#also thinking about tragic irony

[symphony-calamity]

Thinking about Ivy Alexandria ❤️

[swordoffrivolousthings]

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

Sometimes I think about what would have made HOO a better series. And I'm not talking about the obvious 'too much focus on romantic relationships' and the lack of usage of certain characters or the dumb ending.

I mean the little things that would change so much (mainly character dynamics but also worldbuilding i.e. Camp Jupiter and Gaia's reasoning)

Some of the points are inspired by @crisisreading and their posts. They are the first I saw raise some of my own points so! part 2

Make the ages vary more in the main cast, trust me

Let Percy, Annabeth and Grover get older by 4-5 years. Let them become adults and find themselves outside the godly war. Let them even finish college, I wouldn't get mad. Let them do anything beside being teenagers.

I promise this would make the dynamics more interesting. Percy and Annabeth will be more mentor figures, than fellow comrades. This would create some distance between some of the them, but ultimately create something fun. Piper would come to see some aspiring female figure in Annabeth (I think this would ether be positive or negative, depending how Annabeth changed as a character over the years, but I tend towards negative). Leo would potentially have someone older to exchange ideas with. Jason would possibly feel intimidated by Percy's vastly superior age, prowess and experience, instead of being able to clash heads with him.

Hazel would have not one, but two that people that would play parent to the others' reckless behavior. (go snort your harmful stereotypes up your ass, Riordan.) Frank, when telling Percy and Hazel about his stick, would possibly find in Percy a kind hand (not that he wasn't kind already, let me explain) and Percy would probably share with him this feeling of vulnerability - not dump it on Frank - about having your life tied to a specific thing. I mean his Achilles heel, with which he would have lived for far longer.

And a whole lot more.

2. Add Grover into the series as a perspective character

You have a new trio dynamic introduced in the first book of the series. Let the original trio interact as main characters and let us see how their relationship has changed.

Grover's opinion on the conflict between the gods and Gaia would be important. He is the Lord of the Wild, and Gaia is the literal personification of the Earth. Let us see his struggle between the loyalty he has to the gods and his friends and his powerful feelings towards protecting nature.

Also, he would act as a protector for the demigods. Because while I enjoy Hedge, he is not enough to keep them safe.

3. Throw the bullshit about Gaia getting revenge for Kronos' defeat out of the way

Gaia, as mentioned before, if the personification of the Earth. One of the first gods to emerge from Chaos.

Gaia can, of course, keep her resentment for the gods defeating the son that freed her from her pain (caused by Ouranos initially). But she is a mother goddess. She should want obliterate humanity because humans are slowly killing her. Painfully. She wants to survive and the only way she sees how if by killing all the humans. She wants to save her children, aka animals, insects, nature, and the only way she sees is bloodshed. Gods are not rational in their anger, no one is. So let her be angry and vengeful and out for human blood.

DO NOT MAKE HER A FUCKING VILLAIN, MAN! Make her an antagonist, but someone's whose ideals are worth taking in and adapting. Kinda like Luke about the demigod and minor god recognition. Where have the themes of the original series gone? Remember, an important theme in BOTL was protecting the environment. It was one of the most important moments when Pan faded. Do not let that go to fucking waste. Especially not now, in the world we live in.

4. Show the effects the war had on Camp Half-Blood. Hint it at Camp Jupiter, when Percy does not have the memories to corelate it with

We've had years since the end of the Second Titan War. How did the gods change the course of events ? (the victors write the histories) How much of Luke's reasoning for starting the war was erased. (hint, all of it.) Show us how much the perspectives were shifted and how much the people that fought in it were made into martyrs and villain, basically becoming caricatures.

Let us feel how much this hurts Percy, Grover and Annabeth. How it had impacted and impacts their trauma, grief and utter horror. The younger, newer campers see them as wonderful, all-just and loyal heroes of the gods. The way they hate it.

Good moment to implement the new cabins for the gods and let the new ones forget that it wasn't always this way. Let Percy's demand to the gods be forgotten, shoved under the rug. The tragedy unfolds, use it.

Since in Camp Jupiter none of the main characters have fought, let us see the subtility. Let the older legionnaires be ragged, scarred. Older and weary, with eyes glassy and suspicious. Have younger recruits have this heavy air around them. They know what happened, what killed most of the older people in the legion.

Have Jason, Hazel and Frank see these things in Annabeth, Grover and Percy too. They realise that oh. oh. these three have fought in the war, of course they would. Show them gain respect for the trio. The same kind of respect they have for the veterans back home.

5. Cut one of the Seven from the prophecy.

I know this seems radical, but it is a symbolism thing, which I think would be more interesting in a world based on Greek mythology.

It is established in PJO that three (3) is an important number: 3 Olympian sisters (Hera, Demeter, Hestia), 3 Olympian brothers (Hades, Poseidon, Zeus), 3 Fates, 3 quest members, 3 Furies, 3 godly realms (the Underworld, Olympus + the sky, the seas). Use this.

Give us six (6) prophesized heroes. It is, after all, the second most used number in the series and a multiple of 3.

I suggest Annabeth. Why? because she has her quest from Athena. Let that be her top priority, while hanging out on the Argo II to get to Rome. Let her bond with the younger demigods and have her possible death be always on her mind. Bring her hubris into play and she would think herself the chosen one, the one demigod child of Athena to survive. This would make her falling into Tartarus with Percy not letting her go more taxing on her psyche.

Show us how she hates herself because she took one of the principal quest members to certain death. She feels like she'd jeopardized the whole saving the world thing.

Cut the Seven to Six and let Annabeth die in Tartarus. Show us why a single-man quest is a death sentence. Why three (3) is such a valuable number.

6. CONSEQUENCES!!!

Jumping straight off the last point.

Change why Annabeth would end up in Tartarus. Make her ignore the string around her ankle because she thing that nothing bad can happen to her now. After all, Arachne is gone, right.

Let this be her undoing. I do not care how she dies, but make her choices, her hubris, be her undoing. Do not let her death up to a chance, a mistake or miscalculation. Show how toxic Tartarus is, because we do not see it enough, but make it Annabeth's idea, the plan by which she dies.

Do not make it Percy's fault. Let him try to do everything to keep her alive, but still failing. Attack his sense of loyalty, his self-esteem. Show how the experiences and her death affect him.

Bring the trauma from the last war back in those chapters, in a place where demigods leave something behind.

To less drastic things - let the others get hurt. Permanently. Show how this life affects and damages people physically, too.

Have one lose an eye, another get horrific scars. Lose a limb, a part of themselves. Do not make it seem like any other could have gotten the same wound.

Tailor them to their character, their pride and their skill. Hit them where it hurts most and let us see how it changes them.

Also, about Leo. Kill him too. The fact that he ended up alive is a deux ex machina. He should have suffered the consequences.

Also also, bring back the fatal flaws. They are missing from the series. Play with them, show why they are important parts of their characters. Bring back ancient Greek fatal flaws, and new ones that make sense in a modern world.

Hurt them because what hurts them is part of who they are. Show us why the Greeks invented tragedy.

