#aro ace protagonist

[the-modern-typewriter]

have I told you guys I'm trying my hand at writing a horror novel? Fey and aceness!

Wolverton House loomed out of the darkness more suddenly than such a large building should have been able to. It made Diana think of ghosts. It made her think of titanic icebergs. It made her think of an angler fish, mouth gaping bright and welcoming in the roiling blackness of the water.

Inevitably, of course, it made her think of Lucille.

The taxi jerked to a stop by the imposing front gates. Motion sensor lights flooded to life, illuminating the slender stone driveway snaking up to the manor proper. Diana squinted, raising a hand to shield her eyes.

“…you getting out here?” the driver asked. “Or do you want me to take you all of the way up.”

He sounded hopeful. It was difficult to tell if it was to get closer to the manor or to get the hell away from it. She swallowed, but it did nothing to stop the sudden dryness of her mouth. She wasn’t entirely sure which one she wanted either. But then, home was often like that, wasn’t it?

The gates slid open. An invitation.

The driver’s fingers white-knuckled on the steering wheel.

“It’s okay,” she said. “I’ll walk. Bit of fresh air and all that. Stretch my legs.”

His shoulders sagged in relief even as disappointment flickered across his face. He got out at the same time as she did, busying himself with hoisting her battered suitcase out onto the side of the road. He opened his mouth as if to say something, before he closed it again. His attention was inevitably drawn back to the house. Its stark white walls. Its invitingly lit windows. Its gardens, all pale roses picked out in the lush night. It hadn’t changed a bit.

“You know them?” Diana kept her voice light. “The Wolvertons?”

“Sure. I mean, everyone does round here.”

“You’ve met the fiancé?”

“Handsome fella.” He shook his head, as if to clear it, glancing at her again. Curiosity and terror. “You look after yourself up there.”

“And her?” Diana’s heart flipped. “Does she still come down to the town?”

His lips thinned. “That’s £112.”

She considered pressing him further, maybe telling him that actually she did want that lift up all the way to the front door, but then she simply paid. The fare receipt pinged on her phone before he’d even fully disappeared down the path.

Lucille would have made him drive all the way. She would have made him wait while she rang the doorbell, “just in case no one’s in!” She would have watched him squirm.

Still, Diana’s legs were cramped from the long hours of travel, so maybe it couldbe a relief to clack her way up the driveway. At the very least, it gave her a little more time before she had to ring the doorbell. Meet him. See her. Diana took a few steadying breaths, wrangled her luggage and began her ascent. She’d only a taken a few steps up the driveway path when the gates shut behind her again with a muffled clang.

Handsome fella. She’d seen pictures of Tristan De Silva, Lucille’s soon-to-be-husband, online. He was definitely handsome, it was true, but not in the way that Lucille usually liked. He was too sharp. Too much like her, in some way, so that surely if they were ever in a room together they’d spend the whole time in danger of bashing up against each other’s edges. They did look smitten in the photos though, and the wedding invitation certainly suggested something, but…

Surely she wouldn’t invite Diana, of all people, to be her maid of honour if she was in love with someone else?

Of course she bloody would. And of course Diana bloody came. She was an idiot.

All too soon, she rang the doorbell. As she waited, she tucked a strand of hair behind her ear, and then untucked it again a moment later to let it curl loose and coppery over her forehead. Then she realised that her hands were shaking and shoved them in the pockets of her leather jacket.

The door swung open. The man behind it was the pictures made incarnate, dressed in the sort of casually-expensive trousers and t-shirt that Diana would never find in her own closet. Was that why Lucille had picked him?

“Ah, Diana.” He offered a perfect smile. “It is Diana, right? Lucille’s Diana?”

The words were like a beloved coat that no longer fit properly. Too tight around the shoulders. A squeeze of buttons clamping airless down upon her chest. Lucille’s Diana. She hadn’t been that in years. She hadn’t ever stopped being that for a moment.

“Just Diana,” she said. “You must be Tristan.”

