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caligvlasaqvarivm · 1 month ago

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Actual Ultimate Classpecting Guide

For real this time.

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

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

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

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

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

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

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

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

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

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

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

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

ASPECT

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

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

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

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

SPACE / TIME

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

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

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

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

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

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

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

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

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

BREATH / BLOOD

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

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

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

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

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

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

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

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

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

LIGHT / VOID

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

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

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

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

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

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

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

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

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

MIND / HEART

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

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

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

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

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

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

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

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

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

LIFE / DOOM

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

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

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

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

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

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

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

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

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

HOPE / RAGE

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

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

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

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

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

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

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

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

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

CLASS

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

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

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

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

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

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

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

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

KNIGHT - / MAID +

"One who controls."

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

PAGE - / HEIR +

"One who inherits."

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

THIEF - / ROGUE +

"One who steals."

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

MAGE - / SEER +

"One who guides."

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

WITCH - / SYLPH +

"One who changes."

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

PRINCE - / BARD +

"One who destroys."

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

INDIVIDUAL CLASSES

KNIGHT

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

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

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

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

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

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

MAID

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

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

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

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

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

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

PAGE

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

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

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

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

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

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

HEIR

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

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

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

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

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

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

THIEF

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

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

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

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

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

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

ROGUE

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

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

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

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

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

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

MAGE

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

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

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

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

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

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

SEER

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

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

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

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

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

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

WITCH

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

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

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

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

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

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

SYLPH

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

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

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

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

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

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

PRINCE

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

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

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

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

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

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

BARD

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

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

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

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

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

#homestuck #homestuck analysis #classpect #classpecting #classpects #homestuck classpect #this essay is 10k words long #you may be wondering why i didn't split it up into smaller essays and the answer is pretty simple #so many of these ideas are interconnected and interrelated that it's not actually useful to hear about JUST Hope or JUST Maids or JUST Heir #like even aside from the equal-and-opposite splits #(which is how some of the less thoroughly explored classes and aspects need to be understood)#there's things like how pages actually start in deficit of their aspect personality-wise #jake has few convictions and is wishy-washy - tavros lacks freedom and independence - horuss lacks simplicity and emptiness #this isn't something you would “get” if you didnt know about the way aspect is tied to personality #it's fascinating because if you compare characters that share the same class similar things keep jumping out #but yeah again i have textual evidence to support every claim so please feel free to ask #i just couldn't justify doubling or even tripling the length of the essay to include things like #'ever notice how karkat - the BONDS and FRIENDSHIP knight - has a big Leader Who Dont Need No Friendship persona #and how dave - the Details and Minutiae knight - has a disaffected coolkid who doesn't give a shit about anything persona #and how latula - the Justice and Cunning knight - has a loud dumb obnoxious gamegrl nice-to-everyone persona #which she even admits is a persona she uses to hide how smart she is out of the apparent anxiety that people won't like her otherwise #i know people will object to the heir thing because 'mituna was oppressed on beforus' but let me clarify here #heirs are set to inherit comfortable lifestyles and wealth *by the standards of their society*#john is literally the heir of crockercorp and equius is blueblood nobility #but if you really think about it those aren't necessarily happy outcomes either #john would've had to become a stuffy businessman like Dad (and an evil capitalist lol)#and equius is also Still Oppressed and would've had to become a murderer cop #but it's still a position of wealth and comfort *for their society* - mituna would've been culled (like sollux)#but that would've meant being pampered and provided for #which is a great deal by the standards of his society regardless of how good or bad (bad) it actually is in practice

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djotime-allthetime · 20 days ago

Text

Freaky Flashbacks

synopsis: you recall the gradual shift in your relationship with fred when prompted by questions at a panel promoting the movie.

wc: 13k+ (...)

warnings: rpf! reader is specified to be inexperienced! major plot point actually!

a/n: loads of backstory! and banter! and pedro and paul! and kissing!

i hope the format is as intuitive as i think it is, but just in case it isn't, italics means the start of a flashback and bold is the return to present day. feedback is writer's fuel!

cross posted on AO3

<<previous part

The energy in the green room was calm, easy. You sat perched on the arm of the couch next to Fred, laughing as Pedro recounted a story from a previous panel he’d spoken at. Fred’s forearm draped over your thigh, his thumb absentmindedly tracing small circles on your knee, as if he’d done it a hundred times before.

The casual physical affection felt normal now, expected even. No one batted an eye. Not Pedro, not Paul, not anyone in the room.

Ever since filming began, your relationship with Fred had only grown in comfort and familiarity. The closeness of your characters on screen slowly but surely translated to your friendship in real life. And then something more…

Late nights of practicing scenes together turned into deep talks and sharing secrets in the warm light of his trailer. Only a few months into filming, the two of you were attached at the hip. Inseparable. It became a running joke. If anyone asked where either of you was, the answer was always with the other.

“Where’s Fred?” An assistant called out onto the crowded set one day. “He’s needed in hair and makeup!”

“Where’s y/n meant to be right now?” Paul asked, barely looking up from the script in his lap. The young girl looked down at the clipboard in her hands, combing through the schedules and call sheets. Costume department, she concluded after a few moments of frantic shuffling. “Well, there’s your answer then.”

Pedro had laughed for days recounting the story, shaking his head at how predictable you and Fred had become.

“Are you excited?” Fred’s voice softened, meant only for you now despite the buzzing room. You lit up with a smile and a nod. You were incredibly excited. You had never been a guest at a panel before. “Nervous?”

“Not really,” you shook your head and shrugged. “Just more surprised, I think?” You mused aloud with a tilt of your head. In all honesty, you weren’t sure why you were invited to the panel at this convention today.

You knew that your role wasn’t as impactful as people told you it was, they were just trying to be nice. You had less than ten lines in the whole film. Being invited to a panel discussing the complexities of the plot and the acting behind it was an honor! But a confusing one.