7. Age up the target age. Go more young/new adult

I understand that PJO was made for middle schoolers. But the target audience had grown up alongside the characters, and as such they have matured.

This is why I said to age Percy, Grover and Annabeth up further. Leave some distance for the old and new readers to get up and personal with the new main characters. Have them find common ground with the new demigods but have their anchor in the old ones.

Make the readers work to understand and refamiliarize themselves wit the older demigods. Because they've changed.

Targeting a more mature audience allows exploring n. 6. The realistic consequences of living with the fear that something will come and eat you. How just a little mishap could change you for life. (or what has been left of it)

Please do not go grim dark. Show that despite this all, their purpose has not stopped existing. A life exists outside of your appearance or disability still exist, and while it would be hard, do not lose hope.

8. Hope, or lack of its importance in the Heroes of Olympus series

Alongside other callbacks and reinforcements of PJO's lore, where is Elpis (hope)? Why doesn't she appear as a larger theme in the books? I don't know.

Elpis is still in the jar, having been used as a threat of defeat. But now Kronos is gone. Have Gaia use it as s symbol for her own cause.

Make hope Gaia's argument. The most important part of why her cause stands. Gaia is waking now because there is no hope for the betterment of the planet while in human - and therefore godly - grasp. She wants to save the planet, but they, the destroyers, are opposing her.

Hope is what she wants to bring back. The hope that death will not be the end of life, but further evolvement and betterment of all species.

This argument is what the counterargument should unravel. All species? Why are humans considered irredeemable, unworthy of becoming something greater?

Why can't they not coexist and why can't humans learn how to care about the world surrounding them.

Make hope for humanity and for the environment not a question of if they are capable to coexist, but how we can manage that. Humanity and nature are not mutually exclusive, but two halves of the same whole that need each other to sustain their longevity. Yes, nature can exist without humans, but humans can't.

This does not mean that the best way forward is to kill all humans.

There is no need for hope in HOO because there are no greater questions being asked about topics that require hope, because otherwise we would descend into nihilism and fatalism.

9. Give the gods reason to act the way they act, or a look at a greater narrative problem in the series

I may be generalizing, but the gods act erratically and make choices convenient for the plot, as it is, to happen.

Hera: how, specifically, does she know that Gaia is rising and what her plans are. Why is she against Gaia, when the older goddess has a track record of helping the Olympians on different occasions in the myths. Why does she decide to act when she does, how she knows that the king of the giants (whatever his name may be) is coming after her right then.

We don't know.

Athena: we understand why she wants the Athena Parthenos back. Why not force the Romans to give it back. After all, she is a goddess, even if the Romans don't respect her as the Greeks did, she has power and sway over them. Why send her children, a supposedly important part of what brings her glory, to a near-certain death. Is it misguided vengeance, an obsession to get the statue back at all cost, or simple cruelty. These reasons could apply very well to sending the Romans, yet she doesn't.

Zeus: why lock down Olympus? Paranoia, which fair, but you are a King, why wouldn't you look after your subjects? (bc Riordan chose to ignore part of his characterization in the myths and part of his godly domain) (I know kings aren't perfect, but after the last war, one would think he would do everything in his power to stop another one before it begins) Why not seek justice for Octavian's lies, that affect their ability to win the war, and kill/imprison him? Justice is part of his domain, as Zeus Nomius.

I know that we wouldn't necessarily need these answers, but without some of them, some choices left hanging seem to be there only to add to the drama and danger of it all.

All in all, I have many problems with the 'Heroes of Olympus' series. Some of them are nitpicks and personal preference as a high fantasy reader in my free time. Some of them would really add to the story and continue the themes of PJO.

Please ask me if something wasn't clear to you. I'll happily explain further.

If you find something you don't agree with, let's discuss. I'm open to changing my opinions.

[n--n]

You know the saddest thing abt Mhin is that they keep their distance from everyone bc they’re scared they’ll get hurt but given all of the others are monsters both literally and metaphorically they’re technically dodging like a ton of bullets

[katierosefun]

step 1 of watching suits: haha fun plot! look at this little guy pretending to be a law school graduate. yeah this won't have any consequences whatsoever

step 2 of watching suits: oh this little guy and that bigshot lawyer have some good chemistry. yeah they're both committing a crime by having him work at this new york big law firm but it's fun :)

step 3 of watching suits: they're actually facing consequences to their actions now, but oh god i don't want to see either of them lose. yes, they did something terrible but don't we all want to feel a bit special. don't we all feel stuck. doesn't our own ambition swallow us whole. don't we feel insanely loyal to the person who gave us everything. we're going down together. if you go, i go.

[seaslugandscylla]

I don’t have Roblox or know lore, but I love the design of this fishy bastard. So miserable, so irritated, so sassy, so fishy in the most fishy way. However, my brain infected with biology overthinking forces me to think too much about his inefficient way of nutrition. Too long digestive track, two stomachs, too many intestines, two digestive enzymes sets, two metabolism rates and two absolute different dietary needs. But only one teeny-tiny human mouth through which he can eat his fill. No way to satisfy the sea serpents belly when the maximum size of his bite is a big sandwich, yet even if they have the jaw like a snake the snack must be small enough to pass his esophagus and to fit in the human belly. Probably his constantly hungry and slightly malnourished. Poor guy. Also the very human side yearns for greens and their fancy vitamins, delicious chlorophylls and carotenoids. Still needs them though, avitaminosis is not cool or pleasant. He hasn’t eaten a broccoli for who knows how long and dreams about it hoping some idiots sent to him has one to give away. But not sure if the rest of the body is as keen on leafy goods. Maybe it would demonstrate against? Who knows? I only know that the menu of fish part includes only meaty dishes in XXXXXXL size. The orange carotene might not be welcome down there. The true irony of the fate. He’s so tragic character…so I gave them an ability to cook soup and a big pot. Now he can keep the semblance of normality and safe warm meal in the abyss

Here are some of my thoughts about most interesting notes cause my brain

[glitteryinknotes]

There is a level of deep, bitterly poetic and cruel irony in Astarion's death and his eventual fate as a vampire spawn. Laughable, even. Lamentable.

Where do I even begin. I once posted here my thoughts on who Astarion was before Cazador took him; and all my thoughts were based on what we can assume to be canon from scraps on information in - game and interviews with Neil. That Astarion Ancunin who was laid into the ground at Baldur's Gate cementary was a corrupt magistrate, a shining example of power abuse, indulgence, hedony, existence in privilege without any service to the world around.

We also know for a fact that Astarion is not a good person in a moral sense. Again, Neil Newbon himself talked about it. He has capability to grow, mature, open himself up, soak in the positive influence and feel for others, but he never will be the default upstanding type. That is simply not at his core.