Tristan tipped his head a fraction, a mocking sort of bow, and stepped aside to let her in.

“Where’s Lucille?” she asked.

“Upstairs.” He held out a hand for her jacket. “She’ll come down when she’s ready. You know she likes to make an entrance.”

Her jacket felt like the only pitiful armour she had, but Diana politely handed it over all the same. He hung it up and shut the door.

“Just leave your bag in the hallway,” he said, already turning towards the familiar kitchen as if he owned the place. “I’ll take it up to your room later. Champagne?”

“I – no, thank you. I don’t drink.”

He scoffed. “Yes you do. Since when?”

She stared at him.

“Well,” he said. “I’m having champagne.” As she followed him into the kitchen, he fished a bottle out of the fridge, popped it and poured it golden and frothing into three different flutes. He took one and held the other out to her.

Her jaw tightened a fraction.

“I’m engaged,” he said. “So we’re going to toast and you’re going to say congratulations.”

His hazel eyes bore into her, almost seeming to match the drink.

She took the glass, cold against her clammy palm, and held it up.

“Congratulations,” she said.

No, he was nothing like Lucille’s usual type, which begged the question, then – how much did he really know his fiancée at all?

The first thing that she remembered ever really noticing about Lucille Wolverton was that everybody loved her. It was an effect she had on people. When they were really young it hadn’t occurred to Diana to question it. Lucille was her friend and, of course, Lucille’s parents loved her. That was what good parents were supposed to do.

When she got older, she’d thought maybe it was because Lucille was pretty and people seemed to care an awful lot about that sort of thing. Some people simply had a star quality that drew people to them and, even as a child, it had been clear that Lucille did. When she smiled and laughed and relished in the attention of everyone who adored her, she possessed a warm sort of beauty. She was honey and gold, she was the fairy lights that turned an ordinary space into a super-secret lair, she was the candlelight flickering across a dinner table as two lovers leaned in for their first kiss. When she was angry, she was a colder thing. The moon in winter, glittering across an endless plane of unforgiving snow. A glass girl, seemingly fragile, poised to cut.

When she got older still, Diana was no longer sure if it could be just looks, just charm. She’d never quite figured it out though. All things considered she hadn’t been sure she wanted to.

She took a tiny sip of her drink, feeling Tristan’s eyes on her as he matched her movements. She had the strangest surety that if she drained the glass then he would simply do the same. Weirdly triumphant.

She set the flute firmly down on the counter and cleared her throat.

“So, how did you two meet?”

Music drifted down the stairs, too quiet to be entirely picked out. She could imagine Lucille flitting about her bedroom. It was impossible to hear her so far away, and yet Diana half felt that she could trace Lucille’s every step across the manor’s floors.

“At a party,” Tristan said. “She got the host to kiss her in front of his girlfriend. Wrecked their relationship. It was awful.” He smiled a strange smile. “I asked her out the same night.”

“Oh, naturally.”

His smile turned a touch edged. “I note you didn’t bring a plus one.”

Diana didn’t say anything.

“The invite did say you could bring someone.”

“I’m not seeing anybody at the moment.” Diana moved to circle the space, putting the kitchen island between her and the champagne as she scanned over the glossy cookbooks and paintings. The cookbooks were new. The paintings were the same visions of women stuffing their faces with dripping fruit, raw meat or chocolate cake as she’d seen since she was as a girl. They’d thrilled her then. Felt somehow taboo. “Does she do that sort of thing often, then? Wreck people’s relationships?”

“Shouldn’t you know?”

Diana shrugged, betrayed by her hammering heart.

“Mm. You’ll be staying in your old room, I believe.” He leaned himself almost lazily against the island and took another long sip of his drink, body angled towards her.

“Lucille’s told you a lot about me?”

“I’m nosy.” He flashed that perfect smile again. “She said the two of you grew up here, that you were like sisters. She said there was no one else she’d want at our wedding as much as you.”

Diana’s throat thickened.

“I suspect she left out all of the juicy bits,” he said.

