strongest part of their soul. No matter the temporary relief this brings to the sharp, jagged pain of shame, it invariably deepens the Seer's suffering, as they deny themselves not only their own joy, but their ability to help others - another act which inherently delights them.

Thus, a Seer needs to be made to deal with their shattered ego head-on, to accept their own shortcomings, to become at ease with the idea that they don't have all the answers. Once their vision becomes clear, and their view becomes honest, the party nevermore has to fear becoming lost or straying from the path - the Seer will see to that.

WITCH

"One who changes [Aspect] or changes [Aspect] in others."

Witches are the winds of change, tweaking reality all around them until it suits their desires. A Witch is presence that commands both fear and respect, and their Aspect bows down before them, reduced to a mere minion in the Witch's presence, ready to attend to all their needs. In a way, the Witch's powers are straightforward - they can manipulate their Aspect as they desire, changing its qualities as they see fit. "How they see fit," then, is where the issue lies.

Witches are usually of "outsider" status, never truly being part of the society from which the rest of the party descends. Free from the same rules and common sense that govern the others on their team, Witches instead operate on a value system heavily reliant on their own emotions. What a Witch deems to be correct, to be true, or to be righteous, are often based not in any objective measure, but in subjective, emotional bias - and they're emotional creatures, indeed. Prone to fits of great anger, Witches can be benevolent one second and malicious the next, and their abilities let them imprint, to a greater degree than any other Class, their desires onto the world that comes after them.

Witches "change their Aspect," as in, the crux of their abilities lies in manipulating the qualities of their Aspect in their surroundings - extending, shortening, magnifying, shrinking, growing, removing… so on and so forth. It's a fearsome power. They also "change their Aspect for themselves" - their Aspect is hapless but to obey their desires; Witches change the world to suit themselves, and their feelings of how things "should" be often become how things "are" in short order.

Thus, a Witch who has been swayed toward evil entities and nefarious ends is a truly dangerous opponent - and it is unfortunately easy for this to happen. Witches' social isolation means they tend to trust their emotions, and a force that flatters these emotions can easily win a Witch's trust. By the same token, those that fail to flatter the Witch are often considered enemies, even if they're benevolent forces. A Witch's morality can thus become warped and topsy-turvy, which has grave consequences for the world that the Witch then shapes.

Therefore, a Witch's struggle lies in learning to see beyond their own emotions, to take in the opinions and assistance of others even when it seems superficially unpleasant, to move beyond the childlike rejection of that which is uncomfortable. Once able to see a more nuanced form of right and wrong, once able to tell evil from good, Witches can build even utopia.

SYLPH

"One who allows [Aspect] to change others or changes [Aspect] for others."

Sylphs are nurturers and healers; they bring to mind fey folk whose very footsteps cause plants to grow. Wherever they go, whatever they touch, all becomes suffused with the Sylph's Aspect, which flourishes under their careful cultivation. Sylphs adore their Aspect, and their Aspect adores them; Sylphs generally feel at peace with themselves, surrounding themselves with what they like.

A Sylph's main challenge - or rather, the main challenge that Sylphs wind up posing the rest of the party - is that Sylphs are enablers. They're attracted to those with strong wills and extreme dispositions, amused by the havoc they wreak and pleased by their attention. Sylphs love to pick out favorites and lavish them with care and attention, excusing any wrongdoing on their behalf and shielding them from consequences. At the same time, those who don't strike the Sylph's capricious fancy find themselves discarded in the Sylph's mind, shut out from the boons the Sylph can provide.

A Sylph is "one who allows their Aspect to change others" - this almost always manifests as healing, as it's an additive ability (that is to say, the Sylph can grant more of their Aspect to someone). "Changing their Aspect for others," on the other hand, explains this enabling nature of theirs - the Sylph will intervene to make the world into a playground for their favored individuals, even to the point of turning other, less "interesting" teammates into playthings for the Sylph's beloved.

Thus, while the Sylph themself isn't particularly prone to wild mood swings and acts of malice, their influence can still cause disaster by allowing unscrupulous individuals to flourish - even encouraging their worst tendencies. A Sylph's touch is subtle, but that subtlety only lends it an insidious quality, as the Sylph quietly works against the good of the many for the cruel, selfish pleasures of the few. At their very worst, the Sylph can deem themselves their only favorite, and render everyone else a minor character in their one-man show.

Thus, Sylphs must be challenged. They must be made to reckon with the fact that favorable treatment is not necessarily kindness, and that bias can easily become harm. When a Sylph is able to grasp the difference between bias and doing good, and tune their approach toward that greater good, uncolored by bias and personal preference, then there is no place safer, kinder, and more conducive to growth than the Sylph's embrace.

PRINCE

"One who destroys [Aspect] or destroys using [Aspect]."

Princes are the most anxious, psychologically anguished members of a party. They suffer from a toxic overabundance of their Aspect - its traits are taken to an extreme, and not only the Prince, but those around them, are made to suffer for it. Princes are naturally set on a path of self-destruction, the culmination of their uncontrolled accumulation of their Aspect, and their meltdowns are spectacular, taking their Aspect - and whoever is unlucky enough to be in the same room - with them.