This is why (I am aware we're talking a fictional character, headcanon is free to all in whichever way they think it suits and pleases them) I cannot for the world believe in all the fanfiction based on the notion of the tragic, tortured soul unjustly attacked and turned into a vampire, because to me - it misses the entire depth and essence of Astarion's personality and arc. He was not a "worthy" persona before Cazador; in fact, the beating he got from the Gur was well - deserved and the near - death experience... Probably so as well. Maybe if anything, this would open his eyes and force him to reflect at least a bit on his choices in the position he was occupying. (But given that he mentions begging Cazador to turn him to be able to take revenge, I highly doubt that.) So yeah... The man got what was coming to him. He deserved it.

But what he got in the end once Cazador allowed him to drink his blood and had him in his hold? Two hundred years of misery and abuse beyond description, being completely stripped of any identity and personhood? No one deserves that. Such fate should not be thrust upon anyone. Ever.

It is the cruellest, most wicked twist of fate that it took that kind of ordeal to change a corrupt little elf's view of the world and force him to even acknowledge the existence of evil deeds and abuse of power - something I am quite sure he never gave any thought to before. It took being transformed into an utterly helpless victim to make him truly see that there is good and bad and perpetuating the bad leads to pain and misery for the innocents (and you can never be sure if not for you as well), and only then, at his most pathetic, most vulnerable, after centuries of torment, it took meeting, trusting, admiring, being grateful to, befriending / loving and being influenced by a genuinely good and kind person (probably the exact opposite of who he was before) to shake and cause some shift in his inner moral compass, or rather the way he was choosing to use it. The full circle, a poignant, unwilling journey from the one abusing power, to the enslaved puppet of someone with considerably more power abusing it in the most inhuman ways possible, and this time to his own woe, to the one person able to break the abusive cycle given the right influence.

Isn't that simply poetic in the most sickly sense? A tragicomedy, if you will.

Forget about Astarion Ancunin. The grave was good for lovemaking and sharing an important moment, but whoever was laid there was not anyone worthy of your time (just like "Ascended Astarion" )The one who stands by your side now is. Your Astarion. The new Astarion, the same "lovable rogue" with a taste for theatrics, drama, debauchery, beauty, murder mayhem and loose morality, but - a better person all the same.

[follow up post here

https://www.tumblr.com/glitteryinknotes/733162725841289216/a-little-follow-up-to-my-previous-post?source=share]

[man-down-in-hatchet-town]

THERE'S A CASTLE ON THE HILL, AS THE STORY GOES...

As promised, some initial thoughts on the things I loved about seeing this show. Spoiler free, since most of us haven't gotten to see it yet, and under the cut since I do wax a bit poetic...

Cinderella’s Castle is, in a strange way, an exercise in irony. The show is a retelling of an ancient story that is beloved and recited throughout so many cultures, and yet somehow feels completely fresh. The modern take on glam-punk lighting, a score infused with styles from 80s synth to anime, a high fantasy set with the costumes to match, the spirit of Jim Henson lingering through both the puppets and some larger and intangible vibe, a script combining that Starkid humor and Hatchetfield darkness with a whole different style of speaking… all of these beautifully executed elements melted together into something that I’ve never before seen. To take a tale as old as time and make it unique is no easy feat, but Starkid did so with magic and charm to spare.

Like any good Starkid show, Cinderella’s Castle is relentlessly dynamic: fun and tragic and exciting and just-plain-silly, with many twists and turns and character moments will make you gasp or cheer just as often as you laugh. It simply rollicks. The story clicks right along, especially in act 2, but the characters are so distinct and fun that I found myself almost wishing the Langs had sacrificed their plotting and pace just to spend more time hanging with every single member of this ensemble of personalities.

And that’s also a tribute to the actors themselves. Jeff is David Bowie reborn as the impish and fabulous narrator. Jon and Joey bring Hop A Lot and Crumb to life with so much charm and presence that they practically had the audience eating out of their hands from the very first second. Like, seriously, you will not believe how invested you will immediately become in these talking animals. Kim’s Fairy Queen is as radiant and terrible as promised; her portrayal of immortal inhuman power compels and commands and stands fully distinct from the Lords in Black. Lauren and Mariah are delightfully disgusting as the vile but deeply lovable troll step-sisters; you can feel the fun they’re having practically radiating off of them. Curt’s Tadius is dryly funny and put-upon, but also provides a vitally grounding and centering presence in the larger-than-life world of the Lands That Are. His big scene with Bryce is probably my favorite part of the whole show. James Tolbert is nothing short of an absolute STAR as the Prince, stealing scene after scene after scene with ease and charm and more jokes about genitalia than I think any of us expected. Angela once again displays a completely different facet of her never-ending range, exuding such elegance and control even in trollish filth that I do fear that the kids on the internet are going to start calling her “mother” with greatly increasing frequency. "Facade" was an absolute highlight of the night. And of course Bryce anchors, propels, and heightens every scene she’s in with such apparent ease you forget she’s been rehearsing for weeks and isn’t simply Ella herself. Ella is this world’s bruised, brave, and angry heart, and you will absolutely root for her every step of the way as she wrestles with who she is and learns what it means to claim her own power.

This was Starkid’s biggest budgeted show to date, and you could tell. This group of Michigan Wolverines and friends have accomplished incredible things since the Very Potter days of a single door and some cardboard columns, and I’m so proud of how far they’ve come. And yet Cinderella’s Castle, the fifteenth musical in the fifteenth year, still retains some of that core Starkid magic that I’ve always believed boils down to love. You can so often see that love emanating from the performers on a Starkid stage: love for the show, for their friends, for their craft, for the audience’s energy pushing them through. And the sense of love and support and community radiating from the audience is just as palpable. The man sitting behind me last night was at his first ever Starkid show, and afterwards he remarked in awe how that was the best audience he’d ever been in. And all that love isn’t unearned—it is built and it is nourished by a proud history of creativity, of song and of dance and of laughter and tears. And Cinderella’s Castle, I think, is going to prove an installment worthy of both Starkid’s past and future.

Starkid family, Bogs Hollow grants thee Starlight.

[rocketbirdie]

YOU. You are correct about Cloud Strife. Everything you say about him is CORRECT

Hi I'm going to use your ask as an opportunity to go on an unhinged tangent about him below the cut.

I believe that EVERYTHING about Cloud Strife as a character makes total sense once you realize: it's autism.

Here's a character whose entire arc revolves around the erosion of his identity and his desperate attempts to adhere to an ideal image, at the expense of his own wellbeing; and how self acceptance is the thing that brings him back from the edge of despair.

Youtube theorycrafters waste hours of their lives trying to piece together Cloud's psyche, when the answer is just... autism. It really is that simple. I will die on this goddamn hill.

In Trace of Two Pasts, we learn that even as a toddler, Cloud really was just... like that. Unemotive and awkward. And the entire lifestream sequence in the OG shows us a young Cloud who behaves in baffling ways. Tifa and her friends invited Cloud into their group, but he rejected their friendship while simultaneously harboring a seething jealousy. How the heck does that work, huh?

Viewing this through the Autism Lens™️, his approach make way more sense. Fearing his own inability to read and reciprocate their intentions, he pushes them away, and the resulting loneliness crushes him. He mistakes that loneliness for anger. He turns that anger outwards and gets into fights. Because the other kids don't understand him, Cloud sees them as stupid and immature. It's the perfect recipe for disastrous distrust. The tragic result is that, when Tifa gets into her accident, Cloud is immediately blamed by kids AND adults. He's seen as inherently dangerous and unpredictable, even though he did nothing wrong. It's like they were already looking for the perfect excuse to hate him.