She glanced over at him.

“Singular woman, Lucille Wolverton.” He raised his eyebrows. “But I’m sure if you told me, she’d have to kill you.”

“Or you.”

“Alas, they always suspect the spouse. She’s not that obvious.”

Despite herself, Diana laughed. It was something like a laugh anyway.

“It’s nothing juicy,” she said. “My parents worked here. We lived in the old servant’s cottage on the edge of the property when I was a kid, and this place is way out in the middle of nowhere. We had a lot of sleepovers.”

“So many that you had your own room. Do girls often have their own room during sleepovers?”

“It’s just one of the guest bedrooms. There’s enough of them, isn’t there?”

Her bedroom was the bedroom next to Lucille’s room, mirrored and sharing a wall.

Tristan hummed, seeming unconvinced as he studied her. She watched him in her periphery in turn, taking out one of the cookbooks and flicking through the pages. How to eat a peach.  

“So what is it you do?” she asked.

“Finance. You’re a caterer. What was she like when you knew her?”

The cookbook was thoroughly abandoned. “Correct me if I’m wrong,” Diana said, “but I believe in small talk you’re supposed to at least pretend that you don’t know things about me when we first meet.”

“Stickler for politeness, are we?”

“You have to ask?” She pretended to gasp. “And there was me thinking you knew everything about me already.”

“Not everything. But I’ll take that as a yes.”

“Not especially. But I guess I was raised to be more polite to my guests than you.”

He laughed like that was funny, shaking his head, and raised his glass again in another private toast of some sort.

No, he was not Lucille’s type at all. Lucille’s type were soft and starry-eyed, utterly enamoured and easily bruised. He was…not that. She had no idea what the hell he was. A jerk, perhaps?

They eyed each other.

“So you met a party.” Diana tried again, with the friendly smile she reserved for only the most trying of customers. “That was…what? A little over a year ago? I can’t imagine she’s changed that much since I last saw her. I mean. You’re the one marrying her. Shouldn’t you know?”

Tristan shrugged in turn; a lighter, more effortless parry. “You’ve known her longer. You last saw her…what?” He mimicked her tone. “A little over three years ago?”

“Yeah.”

He seemed to consider her for a moment.

“I could probably still call your taxi back,” he said. “It’s not too late.”

Diana narrowed her eyes, spine stiffening.

“Too late for what exactly?”

Footsteps sounded on the hallway, light and graceful, shattering the moment. Tristan went quiet.

They both turned inexorably towards the kitchen door and then – there she was. Lucille Wolverton. Barefoot. Leaned against the door as if she had been there all along. In her wedding dress. “Hey stranger,” Lucille said. “Long time no see.”

[specialagentartemis]

When I write book/podcast/etc recommendations, I try to write them how I would want to see something pitched to me—what convinces me to read/listen to a work. And I’ve got a basic formula down:

Genre

Basic plot premise, 1-2 sentences for a short pitch or a paragraph for a long one.

What does it feel like to read? Is it fast-paced and action-y, or slow and sad, or dense and weird? Did it give me the shivers, or make me laugh, or break my heart, or go confusingly in-depth about the mechanics of wastewater treatment plant operation?

Something I particularly like about what it did. If the worldbuilding was particularly interesting, or if the narrative voice was compelling and distinctive, or the humor was constantly on-point, or the characterization was consistently well-done.

Talk about the queer identities of the main characters after I have done all of these things. This one is optional.

[sarahsupastar]

*Gasp!* A romance novel acknowledged the existence of aro people!