A Prince's challenge, therefore, is as simple to understand as it is difficult to overcome. The Prince needs to learn how to calm down, relax, and find inner peace. Princes are terribly prone to circular thinking and downward spirals. Their natural inclination is to feel anxious and responsible, like they carry the weight of the world, and this causes them to act out in extreme and aggressive ways. Eventually, others pull away, put off by the Prince's intensity. This only deepens the Prince's malaise, and Princes are - pushed by this hovering sense of urgency and catastrophe - willing to employ drastic, desperate measures to enforce compliance with their wills. They wake on their moons early, reflective of their driven natures. They're determined to a frightful degree, and no sacrifice is too great, no work too dirty, if it means achieving what they see as the greater good.

Princes "destroy their Aspect" in this way - by presenting their Aspect at its worst, they make others take distance, ruining it for everyone else. Their hard wills, intense emotions, and unshakeable drive to do what (they feel) needs to be done - at any cost - is their source of power. Thus, Princes "destroy using their Aspect" - their toxic overabundance of Aspect lets them channel it into a pure, annihilatory force; what they lack in the delicate utility of the other classes, they make up for in raw, ruinous power. Princes can easily deal the greatest damage in a combat scenario, their ability to destroy overriding nearly everything that would stand against it.

Thus is the problem with Princes. They're ticking time-bombs of anxiety and frustration; when they finally go off, they carve a path of destruction, before ultimately self-destructing, leaving no trace of their Aspect behind. Not only that, but it's very difficult to defuse the bomb early; Princes have finicky, aggressive, and complicated personalities, and tend to react poorly to straightforward attempts to calm them down and reason with them. They often appear to be their own worst enemies, marching inexorably toward their own destruction.

But Princes not only can be saved, but must be saved. They must be saved because kindness and compassion must exist for their own sake, and a Prince rescued from their own worst tendencies is living proof of the truth of that sentiment. A Prince, given the peace they need to reorient their priorities, will not rest until they see a brighter future realized. They will be the first to rise, and the last man standing, banishing - as if by royal decree - all obstacles, all enemies, all misfortune, and all ills.

BARD

"One who invites destruction through [Aspect] or allows [Aspect] to be destroyed."

Bards are the wild cards of a party, responsible for both improbable victories and catastrophic defeats - sometimes both in a single session. The methods by which a Bard works are a mystery to even the Bard themselves, which make it easy for the party to dismiss their powers - and, by extension, the Bard themselves. After all, who would expect there to be consequences for something so ridiculous as a Bard?

Bards are usually targets of abject ridicule by their teams. They can't help it - they're religious types, or at least types that hold great, lofty, ridiculous beliefs near and dear to their hearts. A Bard's primary struggle invariably winds up being a crisis of faith. Bards begin the game with a positive, "correct" faith in their Aspect; however, something will inevitably occur that shakes the Bard's faith in this viewpoint to its core. In this state, Bards are incredibly fragile, and it's very easy for them to succumb to whispers of cruelty and destruction, for their beliefs to warp, and for the Bard to come to serve the worst aspects of the society they represent.

A Bard "invites destruction through their Aspect" - their powers are subtle, but have catastrophic effects. Bards are instinctively drawn towards causing the first flap of a butterfly's wing, which cascades into a grand, impossible karmic backlash. They "allow their Aspect to be destroyed" by being the conduits for the forces of their faith - whatever faith they hold - to wreak unimaginable consequences across the game.

Thus, a Bard must not be allowed to fall into darkness. The cost is too great. They must be treated with kindness, patience, and sincerity, and given a chance to re-establish their faith in a better, brighter future. If this can be done, then at the party's direst moment - in their darkest hour - they will find that kindness paid back a thousandfold, as an innocuous act by the Bard that no one remembers balloons into a miracle.

[caspersscareschool]

he literally sews his kids stupid little outfits from scratch does anyone even fucking care

[yourgoldendeer]

For the little snide parentheses about arteta's spending...we needed to? All your trophy comments have evidently shown you didn't care about city before the oil money poured in, but despite how poor that team was, the worst city side was still better than the team arteta got. Arteta did a rebuild, just as pep did. Matter of fact, city have spent less not because guardiola's some huge brained transfer god, but because Guardiola historically doesn't deal with big squads. When you have a smaller squad, you have smaller expenditures. And I think we can all see what that small squad has amounted to after being pushed by the nature of the fixture congestion. As for "hard earned money" I don't see any other board atm coming under fire for 134 (could even be more atp these charges are somehow multiplying by the day lmao) charges of financial fraud, do you? Spurs have more money spent on the team (and mostly) the stadium, have wealth rivalling real madrid, yet they're not under fire, so why is your "hard earned" cash so criticised?