The worst part is, because he struggles to articulate his own thoughts and feelings, he starts to just... accept what other people say about him. He's a pain in the ass. He's a selfish brat. He could try being a bit nicer. Any attempt that he makes to argue, backfires and proves their points even more. He's being childish. He needs to get his shit together. Nothing's ever good enough for him. He stops fighting it and lets people drag him around and violate his boundaries, because no matter how loud he yells or how intelligently he argues, nothing he says ever reaches their ears. He trims away more and more of himself to try and appease others and nurse the constant emotional pain. (And that's not even addressing the entire traumatic *waves hands* everything that he's gone through by the time he reaches Midgar! That would have to be its own tangent lol.)

It's hard to watch as a player; the secondhand embarrassment of Cloud's social blunders is immense. Some people don't like Cloud as a video game protagonist, which is perfectly valid. But a lot of times, they justify their opinion by perpetuating the same damaging language. He's an asshole, he's a weirdo, he hates people. The irony would be hilarious if it wasn't so frustrating. I know Cloud is just a fictional character, he doesn't need to be defended from harsh criticisms. But I can't help but wonder what these players think about the "weird people-hating assholes" that they meet in real life.

It also makes me wonder if they were even paying attention. I think the games make it pretty damn obvious what's going on. He's an asshole because other characters treat him like one before they even get to know him. He hates people because he doesn't understand them, and they don't even try to understand him. He's a weirdo because he has a strange way of showing how deeply he loves and cares, and he's afraid that his love will be misinterpreted like every other emotion he's ever dared to show.

The autism is everywhere. It permeates his entire being. It's in his silly responses when he takes things too literally. It's in his painfully practical way with words. It's in the stiff expressionless look and the flat tone of voice. It's in him constantly adjusting his gloves, shifting his weight, looking down at his feet. It's in his questionable idea of what you're supposed to do with your body at a yoga session. It's in the half a dozen flustered high fives, it's in the motion sickness. It's in the contagious eagerness with his special interests in SOLDIER and materia and chocobos.

It's in the moments where the facade crumbles and we get to see the real Cloud, the one that Aerith knew was in there— the one that Tifa finds in the lifestream— the one that Zack gave his life for— the Cloud that cherishes the whole world. He's got so much of everything inside of his heart, and he doesn't know how to get it out. You'd be a weird asshole about it, too.

[alygator77]

alright, now that I have sat on this ending a bit I’d like to express my frustrations with this manga—this is entirely my own opinion, you have every right to disagree with me if you do, just please be respectful.

spoilers ahead.

it’s just… what was the point…the theme of JJK? can anyone please tell me? like honestly, I would really like to know what you think it was, because I feel like there were so many plot points that were introduced, and they led no where.

look—as a new writer I know it ain’t easy, I am still a novice and I’m not trying to completely disrespect geges writing. obviously there are some things he did right, otherwise this manga wouldn’t have gotten as popular as it did—I’m just so disappointed that this story feels so… empty. It’s shallow. It’s action with shock value—that is all this manga is to me, because everything gege built up to amounted to nothing.

the story starts with yuji talking about “proper deaths.” lol. lord the fucking irony. yet, satoru doesn’t get a proper burial. look… death is a big thing in Japan. they dedicate literal shrines to their loved ones. the disrespect for satoru as a character is so disgusting to me. we see yuji preemptively “mourn” him in a flashback—but not when the guy is actually dead?

this is not how real people are—real people mourn death. I understand everyone grieves differently—hell, yuji felt weird mourning his grandpa in the beginning, but you’re telling me no one gives a fuck? no ones gonna say anything? talk about how he’s gone? what he sacrificed? yuta got out of his body and…that’s it? we don’t know where tf it is or what happened to it.

nobara mourned yuji when she thought he was dead back in the beginning, and she barely knew him then—so what, everyone just hates satoru? the guy that literally cared so much for his students? the guy that was willing to completely overthrow a system just for yuta and yuji because he cared so much for their youth, their happiness?and yet, even they don’t acknowledge his death?

there were multiple chapters that just ended on some sort of cliff hanger or introduced a new side plot—giving the readers something to keep them interested, only for it to amount to nothing. yuta in gojos body—what was the fucking point of that? It accomplished nothing. It was just shock value. what was the point of these last 3 chapters?

look I don’t hate angst, and I’m all for tragic characters—satoru is definitely a tragic character—but god, there is also some tact in handling it. his character is amazing, yet the way he was executed in the end is just so fucking sad. especially considering he’s one of the most beloved characters in the fandom. this literally felt like a big “fuck you” to us satoru fans.

I could literally write an entire book about how unhappy I am so I’ll just stop there…

I’m so upset.

[raven-at-the-writing-desk]

Hiii I’ve been following the Malleus talk for some time now and wanted to ask what things you do like about him or good traits you think he has. I ask because when you explained that why you don’t like Vil you also said what you liked about him. That he works hard and is confident. So I’m wondering if you have some of those for Malleus!

[Referencing this post and this post!]

Aaaaaah, I tried my best to come up with things I like about Malleus but fair warning that it’s not a lot and I had to pick really specific instances rather than general characteristics 💦 I hope that’s okay!!

His mom is hot--

There are times when he acts appropriately neutral, wise, and dignified, as a crown prince and future king should be. I like these moments and want more of them over him being pouty or lashing out. A few examples of this include Fairy Gala (he knows there are tensions between nocturnal and diurnal fae and rightfully stays out of it), Ghost Marriage (he cannot thoughtlessly propose to Eliza but does support Riddle and Lilia in their preparations), and Vargas Camp (when he instructs Sebek to apologize to Leona, who still counts as a fellow prince).

His patience with Sebek. Early on in the fandom I think there was this expectation that Malleus would find Sebek annoying? But it’s refreshing to see that he isn’t usually bothered by Sebek’s presence and handles interactions in a level-headed and blunt manner. He doesn’t discourage Sebek and his special interests either; Malleus tends to entertain them (like the time he sat still and had the royal painter do a portrait of Malleus for Sebek’s birthday gift) or is otherwise pretty indifferent about it, though of course he still corrects Sebek when he steps out of line or intrudes on others. For example, Malleus still speaks up when Sebek is rude to other nobles or is disturbing the peace with his loudness.

Malleus’s love and care for the gargoyles of the City of Flowers/Fleur City. His friendship with that one gargoyle was just so adorable!! Short it may have been, but it was still very genuine.

His parallels with Leona. A crown prince with few close friends or family… versus a prince who will never have the crown but is surrounded by loving people… They want what the other has so badly, and I think there’s such a tragic irony about that.