You had a sneaking suspicion that, somehow, Fred was behind it.

“Surprised?” Fred asked, his eyebrows rising and dipping in quick succession in that way that they do. “Why?”

“Just that—” You glanced around, as if gathering evidence. “Everyone here was pretty high up on that call list.” Fred’s brows furrowed even further this time and you knew what was coming.

“Don’t do that to yourself, y/n,” he almost whined. “You were a driving force—”

“I’m not tryna minimize my work, Fred.” You chuckled lightheartedly, cutting him off before he went on a tangent. He was always quick to pop any bubbles of self-doubt that formed in your brain, but this really wasn’t the case. “I know I worked hard on this movie. We both did.” You held his hand in yours. “But… Alexander wasn’t invited.” You pointed out with raised brows. Alexander had played Ravi in the movie, the healer in the Colosseum. “I’m pretty sure he had more lines than I did.”

“But you definitely had more screen time,” came Fred’s quick rebuttal. “Actually, that’s why I told them you should come—”

“I knew it!” You exclaimed in a whisper, making sure your conversation didn’t attract any attention. You were enjoying the private moment in the crowded room and there was no need for it to end so quickly. “I knew you did this!”

Fred’s grin tilted, eyes glinting with quiet defiance. “What? Am I supposed to feel bad for wanting people to notice how good you are?” He laughed. “You had almost as much screen time as anyone here, but nowhere near enough lines. So I told them that your insight into your character and the plot was just as interesting, if not more.”

“Does this count as nepotism?”

“Shut up!” Fred giggled, lightly punching your shoulder. “I just feel like— If I can help you get the recognition you deserve, why wouldn’t I?”

“Alright, thank you all for arriving on time.” A producer spoke up, seemingly appearing out of nowhere and putting an end to your conversation. You turned away from Fred to face her as she spoke, a smile still lingering on your face.

“We’re gonna start calling you guys out now, one by one. It’s gonna be in the order your names are set up on the table, so you just come out and sit in the chair farthest from your entry. Does that make sense?” She asked, receiving a few nods. “Is everyone ready?” Another round of nods and yeses left the group, yours along with them.

“Don’t overthink it,” Fred whispered to you with a squeeze of your knee. “Just enjoy the moment.”

At that, you could hear the producer hype up the crowd for the cast’s arrival.

“That’s our cue.” Pedro got up from the couch with a clap of his hands. “Ready?”

“As I’ll ever be.” Fred replied, standing up along with Pedro. “How about you, old man?”

“Creaky at the knees, but it’s alright.” Pedro teased, giving Fred a playful punch on the shoulder. That’s when you heard Pedro’s name called out into the microphone followed by the crowd’s roar in applause and cheers. “Later, losers!”

One by one the cast was called out, Fred’s name being the last one before yours. You breathed out a sigh of relief, grateful to be sitting next to him.

“y/n l/n!” Your name blasted through the speaker, signaling your cue to head out onto the stage. You walked out with a smile and a wave, the crowd cheering at your arrival. You sat down at the long table facing the audience, right there next to Fred.

Your name was printed on a place card in front of you, spelled right and everything. With every passing day of working on this project, you felt more and more that you had finally found your place in the world.

The producer’s voice blurred into the background, distant and dull. Your focus drifted to the sea of faces ahead—posters with your name in big bright letters, shirts with your face printed on them. Some people were even dressed as your character from the movie. It was surreal.

The warmth of Fred’s hand on your knee tethered you back to the present. His steady gaze met yours, silently reminding you to breathe. He knew how overwhelming it could all be. And he knew what you were thinking, he could see it too. He was so proud of you.

Fred squeezed your knee twice, a small act to show you that he saw you. To show you that he was there for you. And maybe, cockily, he was saying ‘I told you so’. That your presence was wanted here, not just by him.

“We’ll get started with questions from the audience then.” The producer announced, motioning for a member of the crew to turn on the spotlight facing the crowd. When the light turned on, it illuminated a microphone on its stand in the middle aisle between all the chairs, and, with it, an incredibly long line of fans. Each with a vetted question, the producer assured.

Most questions were for Paul, though that wasn’t surprising. Many for Pedro and Denzel, as well.

You listened and laughed along, enjoying the easy going nature of the conversation. A lot of the questions were based on the acting, which was a topic well loved by actors of course. But some, as expected, were about the on-set dynamics.

“What was your first impression of your castmates?” A teenage girl asked Paul.

This launched a chaotic answer, with multiple people joining in at once, talking over the other and laughing loudly.

“We all know that I was absolutely terrified of Denzel at the beginning.” Paul laughed, patting Denzel, who was sitting next to him, on the back.

“So was I!” Joseph cracked up. “But I thought Fred was such a sweetheart.”

“Oh, yeah.” You nodded with him. “Fred was incredibly kind to me on my first day on set.”

“Kind?” Pedro questioned, eyebrows upturned in surprise. “Little asshole is what he was.”

“He saves the sweet stuff for her,” Paul chuckled.

“Yeah, well Pedro was an old man calling me short and she was a pretty girl who was lost.” Fred defended himself with his arms crossed, tone clearly kidding. The crowd’s laughter rose at the banter, even if it was obviously turned up for the panel. “Who would you help, huh?”

It was your first day on set and your very skin was buzzing with how excited you were. Your schedule said that you should start your day in the hair and make up department, and you heard someone say that it was next to the crafts center. But you couldn’t find either of them for the life of you. And you should’ve been worried about being late for your very first appointment on the set, but you were just too enthralled with it all.

The set was beautiful! Malta, as a whole, was absolutely gorgeous, but the set was something else. It truly felt like you were transported back in time— if you ignored the cameras, speakers, and lights, of course. You had heard of Arthur Max’s work on other productions, and of course knew of his work on the first movie. But experiencing it first hand was almost an out of body experience.