For the ref point, yeah no it's very evident you're just a gloryhunter now lmao. Just to pull up some numbers, michael oliver has officiated 50 city games, with not a single city player ever getting hit with a red card under his jurisdiction. He has officiated less arsenal games and yet...well, molineux was merely the most recent example. It has gotten so bad, if you went to the premier league website and looked at the article for red card worthy offences (I apologise I don't remember the exact title atm), the picture given is a doku boot to the face of macallister, which was, ironically not given as a foul.

"best cbs, best midfielders" I don't think a realistic arsenal fan believes in either of those tbh. Saliba is CLOSE to the best cb, but vvd has been dominating that scene. Odegaard is great, but he's not KDB and we know that. Rice is the best dm defensively speaking but the overall best is undoubtedly a tie between rodri and guimaraes. To counter your point though, I thought you guys had the best striker? Why did he have only 10 touches in 90 minutes? I thought you guys had the best creative midfielder? Why does he need to be benched and used as a hail Mary despite no major injuries? Odegaard was out at the amex playing with an illness, what's stopping pep from deploying KDB? I thought pep was the managing god, yet why do his centerbacks struggle with the slightest pressure from a 5ft 8 LW, why did his Starboy english midfielder somehow forget to track thomas partey, why can't his current goalkeeper, whose been getting enough minutes in big games, save a goal or throw a proper pass (seriously whenever ortega had the ball it was downright hilarious it was like he was edersons ten y/o son desperately trying to find his father's technique).

And you once again show your utter lack of knowledge about anything in the football sphere with the last paragraph. It genuinely gets a bit repetitive when all your yapping amounts to is "well you have no trophies so you can't say shit". Just cause kane has no trophies to his name, is endrick better than him? And I love how you have so many excuses for city's bad form this season, as if your manager hasnt been managing for roughly the same amount of years as ethan nwaneri has been alive. Your board literally has ("allegedly") supplied more money than is allowed by the league, your manager, as you love to reiterate has more trophies than arteta will ever win, so why does he allow this to happen? Is he blind? Does he lack the basic foresight to get a proper backup for rodri, does he not understand what age does to footballers? Your whole point boils down to "you have no trophies you fucking peasant how about you look at yourselves playing in the mud" but arsenal are probably the MOST self loathing club? Because that's the standards set? Arteta will get flak despite a win or a loss, and believe me when I say the city fixture is the second time this season that the man has gotten unanimous support from the fans, the first being the reverse fixture at the etihad. We have not stopped being humble, even before the game we doubted if we'd come out on top, because guess what? We respect your club. And we respect your manager, and evidently so did arteta. Untill the MLS goal his body language clearly showed he was expecting some hidden spark from the city side, some trap to be sprung. It wasn't untill MLS scored that he realised "oh shit they're just awful today". That's the difference. We respected liverpool before our game, we even respected our UCL opponents (minus dinamo zagreb for their fans' behavior).

I don't recall ever saying the "how dare you spend" point? Maybe you skimmed through my post so quickly you just started hallucinating? Relating to city's January transfers I only brought up the fact that there was such a huge fuss made about these new fresh youngsters that'd breathe life into city's game, and yet only marmoush was allowed on the starting lineup (that too on an awkward number 10 spot where he directly got in the way of sevinho) and if I'm not wrong the other 2 (?) weren't even used as subs.

And maybe it's easy for you to forget, but we weren't celebrating after the etihad fixture? Arsenal's reaction was mostly anger aimed at the trossard red card and haaland, the only fans celebrating at the result, out of, and this is honest to god, the entire league, were city fans? I know spurs, United, chelsea and Liverpool fans, and neither in my own friend groups nor on the entire football youtube space did I find a single non-city fan going "ahahaha damn city really deserved that equaliser".

And for another counterpoint to your usual "boohoo arsenal are moaning about refs" anthem, Bernardo silva, in full view of the cameras, kicked trossard in the stomach after he had already fallen down and was dispossessed of the ball, and yet...no foul. Forget cards, the ref didn't even look at his direction. I'd love to know if you think that's card worthy or not, because your answer would immediately prove your credibility for football opinions.

im going to explain this like someone would explain it to a little kid bc some arsenal fans are very dumb wont say another word for it bc they are also very uh sensitive...?

haaland told your players to stay humble because they act and celebrate as if they have won a treble or a ucl or a prem (yk all the trophies city has won) so he said it for you guys to chill out and know your place. Now, the team and the whole fanbase got super offended even though everyone knew what haaland meant and he is right. However, the fanbase and your team have proven his point countless times throughout the season....and you just don't get it. This match probably means to you exactly what it meant to city to complete the treble or 4 in a row. We are not on the same level. That is just a literal fact.

now are city having a bad season...100% that is also a fact. However, even though we are having a bad season does this mean haalands point is not true? no. it is true. the past 2-3 years your whole arguement has been "well how can we compete with them" we've been shit. and your still not winning the league HAHAHA. so my advice to you arsenal people is to look on the inside and just maybe come to the conclusion you guys think youre the shit when you are simply not...?

[valewritessss]

The amount of criticism and hate the wottg book is getting makes me scared to like it bc it feels like if I do then I’m doing something wrong😅