The one time Malleus truly felt fear (thanks to Rollo). Listen, LISTEN 😭 This was legitimately so cool????? To think that it would be Rollo lighting a fire under Malleus’s tail, forcing this overpowered fairy to experience that same feeling others may have when he unleashes his power on them… Oh, how the tables turn. It’s interesting that Malleus reacts as if he’s amused by the sensation of fear and welcomes the challenge; it sort of implies he was growing bored of the same old routine and is actually showing some strange respect to Rollo by deeming him a worthy opponent. This being one of the few times Malleus shows vulnerability instead of dominating the battle, of course I’d love it 😂

But most importantly…. Malleus’s best trait is—

***Late book 7 spoilers below the cut!!!***

He was once a cute lil’ baby dragon that makes silly lizard sounds 🐉 (alas, he is no longer one… 😔) And again, he has a hot mom—

[tanoraqui]

now that this fic is all published, I can ramble about the things that happen afterward in the timeline! Feel SO free to ask about anything you want more details of.

First off, all three posts about Dave the Balrog are 100% canon to this au, except for where they sometimes contradict the fic's worldbuilding or plot bc I hadn't settled on every detail yet. Also, Dave’s name is probably more like “Drav”, from the Sindarin “drava-”, “to hew.”

That happens much later, though - about 1980 TA. FIRST, immediately, as Celebrimbor says: it's time to save the orcs!

That is, wildly self-indulgent crossover with @ceescedasticity's fic(verse) elves, once, which isn't 100% my headcanon for orcs but it's essentially canon for this au because it makes everything VERY FUNNY in a tragic irony way. I've thought about this so much that it really deserves its own bullet-point post, but highlights include:

- Annatar attempts to conceal the fact that Curufin and Celegorm are orcs, and, y'know, have been since they died. This works until Celebrimbor identifies a bunch of the orc army's weapons as made by his father, even if the style is strange and fell, and the two of the have a HUGE fight in front of representatives of every Elvish kingdom in Middle Earth and most of an army of orcs.

- Bellow/Turgon is having the single strangest, most uncomfortable road trip of his life, and he counts the crossing of the Helcaraxë in that total.

- Turgon tries to convince Galadriel to take Celebrían and Elrond and get out of here, because inevitably this must be a cruel trick and all the orcs will be forced to turn on all the Elves. Galadriel is like, "Honestly, I've been watching Celebrimbor's slow corruption and Sauron's slower un-corruption for about 2,000 years now, and I think we actually have a shot at this. Also, bold of you to assume you can beat me in a fight."

- Curufin and Celegorm had BOOKED IT when Annatar's summoning-compulsion snapped, on the reasonable assumption that any plan the Dark Lord had for them + Celebrimbor could only be cruel to the extreme...so Celebrimbor and Annatar go on a bonus road trip to retrieve them.

- Everyone meets up by the Sea again, but instead of taking (or, obeying) the offer of escape into Ulmo's hands, Turgon and probably a bunch of other orcs volunteer to come help break the Crucible. They Deserve This.

- In the end, as usual, the day is ultimately saved - as are the souls of thousands of trapped elves - by the power of love and overwhelming violence.

AND THEN...

Celebrimbor & Annatar don't actually rebuild Ost-in-Edhil and Eregion as they were. Those days are over, and also the surviving Númenoreans kinda...regard Annatar as Absolute Evil, for some mysterious reason. And those who knew about the whole or even partial conspiracy - namely Tar-Miriel herself - aren't too keen on Celebrimbor, either.

They leave whoever wants to stay and rebuild in Eregion, leadership tbd based on the traditional system of craft-based meritocracy, and take a few decades off to lay low from geopolitics, work on their marriage, and for Celebrimbor to learn a little bit of necromancy so he can manipulate his own fëa and hröa, thank you very much.

They stay with the Witch-Queen of Calador for a while, discreetly because officially that kingdom is also not on good terms with its “former” evil-ish overlord. (The Witch-Queen of Calador and her not really sane, almost certainly unsafe, but arguably consensual relationship with Annatar really deserves her own post, too. She’s my favorite OC of this au. She really loves bats.)

Elrond & Celebrían get married! Elrond always knew his wedding would have to involve stopping drunken brawls from erupting between people who love him but hate each other, but he’d assumed it’d be Iathrim and Fëanorians, not an elderly Queen Miriel going for Annatar’s eyes with a butter knife.

Annatar regards the birth of Elrohir and Elladan with some concern, this alarming lineage now augmented by the blood of Arafinwë (cut off Melkor’s foot) and Galadriel (Melian’s pupil, hates him). But that’s nothing to how freaked out he is by Arwen, who is such an obvious Reprise of Lúthien that it’s now CLEAR that this was all a Melian scheme to assault him, personally.

He can’t just kill her now—Elrond and Galadriel and both right here, not to mention Celebrimbor. And then she’d absolutely be his enemy when she Returned… No, the only solution is to stay in Imladris for a while and become her most beloved uncle whom she would not dream of assaulting, whom she could not bring herself to injure even if circumstance and conscience forced her hand. Love has ever been the undoing of Melian’s line. The Reprise is obvious, but not so established that he cannot twist it into irony, Lúthien’s heir as his devoted student and companion rather than foe.

[smash cut to late 3rd Age Annatar watching the Music settle into place as Arwen interacts with the newest, currently toddling scion of the House of Elendil and nearly killing the child right then because no, no, thats not how this was supposed to Reprise—that’s his jewel of an elf-queen, Singer and trade-manipulator and niece, and he’s going to lose her forever? Killing the brat won’t even work, that would only make her follow him sooner, one way or another—]

Celebrimbor doesn’t want to build a city (and have his heart broken by the loss of the city) again, but he very much does want to ImproveThe World, and also to Make Things With His Hands. So he and Annatar, and whoever of the Gwaith-i-Mírdain wish to join them, set about… “Traveling” is too loose a term; just because they’re not city-building doesn’t mean anyone here wants to live on the road. They need workshops, forges, and ideally a maia-sized cat tree tall tower from which to survey their domain. They are a highly skilled work crew/technical, artistic & management consultants who change cities every 5-200 years, throughout Middle Earth and perhaps even other continents.

This what Celebrimbor and Annatar do, for most of the rest of their time in Middle Earth. A few of the Mírdain travel with them all the time. Others strike out on their own, or in similar small groups. Others stay in rebuilt Ost-in-Edhil, or Rivendell or the Havens or another Elvish kingdom, and come lend a hand when their particular talents are called for. Everyone who “died” in Númenor and was “resuscitated” by Annatar walked away with a strengthened, basically permanent osanwë connection to the simulated workshop group chat, which they’re aware of, and a location tracker and fëa-stamp saying “PROPERTY OF MAIRON, FUCK AROUND AND YOU WILL FIND OUT” which only an Ainu could detect.