You knew that, when the time came, immersing yourself on the set would be a piece of cake. An actor’s dream really, that was what this type of set was.

“Uh, y/n?” Your name being called out from behind you caused you to spin around. “Oh, it is you.” The man’s shoulders sagged in relief. “Hi, I’m Fred.”

Fred Hechinger. You knew exactly who he was.

“I’m y/n.” You replied, stretching out a hand for him to shake. “But you already knew that.”

“Yeah, well from what I hear, we’re going to be exclusively working together.” Fred laughed as he shook your hand. “Had to do some research on my scene partner.”

“Glad I’m not the only one, then.” You chuckled.

When your manager told you of his secured position as Emperor Caracalla, you knew you wanted to look him up. Many other actors accepted the role before flaking for ‘scheduling issues’, so you were never sure who you were actually going to work with. But once Fred’s acceptance was confirmed, you went on a deep dive. You watched as many of his shows and movies as you could, his IMDb tab constantly open on your laptop.

“They were calling for you in hair and make up,” he said. “I offered to look for you and help you find the way.”

“How did you know I was lost?” You raised an eyebrow as you asked. You weren’t really lost, more so taking advantage of the lack of directions.

“Oh, I know you’re not lost.” Fred shook his head with furrowed brows as he folded his arms, faux seriousness painted his expression. Fred’s effortless confidence had an unexpected charm. It was magnetic. “But if I tell them it took me a while to find you, then we can admire the set for a bit longer.”

Your surprise melted into quiet laughter.

And just like that, you had made a friend.

Back on the panel stage, you leaned into the mic, smiling softly. “He gave me a tour.” You recalled. “And he vouched for me at hair and make up, because I was almost half an hour late.”

“On your first day?!” Paul questioned in astonishment, eyebrows raised to his hairline. “Ballsy move, y/n. I could never.” Paul tsked and shook his head at you in disappointment.

“Hey!” You called out in offence, throwing an arm up in Fred’s direction. “Blame Fred, he’s the bad influence here!”

“Entirely my fault.” Fred nodded with his hand raised. “I take full responsibility for corrupting the child.”

“Oh, shut up.” You rolled your eyes, but your smile betrayed you. “You’re like two minutes older than me.”

“Two minutes?! For your information,” Fred pointed at the crowd as he spoke now, “I am years older than her. Years!”

Another fan stepped up to the microphone, pulling you back to the task at hand. “Were there any funny on-set moments or inside jokes that made it into the movie? Or at least stayed with you afterwards?”

“Bless you.” Pedro whispered into the mic, causing a wave of giggles to pass through the rest of the line up.

“‘Bless you’ was a good one, I liked it.” Joseph smiled before bursting into laughter at a memory, sending Fred a look from across the table. "Tell them about the sword!"

Fred groans, but the memory sparks in your mind—the clang of metal and his ridiculous deadpan expression.

Connie lets out a loud laugh as she recalls the incident. “Fear me!” She clapped her hands together as she giggled. “Oh, it was hilarious!”

“Fear me,” echoes in your head, and suddenly you’re there again, barely holding back laughter on the set.

It was a late night, you were filming the scene where the emperors confront Acacius and Lucilla regarding their treachery. Ridley had instructed Joseph and Fred to make their reactions as dramatic as they saw fit, considering how fervid the scenario would make the twins.

You had been filming for hours at that point, the energy amongst you growing more chaotic with each take. Everything was funny to you now as the sleep deprivation finally hit.

During one of the takes, Fred jumped out of his seat on the throne and grabbed a prop sword from a nearby guard, as was written in the script. He was supposed to point it at Pedro and Connie, yelling about their punishments, as Joseph held him back. But, with each shake, you noticed how unstable the prop looked.

A loud clang echoed in the marble halls of the set. The sword had fallen right off of its handle.

No one said a word. Fred’s face scrunched up in confusion and anger. He stared at the broken hilt in his hand, then at Pedro. Without missing a beat, he raised it like a dagger. “Fear me.” He whispered menacingly, nose to nose with the older actor.

That’s it. Pedro snorted so loudly that the entire set erupted into laughter. You and Joseph were crying from laughing so hard. Denzel was chuckling into his hand, and Connie was leaning on Pedro to stay upright.

“How dare you mock me?!” Fred shrieked, staying in character, even when it was clear the take was a lost cause, if only to keep making the rest of you laugh. “I am your emperor!”

“Alright, alright.” You hear Ridley’s voice call out, winding down from his own laughter. “One more time, then we’ll call it a night. Someone fix that sword, please!”

None of you ever let Fred live it down afterwards.

Pedro would grab a toothpick from the crafts table and follow Fred around with it, a soft and dark ‘Fear me’ heard under his breath.

"Honestly, I thought Ridley would leave it in the movie." Fred shrugs, laughing it off. “If only someone didn’t break and ruin it all.” He sent a teasing look to Pedro out of the corner of his eyes.

You wipe a few tears from the corner of your eye as you catch your breath. “It wasn’t even that funny. We were just so tired.”

“It was like four in the morning, we were done.” Joseph explained to the crowd, still coming down from his giggles.

“Anything would’ve been funny to us at the time.”

After the crowd’s volume slowly dwindled, another fan came up and asked about Denzel’s performance. Denzel spoke about how much he enjoyed the freedom Ridley allowed the actors in this movie. How exciting it all was.

Afterwards, someone asked about how Joseph balanced working on multiple sets at a time. Pedro joked about Joseph being sought after and hard to find, always in a different part of the world. Joseph shot back at Pedro that they were always together anyways, considering how they both were working on ‘Fantastic Four’ together.

Another audience member asked Connie how it felt to come back to this movie after more than two decades. She talked at length about the differences and similarities the two sets had. How it was both nostalgic and new.