In classic cliché fashion, the protagonist begins by saying he doesn't ever really get feelings for anybody - essentially describing an aro experience, though he's presumably allo. BUT! Instead of following the cliché by then having him meet "the right person" and finally fall in love, this author had someone immediately clock the aro vibes of that statement and directly ask the protagonist if he's aromantic! And then, instead of just perfunctorily checking the box for acknowledging aro people exist and having him say no and move on, the author has him explain that what he means by "I don't get feelings" is: "I had my heart broken and have since actively avoided developing romantic feelings at all costs" - Not: "I've never experienced romantic attraction before this one special person"

[muffinlance]

In ftakb is Aaron being ace ever going to be brought up in canon (not necessarily the word but just showing he's not into relationships that way)? I know he has that one line where he mentions Rose's virtue being safe with him and that you enjoy mentioning things in a small way early on and come back and flesh it out later so this is just idle curiosity. Also (and don't worry about answering if you don't want to I understand you've been very busy lol) where's the book in terms of being published? Like what's the current timetable if you don't mind me asking. Sorry for all the questions and hope you've been having a good day <3

Trivia! In the first book it's not explicit because I didn't know what an ace was then.

Second book gets some much more explicit lines, especially as Aaron looks at the family tree and goes "how hard was it for people to just... not have sex with each other's spouses? Was that not an option they considered?"

Re publishing timeline: waiting on audiobook to publish all versions at once! ...I should poke my publisher about that, see if there's a more concrete date now that we've got the reader lined up...

[cosmos-dot-semicolon]

Requesting Nya, Edgeworth, and Theif for the character bingo!

(It didn't surprise me that you have good taste in characters. Also, I should watch The Last Unicorn...)

(asks about my favourite fictional characters in 2024)

Oddly enough you got me kind of going on a theme with this one - they're all characters I expected to be tropey in a bad way, who all turn out way more interesting than I could've ever imagined. Huh.

A lot of words lie below about Dicey Dungeons (up to Reunion), the first two Ace Attorney games, and Ninjago (up to the end of season 6).

Spoilers for Dicey Dungeons (up to Reunion), the first two Ace Attorney games, and Ninjago up to the end of season 6. A warning for a mention of a suspected suicide in a backstory.

I'll start with Thief since I need a bit of warmup for the other ask you sent me:

Thief is the only time I've genuinely enjoyed a protagonist that… I'm not sure how to put it. Is shown to be a jerkass and a realist amongst a cast of otherwise very whimsical characters? Who's drawn to look roguish, sneaky, and clever, whether the writer backs that up or not. And for bonus points, is styled after D&D's aesthetics.

I usually hate characters like this. I think it's an oversaturation problem. Ronin's the closest example I have - a character that does nothing for his season's story and wins against the ninja purely out of plot necessity. Or consider Jax, who takes up a lot of screentime in TADC making the rest of the crew suffer, whose snarking really only makes the creators look insecure about the goofier elements of their own work.

And Jax has been confirmed to be a creator's favourite, which is… not concerning, but it's one of those things a creator can say to make you realise you see something very different in their work to them. Plus, a lot of people like him in the fandom. Which isn't technically part of the work. But it is annoying to see how so many people focus on this archetype even when it doesn't bring anything new to the table. This trope is always extremely obvious, and extremely obnoxious if you don't like it.

The worst thing is this isn't just relegated to the realm of fiction. Do you remember when Rick and Morty was a thing, and you had hordes of people looking up to Rick Sanchez as a role model because he was both smart and an asshole, and therefore the takeaway was that it was okay to be an asshole if you (thought you) were smart?

Maybe this is just because I made the mistake of using Reddit as a teenager, but I'm so sick of that attitude. Throw in the way it only ever seems to apply to men…

(as for the last point - I like the concept of magic and fantasy, but I'm not white and I'm fucking sick of how the genre is based in very strict archetypes when you could do anything with it. I won't elaborate on this or it'd be a whole 'nother essay; let's just say I dislike any aesthetic based off D&D.)

Thief is the only time I've seen a work dress this down: his whole arc is realising that he's been outclassed by somebody who knows the game much better than he does, and actually has the power to back it up (and is much funnier to watch too).

As Lady Luck so elegantly puts it:

"…Thief, who is so strangely proud of being clever and unpleasant! Do you think he minds that I'm so much cleverer, and so many times more unpleasant?"