They're the mysterious stranger(s) who accept an offer of hospitality on a stormy night and reward you with a magic ring that blesses your farm with fecundity. They arrive in a city in the middle of a cholera outbreak and inform the local rulers that they're here to overhaul the whole wells & sewers system in exchange for room and board; no, the local rulers do not get a choice in this. One time they do oust an evil ruling dynasty and just kinda take over the kingdom for a few centuries, but then Celebrimbor starts to get paranoid of his own growing attachment so Annatar reluctantly agrees to find and raise some honorable candidate for kingship [gender-neutral]. One of the Mírdain with them says, what about the choice of the people? And then after a lot of discussion, partly in collaboration with their local Men, they write up and seal with Power a Constitution that establishes an oversight body of political, economic, craft and etc. experts to oversee and have veto power over popular elections to kingship from a slate of candidates chosen by the current/soon-to-be previous king, on a strict thirty-year schedule. There, that should stabilize the whole messy business of mortal succession!

Also, 1300 years or so into the Third Age when this version of Gondor hits its equivalent of the Kin-Strife, Annatar takes advantage of its weakness to initiate a plan he's been contemplating for a while, especially while gaining local insight into a variety of nation-states and their management, and returns to Oroduin to forge what may he his last Great Work...a new standard of currency.

It’s called, in the common tongue developing from Adúnaic and Sindarin, the “mira”, pl. “miran”, from Quenya “mírë” (“jewel, precious thing). Where pettier currencies are based in gold or silver or the might of some particular empire, these hold value Because a Great Maia Said So—indeed, Sang So, Sang a new line into the Great Music that these coins would always have a value of…whatever he said so, if he updated a petty lyric or two of their Song. Those who use the coins don’t need to know this; they simply intuit, with coins in hand, what they are worth.

(You can lead even the mightiest empire by the nose if you control the price of grain alone, much less other commodities, or one currency relative to another. Each minute adjustment takes Power, especially to shift the natural balance of multiple interlocking goods…but Annatar is a master of the perfectly placed lever with which to shift the world.)

Maybe at some point the Valar are like, “okay, I think they don’t irrationally hate us anymore, I think this could work” and send a small group of Maiar to openly, humbly approach Annatar and Celebrimbor and ask if they might be apprentices in the craft of…whatever the fuck is happening here. Or maybe something adjacent, because Pallandro and Alatar would really like to fuck off into those excellent looking woods and hunt the remnants of Ungoliant’s spawn, and Radagast actually wandered away 5 minutes ago to talk to a bird. He’s gonna be a while. But Curumo and Olórin are listening politely!

…Or maybe not. Maybe it’s just the Jewelsmiths, slowly becoming folklore, bettering the world (and manipulating wide-scale economics) one stone at a time. (They’d still be the “Jewelsmiths” anyway, even if they included those who, in another universe, were called “The Wise.”)

As stated in the third Dave the Balrog post, they do Sail eventually, several centuries after Arwen’s death. Celebrimbor just gets tired, and Annatar can’t fix it. Ossë spends the whole voyage backstroking next to their ship and sarcastically quoting Annatar back at himself, Years of the Trees insults about being made weak and pathetic by love, until Annatar nearly lunges over the side as a wolf to tear his throat out.

[pixiecaps]

that wiki post reminded me idk if a lot of people here know but roier and spreen have known each other and have been friends since they were like 15. and so my personal hc for their qsmp characters is that that irl fact applies to their cubitos and explains qroiers fondness and deep friendship with spreen and is particularly the exact reason roier struggles so hard to grasp why spreen betrayed him in such a way. considering he had sorta grown up with him at this point and trusted him so devotedly that he never couldve expected it. and it creates this sorta bittersweet result of their dynamic that i think people can relate to in aspects of childhood friends to meaning nothing to each other.

except obviously for our cubitos its a bit darker with ya know roier wanting to kill spreen and torture him and spreen well dying mysteriously. but its sorta raw and tragic in its own way. and i think the aspect of them being friends for so long also explains why despite how quick and selfishly spreen was to betray roier he also was just as quick to try and gain his forgiveness because in a way he did care for him. because he did. its so crucial to understand that spreen cared about roier.

however just because spreen cares about someone doesnt mean he wasnt willing to hurt them. we best see this when he tells the devil that the people who he likes most on the island are roier and missa. but no matter how much care he might have for someone if theres something for him to gain he’ll take it. so i’d say in the end when considering everything that went down and all their choices the irony of how well they knew each other for all these years of friendship is that they both sorta underestimated the other. roier with spreens morals and integrity and spreen with roiers compassion and forgiveness. hey have i mentioned that i think about them a lot

[dykedvonte]

I haven't had time to think things too deeply yet and haven't dove into the tags but are there really people reflecting the exact thing Jimmy did in the game at it's most basic? It seems a little tragically poetic to me since Jimmy placed all the blame on others and refused to take responsibility for anything, even in the end it was a selfish action rather than a responsible one.

I also feel like Curly was somewhat more aware on some level of the danger Jimmy presented, the long foreboding walk down the stairs to the cockpit to take Jimmy's psych evaluation, the emergency alarms ringing and the broken ladders presenting a feeling of no escape.

Was anyone there even trained to handle a situation like this? Pony Express sure didn't care about safety, that's for certain..

My thoughts are more on people making sure to remind you what Curly didn’t do to prevent it than the fuitity of the situations and the options he had.

I am in the camp that Curly could’ve done more, put Anya first and prioritized Jimmy less, but I feel like many people shape it more around malice on Curlys part to talk about how he isn’t a good person. It’s taking a character flaw and making it the character and it’s annoying to a degree. As you mentions there’s not the avenues or procedure for him or anyone to handle a delicate issue like this is. There aren’t the realistic avenues people can take without someone facing more harassment, harm or issues. It’s the irony that in thinking that Curly could’ve done more, you are giving him power he doesn’t have just like Jimmy did in his weird envious worship of Curly.

It’s erasing Jimmy’s culpability and sort of turning Curly into his handler which is exactly what Jimmy seems to do with him often, like yes, Curly enables Jimmy in many ways he shouldn’t but he also isn’t shielded from those exact behaviors. Curly can’t escape Jimmy in an adjacent way Anya can’t escape him (mentally, physically, emotionally). Their relationship is unhealthy on both parts but Curly is the one truly being victimized in it.

It’s such a good representation of how toxicity seeps and cycles between other even if trying to be good or just or help and it gets overshadowed by how one can be better despite the situation quite literally points out that there are points where it’s impossible.

[gandalfsalt]

Varric and the Shakespearean Fool

How is Varric the most Shakespearean character in Dragon Age, and one of the most complex characters in the whole series? Varric fits the archetype of the Shakespearean fool, a character trope in Shakespeare’s plays that offers deep, cutting insights hidden behind a veil of comic relief. 

The fool is an ancient stock character, but Shakespeare adapted it to create arguably his most sophisticated roles. He leveraged the fool as a vehicle through which an author can speak hard truths and thematic insights to not only the other characters, but to the audience. I think the Dragon Age writers use Varric in a similar way. 

Varric is a bardlike, storyteller figure who often stands to the side of the main story and reflects on it. In Dragon Age 2, for example, Varric was responsible for framing the entire narrative. The fool is based on the court jester, and one of the primary functions of a jester was actually storytelling. Varric is known for his playful sense of humor, and he uses it to mask serious observations as well as provide comic relief. Shakespeare not only used fools to provide levity during tragic events, but also as truth tellers that reveal deep insights about the other characters and broader themes. Many of Varric’s nicknames for the companions reveal deeper truths about their characters. He calls both Hawke and Solas “Chuckles,” for example, which I believe is a nod to the tragedy and tragic irony that defines them both. 