Someone else stepped up to the mic and nervously waved to the cast after the laughter had died down. “My question is for Fred.” Fred perked up and smiled, nodding at her to continue. “How did you prepare for the emotionally vulnerable scenes you had as Caracalla while staying true to both his character and his sickness?”

“That’s a really good question.” Fred nodded, his arm coming up from your knee to rub at his shoulder. It was so incredibly endearing to you how he reacted to attention. “It was important, definitely. To make sure that you weren’t just seeing his sickness, but the true him under it all. And I think Caracalla, the man and not the sick emperor, really shined in those vulnerable moments.” His hands gesticulated wildly as he spoke and you were enamored the whole way through, not expecting them to motion to you next. “But, at the end of the day, I think you just really have to trust your scene partner.”

Fred looked at you with a shy but knowing smile, “It takes a lot of practice to be vulnerable in front of someone, even if it is just pretending. And y/n was always incredibly kind and supportive whenever I lacked that—that vulnerability—that powerlessness. It wasn’t that I lacked it, per se. It’s just a difficult thing to tap into. And she was always there to help me through it.”

Your eyes dropped downwards as you felt your chin dip towards your chest, your head tilting slightly to the side as a smile grew on your face. The crowd awed in response to both Fred’s words and your reaction.

Fred’s compliment sent your stomach twisting in knots. You glanced at him, his hand went back to its previous position, resting on your knee, steady and grounding. It reminded you of that quiet morning on set when everything between you shifted.

The set was calmer that morning than what you were used to. The haze of sleep still clung to the few crew members needed on set this early. They shuffled about quietly, setting up for the day's shoot. Fred sat on the edge of the prop bed, script in hand, shoulders slumped forward as he stared at the lines that refused to feel right.

You were sitting on a couch a few feet away, observing him, script laying forgotten in your lap. His fingers absently tugged at his earlobe, a nervous habit you had come to recognize at this point in your friendship. He had been having difficulties with connecting with Caracalla’s childlike vulnerability. And it wasn’t because he didn’t know the lines—Fred knew them backwards and forwards.

It was the emotion, the raw vulnerability of Caracalla crying like a child to Lovie about Geta, that he couldn’t quite reach.

You had been running lines all night, but he wasn’t performing it to his own incredibly high standards. So you had told him to get a good night’s rest and that you could practice some more in the morning before call time. You spent some time researching trust building exercises, because you were sure that Fred had it in him. He just had to trust you enough to let it rise to the surface.

After you watched him run through the scene a few more times with no progress, you got a look of determination in your eyes. “Alright!” You inhaled deeply and dropped your script onto the seat next to you. “How about we try something else?”

Fred’s head snapped up at your voice, the both of you having been silently in each other's company prior to your exclamation. “Like what?”

“Trust exercises!”

He blinked, unimpressed. "y/n, I really don't think—"

“Come on, it won’t hurt to try!” You insisted, knowing that he was worn down and everything felt useless. But you had faith in him. “For me?”

He rolled his eyes but a smile tugged at the corner of his lips. “Alright, fine.” You cheered quietly at his agreement. “What did you have in mind?”

You stood and moved to sit across from him, knees nearly brushing. "Eye contact. No talking, just hold my gaze. Nothing else."

“For how long?”

“As long as possible.”

He hesitated for a second but leaned in slightly, blue eyes locking onto yours. The silence stretched. At first, it was easy. The hours you'd spent together on set had built a quiet comfort between you. You were comfortable with each other now, as any pair of friends would be.

But slowly, the air around you shifted.

Had his eyes always been this blue? And so full of emotion? You wondered how you had never noticed these things about him before. The longer you looked, the more your chest tightened, like you were standing too close to the edge of a cliff. You swallowed hard.

Fred’s head tilted, his eyes scanning yours as if he were searching for something hidden beneath the surface. Then, without thinking, he lifted his hand and gently brushed his thumb along your cheek, swiping away an eyelash that had landed there. The touch was featherlight, but it sparked something within you. Something new.

You sucked in a breath, breaking the rhythm of your breathing and pulling Fred’s attention to your lips.

He quickly pulled his hand away, clearing his throat. "Sorry. You had—uh—you had an eyelash."

You barely managed a nod, heat blooming beneath your skin. The air had changed so suddenly. It was sharp, tense, and neither of you knew how to break the spell.

More crew members were starting to file in, calling out names and times. The usual hustle and bustle on set was rising. Your name was called out from one side and Fred’s from another, instructions to go to wardrobe for you and hair and makeup for Fred.

“I—I should go.” Came Fred’s stuttered response as he slowly got up and backed away, his eyes now finding it difficult to stay on yours.

“Uh yeah, me too.” You nodded with pursed lips, just as awkward as he was.

That was different, you pondered as you walked away. You had never seen Fred in that light before. You had never reacted like that to his touch. This was entirely new territory for you. You liked Fred.

Oh no.

How predictable. Catching feelings for your on screen lover. You had to suppress the eye roll. This was something you had promised yourself you wouldn’t do once you got into the film industry.

But how could you resist? Fred was so kind and caring, so helpful and affectionate. His smile never failed to bring a similar one to your face. Now that you thought of it, you were a bit surprised it had taken you this long to notice.

You had a crush on Fred.

And you were almost positive he didn’t see you in that way.

This was horrible, you thought as you reached the wardrobe department. You were regretting everything. Not only was Fred no longer just a friend in your eyes, you were sure that you had ruined any chances of him getting this scene right after this. You groaned quietly to yourself as you changed into your costume in the dressing room. What a way to start the day.

But later, as the cameras rolled, Fred laid in your lap, perfectly in character. Something was different about him. He seemed more… open. More calm. When you softly carded your fingers through his hair to comfort Caracalla, Fred’s hand drifted to your cheek, his thumb brushing your skin without thinking. Almost in the same way he had that morning.