You know that creeping feeling of dread you got playing the game? He's the character that embodies it best. I expected the game to play this completely straight like all those characters above, but it doesn't. It's not so much a twist as the objectively correct take on this trope, but it's still unique and genuinely insightful in a way I haven't seen since.

(Fun fact: it was actually seeing the episode 2 dialogue between Lady Luck and Thief that got me to stop playing the demo and get the full game! The streamer was fast-forwarding through all the text, but I paused and was like 'wait. this is good dialogue. I have to buy this.')

Reunion really drives this home. I love how he instead starts directing his snark outwards to keep his new friends safe. He actually does things now, as the tough negotiator of the group, rather than just claiming he's better than them. He's still kind of got his old greed in him with how he respects Lady Luck's plans to paint the moon as her face, and how he's here for profit first and foremost, but it's clear he's been forced to grow out of that previous obnoxiousness after being put through hell and back.

Dicey Dungeons has such good commentary on character tropes y'all. Seriously.

Nya's a character that had a personal impact on me growing up. I didn't notice it back then, but at least in the early seasons she's just. Objectively the coolest character in the cast. Albeit only because of misogyny reasons as you've noted, but a signifcant amount of Ninjago's appeal lies in its cool factor, so. ¯\_(ツ)_/¯. I always thought she was going to be Green Ninja as a kid.

I had to go back and check this, but we get the Samurai X reveal just before season 1 gets onto the full potential episodes. There's something about having to build your own power in a way that one-ups all your peers while keeping it secret from them that's so cool to me. While I have mixed feelings on whether it's a good thing or not, it reminds me of how I studied a lot of maths in my own time in primary school and did better than everyone else by a long shot. Plus you don't usually see girls straight up build mechs, so this blew my fucking mind as a kid.

It was cool to see representation like that. I really like how that specialisation then leads into her potential in season 5 - when she finally begins to branch into learning something new that doesn't seem to be her thing. I've seen people doubt how realistic that is, and while you can debate how well it was paced or whether it's a good decision for the series, that's a real problem you can run into when you're AFAB (or in any other oppressed group) and talented at one thing.

You get attached to your best skill, because that's how you prove yourself as a person. It comes easily to you and you never really work on anything else, and when you're pushed to do it, you hate that it doesn't come easily to you. I didn't consider myself an artist or writer or programmer for years because I thought the stuff I made was ugly and awkward; I knew a trans guy in secondary who straight up told me that he liked his subjects because they came easily to him (which good for him, but it still proves my point that this is a real thing people go through).

I'm reminded of Wu telling Nya that while earth is strong and air is fluid, water can be both. I thought it was just a thing they wrote in to sound wise back then, but on reflection it's some really kind encouragement for her to branch out. And I like how she quits angrily in her training and tries to run for ages. How she doesn't figure it out until the end. I can see myself in that. It's very nice.

And while Skybound's very. Divisive. I think it's a good 60% of a season for her. Her story up to the ending of episode 8 has been compelling - she wants Jay to respect her boundaries, she struggles to make herself known as a new part of the team due to her status, maybe she doesn't mind being in a relationship, but she wants to at least choose for herself. And the sheer amount of optimism encouragement and energy she has throughout the season for everyone is just great.

Yeah. She's great. She kicks ass. She's unfortunately stuck in a show lead by Male WritersTM but we sometimes stumble into some decent characterisation for her despite that. She's unfortunately lowkey but that means there's less parts of her to mangle over time.

…Ninjago was such a great show. It's such a shame it was capped at 6 seasons, but at least that means they treated Nya with respect throughout her runtime except for that one time…

Also I don't know how to tie this neatly into the essay. But a while ago LEGO released a really funny Ninjago explained video done by the Honest Trailers guy, and I still fucking love how he goes off about how talented Nya is for ages instead of making fun of most of the other Ninjas' archetypes (sans Cole), and just ends it with:

'so naturally she was the last one picked for the team. Seriously, they picked [Jay] over her?'