Shakespearean fools are such sharp commentators because they’re outsiders that exist in-between different social categories. Varric both figuratively and literally occupies liminal spaces in the world of Thedas. As both a surface dwarf and a second son, Varric is marginalized in dwarven society and within his own family. This position gives him an outsider’s perspective that makes him such an insightful critic. When we first meet Varric, he’s living in the Hanged Man pub. Not only is a pub a place for entertainers, it’s a liminal space that exists outside of the clearly defined categories of work and home. Adding even another layer, a “hanged man” itself is a liminal figure, suspended between life and death.

Another similarity is that fools are very close to powerful people, like Hawke, but they’re not bound by the same rules or expectations. This allows them to say things the other characters can’t. Fools challenge societal expectations and authority figures, and Varric frequently questions the status quo, using humor to mask his serious observations. He also engages in philosophical discussions, offering profound insights disguised as simple banter. Varric’s conversation with Solas about the man on the island is a great example of this. Through what seems like humorous casual banter, Varric is revealing key aspects of Solas’ character, and major narrative themes.

One of Shakespeare’s most famous fools is the fool from King Lear, who serves as the King’s conscience, offering moral insights and reflections that the king cannot. My friend Aisie pointed out that Varric will likely play the role of Solas’s conscience in the Veilguard, which is yet another way we’ll see Varric functioning like a Shakespearean fool. Fools are also known for pointing out hypocrisy or folly, and I think we may see Varric do that for Solas. There’s very interesting overlap between the themes in King Lear and the Veilguard as well, but that would be a whole separate topic. 

Varric fits the trope of the wise Shakespearean fool so well it could be the subject of a longer piece of writing, but hopefully this is a good start. Let me know if you agree, and if you have any questions on how Varric will fill this role in the Veilguard!

[diagonal-queen]

Your blog is very safe, me thinks. Very comfort, if that makes sense lol. I have a request, feel free to ignore this but I can't help but to wonder what a few BSD men would be like with a very mature/maternal and responsible s/o who tends to put themsleves last and burn themselves out (preferably fem, as I am an older sister who has taken on the role of caregiver and project HEAVILY) I'd like to see Fyodor, Poe, Ranpo and Jouno. (You can throw in anyone else if you want)

BSD boys with a self-sacrificing girlfriend

♡ pairing: Fyodor Dostoyevsky, Edgar Allan Poe, Ranpo Edogawa, Saigiku Jouno x fem!Reader

♡ synopsis: How are they with a caring and self-sacrificing girlfriend?

♡ cw: Swearing, use of fem titles, she/her pronouns, mentions of stress and burnout.

note: Thank you for the sweet message anon <3 it's truly a shame that you and i are the exact same person who have experienced the exact same burden of raising children we didn't choose to have. but i've moved out now so i'm free!! come live with me queen tf we're besties now. apologies for errors and I hope you enjoy x

Fyodor:

Fyodor is a trad man. I'm sure he has some weird beliefs about how women are supposed to have some normalised feminine traits, but this is too much even for him.

It really pains him to see you be so selfless, truly. Though he admires your kindness and patience, he just wants you to be content. He wants you to be comfortable.

Does he enjoy having what is basically a personal maid around? Yes, yes he does. Does he feel guilty for feeling that? No. But does he recognise that your current self-sacrificing routine is unhealthy? YES HE DOES.

So...he simply does not make you do anything at all. If you want to do something for him that's on you.

If you want to do something for someone *else*, he probably won't really let you. Unless it's like family or something, then he understands, but no, you're not helping that random child get their kite unstuck from that tree no matter how much you want to, myshka.

Fyodor absolutely doesn't involve you in his work. He knows that'll only stress you out more, and that's the last thing you need. As such he keeps you away from his coworkers (especially Mykola. Sorry Mykola lovers)

He comes to value his time spent relaxing with you, because he also acknowledges that he could use a break every now and then as well. There's nothing quite as comforting to him as lounging around alongside you- you don't have to be talking or even doing the same thing, as long as you're there together.

Listen, Fyodor does care about you, and he values your health and wants you to be relaxed and uncaring as much as is possible. But if you, his sweet woman, wants to make him a cup of tea, who is he to turn you down?

Poe:

I don't know exactly how to explain Poe here. Just hear me out

He is genuinely so like stressed and anguished about your lack of self-preservation in favour of caring about others. He constantly thinks about it and writes tragic poems about it and shit

Like he's like 'my love......she does not see herself as i do, as a beautiful star....with every act of kindness her light dims ever so slightly...until she's reduced to nothing.........the irony of the good deeds of man..............;-;'

HE'S SO SAD OKAY HE LOVES YOU SO MUCH AND WANTS TO SEE YOU RELAX FOR ONCE

He will go all out in his attempts to make you feel calm and comfortable and happy. Oh he will buy you SO many presents it's disgusting. He will rent out whole restaurants and like even theme parks and shit if that's your thing. He'll stop at no lengths to give you some respite, and it's honestly quite sweet

All that being said, he does love that you're so attentive and caring about Karl. He's definitely watched you play with him and then started blushing super hard because the word 'parents' suddenly crossed his mind and now he's thinking about children and aaaaaa

ABSOLUTELY writes a scenario in which you can relax. Whatever you want- an empty beach, a forest, a liminal space, he'll write it all for you, and gift you the book so you can go there whenever you want :>

He's basically a sugar daddy, except you're in an actual relationship and it's not all about the money. Your boyfriend just happens to be loaded as fuck

At the end of the day, Poe is such a hypocrite because he himself is such a workaholic that he practically lets it consume him, too!

You're both absolute messes. Drink some water and sleep for god's sake. And for the love of all things good take care of each other.

Ranpo:

Bro knows exactly what's up. Sorry, he's got you all figured out fr

That doesn't mean he won't let you baby him though. At first. He'll just let you, along with everyone else, clean up after him and buy him shit

BUT soon, soon he realises that this behaviour is rather detrimental to your health. He sees the circles under your eyes, he notices these things. And he's like '...oh shit'

Ranpo doesn't have any shame or reservations. He straight up confronts you about it. 'Why don't you ever take care of yourself?' And he's not playing around this time

And no matter what your excuse is, he's like 'not good enough. We're going to get ice cream RIGHT NOW and you're going to talk to me about this. Now lead me to the ice cream parlour immediately'

(I may or may not be paraphrasing this particular quote)

The point is that he presents you an avenue to open up about your struggles, stress and psyche. And he really does want to help- the fact that he gets ice cream out of this is just a bonus

From here on out he'll keep an eye out for you. Every time you find yourself getting overworked or burning out he'll make you take a break. This could be a nap or sending you home or a surprise outing- anything to get your mind off work and people.