It wasn’t scripted. But you stayed in the scene, unflinching. You wiped away his tears as he moaned about his wretched brother and the empire he was forced to bear the weight of. He was delivering the scene perfectly. Almost like nothing unsavory had transpired between the two of you less than an hour ago.

Ridley, watching from behind the monitors, leaned forward. Eyes glued to the screen. Once the scene had played its course, he called it. "Cut!” His voice boomed through the speakers.

Fred carefully got up from your lap, though not straying far.

An assistant quickly came over with a walkie-talkie. Ridley’s voice broke through the static, fragmented but understandable. “Fred, that wasn't in the script."

Fred sat up quickly, already apologizing. "Sorry, it just—"

"I liked it. Let's run it again. Same way."

Your eyes flicked to Fred, wide in surprise. He liked it. Ridley liked it. Fred shared his own surprised smile with you.

He finally got it. That obstacle was overcome. And Ridley noticed. It was exciting to have your work appreciated in that way. And he had you to thank, even if you thought otherwise.

And, in the process, something had shifted between you.

Then someone asked Paul who his closest friends were on set, pulling you back to the present moment.

“You want me to make enemies of my colleagues now, do you?” Paul chuckled nervously, garnering a laugh from the crowd. “No, in all seriousness, I made many great friendships on this set. Pedro, of course Denzel, Connie, all great mentors that I can call friends now, I think. But who I spent the most time with on set? That would probably be Fred. Fred and y/n, yeah. They’re a package deal, as well. So yeah, it was always us three.”

His answer takes you back to a pivotal moment you had with Paul on set. You knew from then that he had your back, in every situation. Even in matters where he had no stake, you knew you could trust him.

The afternoon sun hung low in the sky over the ancient stone set, casting long shadows across the Colosseum replica. The usual hum of activity filled the air. You were sitting on Caracalla’s throne overlooking the arena, legs dangling off the edge as you scrolled absentmindedly through your phone.

Paul plopped down beside you with all the grace of a sack of potatoes.

“Easy!” You laughed. “What did the chair ever do to you?”

Paul leaned over slightly to peek at your screen, completely disregarding what you had said to him. “Who are you texting?”

“No one.” You locked your phone quickly.

Paul’s smirk deepened. “So it is someone.”

“No, Paul.” You shot him a look.

He tilted his head and grinned. “Oh, so it’s Fred.”

Your stomach flipped. “Paul!” you hissed, glancing around to make sure no one heard.

“Oh, come on!” Paul leaned back, arms stretched behind him. “When are you not texting Fred?”

You groaned as your palms covered your eyes in embarrassment. “It’s not—” you mumbled before smothering your face in your hands.

“Not what?” Paul teased, nudging your knee with his.

“It’s not a big deal.” You exhaled, peeking at him between your fingers. “We’re just friends. Don’t make it weird.”

Paul gave you a flat look.

“Friends?”

“Yes!”

He let out a disbelieving laugh. “Okay.” He shrugged, raising his hands in surrender. “Okay, whatever you say.”

“Thank you.” You breathed out in relief, glad he was letting it go.

After a short moment of silence, he spoke back up. “We’re friends, aren’t we?” He motioned to the air between the two of you with his pointer finger.

“Paul—” You groaned, knowing exactly where he was going with this.

“And I’d like to think that Fred and I are friends as well.” He leaned towards your side in his seat now, coming face to face with you. “I don’t take long walks with him on the lot, hand in hand. He’s not giving me his jacket when I’m cold. He didn’t let me braid his hair in the hair and makeup trailer.”

You glared at him. “That last one was one time.”

“Not the point.” Paul leaned closer. “He’s different with you.”

You bit your lip, looking away. “I don’t know… Fred’s—he’s sweet. He’s friendly. That’s just who he is!”

Paul raised his eyebrows. “Yeah, but he’s not that sweet or friendly with anyone else.”

You stayed quiet, fingers picking at a loose thread on the hem of your costume.

Paul’s tone softened. “Don’t sell yourself short, y/n.”

Your eyes flicked to his, hesitant but curious.

“You’re smart, talented, and funny. And let’s not pretend the Roman attire doesn’t suit you perfectly.” He gave you a playful nudge.

You laughed despite yourself. “Shut up.”

“I’m serious.” Paul’s grin changed into something more sincere. “Fred should consider himself lucky that you like him.”

Your cheeks burned.

“I just don’t want to—” You mumbled and trailed off. “Ugh, I don’t know. I don't want to make things weird between us.”

“You two are too stubborn for your own good. Someone’s gotta give.” Paul mumbled before raising his eyebrows at you. “You can’t yearn forever.”

“Can’t I?”

His gaze softened as he took in your expression. “You really don’t see how he looks at you, do you?”

“What?” Your brows furrowed and you shot up in your seat. “What’s that supposed to mean?”

Paul laughed in shock, pulling back and looking out onto the expanse of the set. “Wow.” He muttered to himself. “I can’t tell which of you is dumber.”

“Hey! I can still hear you!”

“Maybe put some of your other senses to use then, idiot!” Paul retorted as he got out of his seat, the speakers on set calling for him to go someplace or other. He walked away mumbling to himself, leaving you sitting there, staring after him, unsure of what to think anymore.

“And I, of course, was chopped liver.” Joseph spoke solemnly to the crowd, dragging you out of your reminiscence. “Paul loved Pedro, Denzel, Connie, Fred, and y/n. But not poor old Joseph.”

Paul stumbled over his words as he backtracked. “And Joseph! Of course, I was always with Joseph!” Paul cried, pleading with an unyielding Joseph. All a bit to keep everyone entertained, you knew.

“No, no, you can’t undo what’s been done.” Joseph shook his head dramatically at Paul as he motioned for the next person to step up to the microphone. “You have made an enemy tonight, Paul. I hope you’re happy.”

“My question is actually for Joseph.” The fan sheepishly spoke, sending Paul an illusionary apologetic smile.