Edgeworth I have the least to say about - it's been a hot while since I've touched AA (and only the first two games at that) and I don't want to risk misremembering fandom concepts as canon.

But the main impact he made on me was that he seems so tailor-made to be your frustrating, comically evil anime rival for the entire plot. Opposing colour scheme, stupid animations, and all. You go in thinking he's made to be a smug bastard you can knock down, and you come out recoiling from that as soon as possible in horror.

And you feel so powerful when you finally get to team up with him against someone.

Yes he does pull out absolute bullshit like the updated autopsy report, and he's still pretty insulting even in later installations. But when you're working your way throughout the first game, and you start to poke at his motivations a little further? He has an iron-clad reason to want to become a prosecutor, even as potentially corrupt as his methods may be. He seeks to help Wright if it truly brings someone to justice, which is a better portrayal of the legal system than I've seen than from many other places.

And in the end, after he saves you, you have to go back and do the same for him. And it's the best case of the game. You not only blow open a decades-old case that's been hinted towards throughout the entire game, but you also finally cut your friend loose from the ghost that he didn't even know was haunting him for years. It ties the overarching plot and the main characters' personal endeavours together so well, which is the series' greatest strength, despite what the memes going around about its wacky hijnks would have you believe.

Plus, while it's not Edgeworth's doing himself, the amount of dedication Phoenix has towards this guy is great. Whether you read their bond as romantic or platonic (or otherwise), you get the sense Edgeworth must've been someone really special to Phoenix for him to try and chase him down through years of law school and all the bullshit you're put through in the previous 3 chapters. That's devotion right there, and it catches you entirely off-guard with what you go in expecting.

He feels very human. You learn about things like his Steel Samurai collection, you give him advice on how to grow beyond the mess that is DL6. You see him take that in the worst way possible by running off to a foreign country and implying that he might've killed himself. You expect none of it. It's very touching.

[qbdatabase]

The Map and the Territory by A. M. Tuomala When an earthquake shatters the seaside city of Sharis, cartographer Rukha Masreen is far from home. Caught in the city's ruins with only her tools and her wits, she meets a traveling companion who will change her course forever: the wizard Eshu, who stumbles out of a mirror with hungry ghosts on his heels. View the full summary and rep info on wordpress!

[roguelibrarian]

If you're gonna put together an list of "asexual and aromantic" media, you need to put in at least some effort to actually find aro media to put on your list. Otherwise just fucking be honest and call it an asexual media rec list.

[onawhimsicot]

this could have been SUCH a bi-coded anime, but it seems like the gender roles are coming back 😔

[aesrot]

aaaa going insane over the queer books i found on goodreads !!! im so tired of being recommended flavourless cishet romance, finally some good shit

[muffintonic]

Re-reading The Cerulean Duology by Amy Ewing and being reminded of how I got ace-and-switched the first time I read this series.

Like, okay, since she comes from an all-female society that doesn’t need men to reproduce,

she should be attracted to girls.

She’s not, and she still wants romance/isn’t like the celibate or aro Ceruleans. Wow, just like me!

Then she lands on the planet and, whoops,

turns out she’s just heterosexual. I may like guys, but not with those vibes.

The second book even adds bi and aroace into the mix, but, no, no alloaces (since it would have been described as “Cerulean who love romantically without the physical expression” according to the orientation description format of this series).

[tepli-mravenci]

An anime with the classic teen boy protagonist that's too nerdy™ and unconfident™ to get a girlfriend but then he suddenly gets a harem and realizes he's aroace and turns out he's just socially awkward

[wiggles-mcgee]

THIS

I can’t stand forced romance in media. You’re telling me this man and woman who’ve barely spoken to each other, have not flirted at all and have barely been together for three scenes are in love??? Like am I just too aroace to see it?? I always feel so surprised

[da-janela-lateral]

There is so little characters in the aromantic spectrum. I shall solve this.