Ranpo is a stickler for the rules, sure, but he's also lazy as shit. Any time he doesn't feel like working, you're now not allowed to work either. You have to hang out with him or else (he'll be a little sad)

He doesn't necessarily introduce any...permanent solutions to your predicament, but he does have you looking forward to your couples-down time each day, and that's something!

Over time, you do learn to balance yourself and external responsibilities. And he will absolutely be taking credit for it lmao

Jouno:

Jouno is very...self-important, we'll say. Not like, completely selfish or anything, but very much tends to prioritise his own opinions and time and such.

You make him do a complete reassessment and breakdown of all of his thoughts and beliefs he's built up over the course of his lifetime

/j but really, you're unbelievably different from him. You're both willing to put yourself in danger or wear yourselves down, but *you* don't have anatomical medical adjustments that practically make you invincible.

Jouno wants to protect you- and he's not willing to negotiate. He's not letting anyone hurt you, even if on accident. He's especially not willing to let anybody take advantage of your generous nature, which is probably more likely anyway.

He's such a scary dog actually (lol get it?? get it cause he's one of the Hunting Dogs? DO YOU GET IT-) he'll accompany you anywhere if you ask him to.

When he wants to do something for you, he will do it. You're not lifting a finger miss girl

Like he really will take care of you! When he's off work, of course. His job is kind of important, but you best believe you're getting pampered when Jouno is off the clock.

My mans is romantic as FUCK: cooking you nice dinners, reading to you before bed, massages, cuddles- as well as engaging in your interests alongside you of course

He just thinks it's so cute to see you engrossed in something that YOU enjoy, and will encourage your down time

Jouno is gonna make sure that you take care of yourself too, because when he's not around, who better to look after anybody than you? That's the most important thing to him.

taglist~ ♡ @gettinshiggywithit, @fyodorhatr, @flower-of-darkness, @bejeweledgirl, @kokoenjiandco, @pinkiipeachiikeen

[krizariel]

Oh don't tell me... you are f*cking my ex?!

(crack, not-fic, jaytim with past timsteph) Talking with friends about how a friend - who was into jaytim and was a tim fan before he was even registered in my radar - unintentionally got me into jaytim; but then he moved on pretty much as I came in and now he has to put up with me and my never-ending duck giggling butt emojis. Or how he eloquently put it: "I'm literally like a tragic dramatic irony mythical Greek MC, just a plaything of fate" Anyway, I remembered this vague idea and then this took shape:

No-capes AU in which Tim was never adopted by Bruce, but the rest (including Steph and Jason) were. Jason is very protective of his family, especially his sisters. And yes, Steph is a gremlin and gets in trouble more often than not, but damn it no one messes with his sister.

Tim and Steph started dating during mid-school; Tim tends to be asked out more often than not and he has trouble saying no. Often times he does not feel truly attracted to anyone; but he does not want to be seen as uptight or impolite or worse... questioned. He often accepts his dates until eventually they get bored of him. Steph was a change of pace of him and at some point he genuinely was feeling attraction to her; but maybe not to the extent she deserved. She asked him out and was always the one initiating anything, and he'd often go along with it. She was amazing, full of life, funny and so pretty; Tim didn't know what exactly she saw in him. However, she'd quickly notice his lack of enthusiasm/interest and often they'd fight. Why say yes when you aren't truly into it? They were on and off for a year until they broke things off for real. Jason of course hated Tim's guts; be that way whatever, but making his sister cry and mistreating her was a different story. After breaking up, Tim tried to reach out to Steph later, to try and explain himself better and be honest with her. She deserved that much. Except Jason found him before Tim could reach his sister; punched him hard enough to send him off-balance, grabbed him and pushed him against the wall to make it very clear he should not get near his sister again or else... (and Tim was scared to shit because danger danger but also creepily turned on when Jason grabbed him and raised him off the floor so easily. He needs to consult a therapist as to why Jason threatening turned him on and somehow that started his bi awakening) Eventually Steph and Tim moved on with their lives, continue dating other people, and given that they still have friends they reconnect, reminiscence of the past and talk it out. They also eventually come out and bond over both being bi. Fast forward years later, neither Tim or Jason had seen each other again; but Tim stays in touch with Steph. Tim is a well known editor at a big publisher and Jay is an aspiring book writer. Steph had given Tim her brother's original novel draft and he actually loved it. Steph: So, remember my brother Jason? Tim: Your hot brother who kicked my ass in front of half the school hates my guts? how could I forget. Steph: Yeah! He is the one who wrote this fabulous piece. Think you can help him? Tim *internally trying not to scream because what are the odds*: ...Sure. If he agrees to meet, I have time tomorrow. But you better be there, in case he remembers he told me not to get near you. I fear for my life. Steph: Don't be dramatic, he probably doesn't even remember you.

---- Steph: Sooo... I have a friend who is an editor at X publisher. He read your work and loved it. He actually thinks it has high chances to be published. Jason: Really? Steph: Yeah! Told him we could meet with him tomorrow for coffee and go over the details. Jason: Wait who is this friend? Do I know him? Steph: Well... remember this boyfriend I had back in mid-school... Jason, as he stops what he is doing, turns to Steph and glares: The one I hit and pushed against the wall and told to never get near you ever again? That one? Steph: Yes! Jason: Wait, he got actually near you again? *starts cracking knuckles* Steph: Yes, but not that way! I wouldn't take that human disaster for a ride and I'd pity anyone who'd date him. Plus I'm perfect with Cass, thank you very much. But we made peace long time ago and we've been good friends since. I'm sure he doesn't hold grudges, after all he knows the work is yours and had no trouble! It's been years, we have all grown up and moved on.

Jason: Fine. ---- The meeting was awkward at the beginning (especially due to Jason's perpetual scowl) but Tim is clearly very professional and jumps right into business. They exchange contact information. It's clear Tim genuinely likes Jason's work. He puts a lot of effort in navigating Jason through the process, giving detailed comments/notes and Jason is happy to see someone catching on the little details and talk excitedly about them. May not be much but internally he is preening. They start meeting often for coffee, at first they'd talk more about work rather than chitchat and then their meetings started evolving into less work and more random talk, getting to know each other. Sometimes they don't finish talking about the book because they got too distracted. Tim opens up about his teen years, how he was (and still is) too dumb for relationships. He didn't know better but as he matured he learned to accept himself. Jason realizes Tim wasn't that bad of a guy as he thought; just someone making mistakes, learning and growing.

Tim finds he hasn't enjoyed someone's company in a while. He has dated guys before and has matured enough to be better and accept what he wants. But as years went by he poured himself into work and has been so busy, he doesn't exactly have lasting relationships so he stopped altogether. This time around, he feels like he genuinely is giving his all. He decides that he will see that Jason's book becomes a reality because Jason is talented, he is amazing and deserves this. And then, he will gather the courage and ask him out. Jason is also troubled because he is developing a fat crush on his sister's ex and he did NOT see that coming.

The day Jason's book is finally out, they celebrate and Tim asks Jason out on a date. ----

Later: Steph: SMH I can't believe you! Jason: ... it's your fault