“I have what you can never have, Paul. The love and affection of the general public.” Joseph deadpanned as he looked over at Paul before turning back to the girl at the microphone. “Go on, darling. What’s your question?” Joseph smirked as he looked away, leaving Paul rolling his eyes.

“Well, um, Paul and Pedro had extensive physical transformations they had to undergo to prepare for the role.” Joseph rolled his eyes in an exaggerated fashion at the mention of Paul, the joke still running. “What did you have to do to prepare for Geta?”

“Not much, actually.” Joseph snorted. “I got really interested in the history of it, but in comparison to Paul and Pedro? Yeah, we got off easy. Didn’t we, Fred? Just loads of eyeliner.”

“Yeah.” Fred laughed as he nodded. “Shaving and eyeliner was our morning routine for a few months.” The crowd, as well as the cast, laughed at Fred’s note. “Emperor Caracalla is clean shaven, but I’m not.” He chuckled, hand instinctively rubbing at his chin at the thought of his light beard. “So I had to shave almost everyday, but that was about it for me.” With a glance towards you, you knew exactly what he was thinking about.

It had been another late night in Fred’s trailer. You were curled up on his couch, legs tucked under you, as you watched Fred pace back and forth. He had been reviewing lines, occasionally muttering to himself, but you hadn’t been paying close attention, not until the soft scruff along his jaw caught the light.

Your eyes narrowed.

“Fred,” you called softly.

He paused, blinking at you. “Yeah?”

You tilted your head, lips twitching. “You’re getting a little...scruffy.”

Fred instinctively brought a hand to his chin, rubbing over the light stubble that had started to grow in. “Ah, shit.”

“What?” You asked, sitting up now.

“Sam’s out sick,” He explained. “Usually, they shave me every morning. I don’t know how I forgot about it today. Emily needs me to be clean shaven tomorrow.” He mumbled lightly, as if he was only thinking to himself out loud.

You pushed up from the couch, standing up and stretching your arms over your head. “Let me do it.”

Fred blinked. “What?” It was like he forgot you were here for a moment. Or, more accurately, he forgot that you were actively listening to his stream of consciousness. He didn’t expect you to offer to solve this non-issue for him.

“Let me shave you,” you repeated, stepping closer. You gently grabbed his chin, feeling his rough hair between your fingers. You turned his face this way and that, appraising the work you’d have to do if he agreed. “I mean, you can say no if you don’t feel comfortable with your fate in my hands.”

He giggled, eyes softening as he watched you study his facial hair. “Is this another trust exercise?”

You smirked, eyes lighting up and looking back into his. “Maybe.”

Fred considered it for a moment, then shrugged. “Alright, Lovie. Have at it.”

The nickname sent a small spark through you, but you shook it off, hiding your grin as you gestured for him to follow you to the little bathroom in the corner of his trailer.

Fred settled on the closed toilet seat after you patted it, a silent command to sit down. He looked up at you with a mixture of amusement and curiosity. You rummaged through the small drawer under the sink, pulling out shaving cream and a razor.

“Fear me.” You whispered as you held aloft the blade, watching Fred roll his eyes at the reference.

“You better not botch this,” he teased, leaning back. He couldn’t help but admire you from this angle. The bathroom lighting highlighted your features so beautifully, though he was sure he’d think that of any lighting.

“It seems easy enough.” You shrugged as you squeezed a bit of shaving cream onto your fingers, rubbing your hands together before gently spreading it over his jaw. The cool foam made him shiver slightly.

Fred’s eyes got wide, his head frozen in your grasp. “You’re telling me you’ve never done this before?”

Your eyes sparkled as you raised your brows excitedly, grin wide. “I’m testing your limits. Is this one of them?”

You saw Fred’s eyes dance back and forth as he thought this through. It seemed the risks outweighed the cons, though not by much, because he nodded apprehensively. “Do your worst.” His eyes widened once more and then he winced. “That’s just a saying, please actually do your very best. Don’t hurt the money maker, alright?”

“Shut up,” you rolled your eyes with a snort. “I’ll be careful, don’t worry. Now hold still.”

Slowly, carefully, you dragged the blade along his jawline, your hand steady. Fred’s eyes flickered to yours, but he didn’t move. His breathing slowed, eyes dark and half-lidded as he watched you in silence.

The room felt smaller.

Your thumb gently tilted his chin, guiding him where you needed. His skin was warm beneath your touch.

“You’re doing well,” you murmured, focusing on the careful strokes of the razor.

“So are you,” Fred hummed. “You’re sure you’ve never done this before?”

“I’m that good, huh?” You chuckled, feeling him nod in response with the slightest dip of his chin in your palm. “Maybe I should go pro.”

“You’d leave all the glitz and glamour of being an actress and come shave my scruff every morning?” He asked, laughter lacing his words.

“You’re giving away Sam’s job that easy?” You raised your brows.

“To you? Of course.” He chuckled lightly. “Everything’s easy when it’s you.” The words slipped out, softer than he meant. The air thickened, and Fred’s eyes widened a fraction too late. The words weighed heavily in the space around you, stealing the breath from your lungs. Fred’s eyes flickered to yours at your silence. Whatever he said must’ve been the wrong thing to say, he thought, because your facial expression was unreadable to him. “I’m sor—”

“Everything’s easy when it’s you too, Fred.” You whispered back before he could complete his sentence. With one final swipe of the blade along his jaw, you stepped back from him and the moment. “There. All done.”

You smiled to yourself at the memory, glancing back at Fred next to you. You preferred him with the facial hair, you concluded.

“Who was the best mentor on set?” Someone else asked once they had their turn at the microphone, the question not directed towards anyone in particular. But Joseph took it upon himself to answer for someone else.

“I know who Fred’s gonna say.” Joseph whispered into the microphone, causing Fred to roll his eyes.