[reestallized]

COMPLETED POKEMON VIOLGTTTT THR ART IS COMINGD EVNRYALLY

[apollosgiftofprophecy]

I think another reason why I get rather annoyed when people hate on ToA Apollo is because how hypocritical their criticisms are.

I just saw a post talking about how great it is that Annabeth gets to show a lot of emotion, especially by crying. I also recall moments where she got frustrated or angry, and I found myself absolutely agreeing!

But then my thoughts turned to Apollo, another character who shows a lot of emotion.

But you know what he’s called for being frustrated, or upset, or for crying?

Whiny. He’s called whiny.

Apollo gets frustrated when he’s unable to perform something (archery) he used to be extremely good at. He’s upset that he can no longer use a bow correctly.

And people call him whiny for that. Apparently, those people have never experienced, let alone heard of The Gifted-Kid, something all Gifted-Kids (hello, tis me, Gifted-Kid since 4th grade RIP) can relate to Apollo over.

You were really good at something but all of a sudden you can no longer perform it as well? You’re not hitting your usual mark?

Well too bad, according to the fan base, you should shut up and not be so awfully whiny! It’s just archery!

(That was obviously in jest but you get my point.)

Additionally, Apollo never complains about important things. He complains about having to walk, but not the injury that’s literally turning him into a zombie and physically tormenting him.

That post really made me think about this, and then I asked myself; “Why? Why are people’s thoughts so different on Annabeth v Apollo showing emotion?”

It became apparent rather quickly, if you ask me.

Annabeth is a woman. Of course she should be able to show emotion! also maybe deep-seated sexism of ‘women are emotional’

Apollo is a man. And God forbid men show emotion I guess smh so also sexism

Because think about it. How many of the RRVerse male protagonists were allowed to cry? To be fully, and undeniably, upset?

I can only remember Frank crying on the plane after his grandmother’s presumed death, and Grover sniffling/getting teary-eyed in PJO. I don’t recall Percy, Jason, Leo, or Nico ever crying, or really having powerful bursts of emotion.

Yes, yes, Percy and Nico have both gotten mad and unleashed their fury upon someone, but that’s not what I’m talking about here.

I’m talking about letting them feel, letting them be emotional.

Not a burst of anger. But real, genuine character-driven emotion.

The fact that I can only name Frank and Grover from the previous two series is truly saddening.

Apollo gets to feel. To let his emotions flow freely. He whines, yes, but he also gets frustrated, he gets upset, and most of all he cries.

That all makes him a real character, someone people can relate to.

I’ll admit I’m a rather emotional person too. I have a quick temper, and more often than not the water-works come on real quick when I get upset. It’s a normal emotional response, but it can be difficult to work with, especially when you’re trying to stay calm.

Apollo is the first RRVerse protagonist to be allowed to have feelings— strong ones, even. And I can relate to that. There’s a reason why Apollo, Reyna, and Annabeth are all favorites of mine, and that’s because I see myself in them.

Annabeth is prideful. I can be too. She gets obsessed over her work. I do that too. Hates spiders? Oh hell yeah.

Reyna gave me someone to connect with over my sexuality. Ignore that Rick mixed what aro and ace are for a moment please She really gave my demiromantic self somebody to relate with, because the lack of aro rep is criminal. and no the Hunters are not aro rep

Apollo is emotional. He’s made mistakes and wants to do better.

Who wouldn’t see themselves in him? I certainly do.

And yet, he gets called whiny for having the literal rug pulled out from under him again and again, and he doesn’t even let himself complain over what he should, absolutely complain about!

Idk. I think there’s a lot to be said about how this fandom treats emotional characters, especially based on gender.

I guess this is all to say don’t judge a fictional character, because you’re judging a real person too.

And real people have feelings, you know.

[qbdatabase]

Tarnished Are the Stars by Rosiee Thor A secret beats inside Anna Thatcher's chest: an illegal clockwork heart. Anna works cog by cog -- donning the moniker Technician -- to supply black market medical technology to the sick and injured, against the Commissioner's tyrannical laws. View the full summary and rep info on wordpress!