“It was me.” Pedro smirked, flexing his biceps and wiggling his eyebrows at Fred. “He can deny it all he wants, but I pushed that kid when he needed it. Didn’t I, Freddie?”

“You did.” Fred mumbled, a hint of a smile on the edge of his lips.

“Hell yeah, I did!” Pedro pumped his fist in the air. “Those stories are private, for Fred’s sake. But I’m a good mentor!”

“The best there is.” Fred confirmed, a slight blush colored his cheeks as he snuck a glance at you.

It had been a while since the moment Pedro cemented himself as Fred’s mentor in the younger actor’s eyes. He had learned a lot from him. Both as an actor and as a human being.

But something changed between Pedro and Fred one day.

A day where you had been utterly exhausted. You were filming in a grand room, the scene depicting a party or gathering of some type, you couldn’t recall the details. Everything was as opulent as you would expect with the twin emperors, of course.

You and Fred had been up all night, bingeing movie after movie, showing each other your favorites and analyzing every scene. When you saw him the next day on set, you were shocked at how awake he was. Everything felt like it was in slow motion for you. You had never been more appreciative of your lack of lines in this movie.

After a few takes of you blinking slowly in the background, Ridley had called for a break. Something wasn’t right with the focus on a few cameras and a monitor or two needed recalibrating. Technical issues that shouldn’t take too long to fix. An assistant director said the issue could take about half an hour to resolve, so you turned to Fred, a silent question in your eyes and a slight pout on your lips.

You and Fred cuddled often, but never outside of his trailer. Movie night was just an excuse for you to curl up in his arms at this point, though neither of you ever acknowledged that.

But you were so tired, and the pillows on the couch were decorative and stiff. And Fred was right there. It would only be thirty minutes. Just a quick lie down.

Fred saw your face and knew exactly what you wanted from him. He leaned back into the couch and patted at his lap, giving you space to lie down. It didn’t even register to him that anyone would notice nor care.

His hands instinctively went to brush his fingers through your hair, your nightly routine as of recently. With his cologne and his warmth enveloping you, as well as the soothing motion of his fingers against your scalp, it was less than five minutes later that you were snoozing away.

Pedro looked over and saw the two of you cozied up together and couldn’t help but roll his eyes at the scene. He had been trying to throw hints at Fred for weeks about the two of you. It was clear as day. But neither of you was brave enough to bring it up, fearing the other’s lack of reciprocation. If only you two could see what everyone else saw.

He shared a look with Paul, who was watching along with him. “Go talk some sense into him, Pascal.” Paul snickered lightly, giving Pedro a slight shove in your direction.

“I’ll try my best, Mescal.” Pedro sighed.

“Is she out?” He asked quietly once he had settled down beside Fred on the couch, not wanting to wake you up.

“Like a light.” Fred muttered, eyes never leaving your sleeping profile. “It’s my fault, really. Kept her up all night.”

“What did you watch this time?” Pedro smiled, knowing of the private movie nights held every evening in the trailer next to his.

“The Godfather.” Fred answered. “Actually, both of them.”

“The sequel is amazing.” Pedro nodded, but he wasn’t really engrossed in the conversation as much as he was in Fred. It was hard not to admire Fred as he admired you.

“Definitely.” Fred nodded, not even sparing Pedro a glance. The boy was in love and he didn’t even know it. But so were you, to be fair.

“She’s just as bad as you are, you know? Thinking too much, scared to say something first.” Pedro mused, eyeing you curled up in Fred’s lap. You never looked as comfortable as you did in Fred’s presence. Pedro leaned in and his voice dropped an octave. “You should tell her.”

“Huh?” Fred is finally pulled out of the trance you had unknowingly put him in, snapping up to look at Pedro for the first time since he sat down. “Tell her what?”

“I’m saying,” Pedro emphasized each word, “She’s just as oblivious as you are.”

“What does that mean?”

“It means you should tell her how you feel!” Fred instinctively cupped his hand around your ear, guarding you from Pedro’s sudden laughter like it was second nature. You hadn’t even flinched, too deep in your slumber to notice. But Pedro did, he noticed Fred’s subtle protectiveness. It was sweet. And increasingly frustrating.

Fred scoffed, his cheeks glaringly crimson. “I think I’d prefer not risking those odds.”

“Buddy, trust me. Every single odd is in your favor.”

“Don’t quote the hunger games at me right now.” Fred rolled his eyes.

Pedro frowned in frustration, leaning closer to Fred. “You really don’t see how gone she is for you?”

A few moments of silence pass between them. Fred’s eyes on you, and Pedro’s eyes on Fred’s lovesick expression. “...You really think she likes me back?”

“She’s not sleeping in my lap, is she?” Pedro smirked, standing back up. “Just think about it, would you?”

Fred buried his face in his hands to cover up his flushed cheeks. You shot him a concerned look, but he shook his head to ease your worries. You didn’t know about what had transpired between Fred and Pedro in the same way Fred didn’t know about what happened between you and Paul. And you both wanted to keep it that way. Too embarrassed that everyone else seemed to know of your affection for the other before you did.

“Did any unscripted scenes make it into the movie?” someone asked, pulling you back to the crowd once more.

You and Fred immediately glance back at each other with shy smiles.

Paul talked about the scene where he kissed Pedro’s forehead in the arena, even though it was technically cut.

But then he turned to the rest of the table. “What about you, Fred?” He asked pointedly, noticing how you had looked at each other when the question was asked. “You had a scene they left in, didn’t you?”

Fred chuckled nervously, scratching behind his ear. “Yeah, a few made it in. But… you probably mean when I called her ‘Lovie,’ right?” The crowd roars in response and Fred’s ears turn pink as he tugs at them. “Yeah, about that…”

Fred had started calling you Lovie after that day he was having difficulties with that one scene. He hadn’t even realized when it started, but now, it was just second nature.

Today was the day you would be filming a scene you were dreading. The day Caracalla, the sick emperor you had spent months embodying a devotion to, would die. And you were taking it hard. You had somehow made a place for him in your heart.

Fred thought it was sweet how your affections grew for his character. He assured you that he understood, working on a long term project like this always leaves an imprint on actors.

The filming schedule on set didn’t rely on the order of the scenes, but more on the availability of certain sets and certain crew members. So even though this was nowhere near the last scene you had to film with Fred as Caracalla, nor was filming coming to an end anytime soon, you were filming Fred’s last scene in the movie.

The wardrobe department was a maze of fabric and armor, with soft R&B muffling through a nearby speaker, someone no doubt wanting to lighten the atmosphere in the stuffy warehouse.

You sat hunched in a chair, eyes locked on the hem of your sweater, fingers twisting the fabric. You and Fred were waiting together to be given your costumes for the day.

It all felt so much heavier than you expected.

“You okay?”

Fred’s voice was gentle, but you didn’t lift your head. You just let out a quiet, shaky laugh.

“I’m being ridiculous.”

He came to crouch in front of you, elbows on his knees, watching you carefully. “No, you’re not.”

You sighed, pressing your palms to your face. “I’m getting emotional over the death of a villain in a movie.”

Fred’s head tilted. “Hey, we both know he wasn’t really a villain.” His voice carried a soft laugh with it.

Your lips twitched upward. “He was just misunderstood.”

“And syphilitic.”

You let out a wet laugh, wiping your face. “Yeah, and that.”

Fred grinned, but his eyes didn’t leave yours. Slowly, he stood and offered his hand. “Dance with me, Lovie.”

You blinked at him.

“What?”

“Come on,” he urged softly, fingers still outstretched.

The nickname barely registered in your mind. It wasn’t the first time he’d used it, but it felt different now, like a natural extension of you.

You slipped your hand into his, letting him pull you to your feet.

Fred’s palms settled at your waist, hesitant at first. But when you leaned in, looping your arms around his neck, his grip tightened, like letting go wasn’t an option. You swayed together, slow and easy, surrounded by walls of costumes and muffled music.

“How dumb is this?” you whispered, though the corners of your mouth lifted.

“It’s not dumb, Lovie.” Fred shook his head slightly, his hand gently smoothing over your hair. “Nothing you do is dumb.”

The nickname lingered in the air.

You exhaled, resting your forehead against his collarbone.

“I’d take care of him so well,” you murmured, only slightly serious.

Fred let out a soft chuckle, his breath warming the top of your head.

“You did, Lovie,” he whispered back. “You did take care of him.”

And later, when you filmed the scene, the two of you covered in fake blood and silks, you couldn’t differentiate your character’s tears from your own. It all felt like the end of something. It felt like mourning.

When Fred said ‘Lovie’ instead of ‘My love’ as he wilted in your arms, you didn’t even register the deviation in the script. Only when it was over, when Ridley’s voice crackled through one of the hand held radios, did it hit you.

“Beautiful. Keep calling her that, Fred.” Ridley commended. “Lovie. Should’ve thought of that myself.”

“So what he means to say,” you spoke to the crowd, “is that my dramatics fundamentally affected the movie.”

“She was actually so sad,” Fred frowned, “It was heartbreaking. It was an honest mistake, though. Calling her ‘Lovie’.”

“But did you tell them where it came from?” Connie asked, teasingly looking at Fred.

“We uh—” He chuckled bashfully. “y/n and I called her character ‘Lovie’, because it was hard to workshop a character with no name.”

“And then ‘Lovie’ stopped being the character’s nickname,” Pedro chimed in with further explanation, “And it started being y/n’s.”

“I thought it was so sweet.” Connie sighed. “And it suits her so well.”

“Ridley loved it, too.” Denzel joined. “I heard him grumbling over the radio. Something about how he didn’t think of it before.”

“No one cried when Fred cut off my head, though.” Joseph shrugged with a shake of his head. “Take from that what you will.”

“Actually, I did.” You corrected him with a smirk. “Don’t underestimate my propensity to get emotional when it comes to film.”

“Did you?” Joseph perked up, leaning forwards to look at you across the table. “Did she really?” He asked Fred, like he was the authority on all things true about you.

“Oh yeah.” Fred nodded. “And the scene where Caracalla asks where his brother is. Inconsolable. Sad movies are her weakness. You should’ve seen her when we watched ‘My Girl’.”

“Don’t bring that up right now.” You closed your eyes and shook your head solemnly, raising a palm in Fred’s direction. “He wasn’t wearing his goddamn glasses, Freddie.”

“It’s alright, Lovie,” Fred chuckled, speaking away from the microphone as he leaned closer to you. His voice dropped lower, only for you to hear. “We’ll watch a happy one tonight. Non-negotiable.”

You nodded at him, a smile growing on your face. Fred never failed to make you feel special, like you were a priority to him. Your choices always came above his, no matter how hard you insisted. It was so easy to love him.

“And our final question to wrap up the panel—”

“Make it a good one!” Pedro called into the microphone, a laugh rippling among the crowd in response.

“Come on up, don’t be shy.” The producer smiled at the young girl last in line to ask a question. “What did you want to ask the cast, honey?”

“What was your first kiss like?”

An ‘aw’ passed through the crowd as well as the cast on a stage. But a slight sweat began to coat your palms. You had been admiring Fred and his kindness only a moment ago. So tranquil, almost like you weren’t sitting in front of a crowd of hundreds of people. But this one question sent a shock of electricity up your spine. You were an actress, you reminded yourself. They wouldn’t know if you told the truth or not, would they?

You heard Paul mention a school dance, and Pedro talked about a pool party during summer break. Denzel mentioned his wife, Connie spoke briefly of a night in Paris when she was a teenager. Joseph and Fred had similar stories, a stage kiss for a school play and a local production.

When your turn came, you stuttered over your words. It didn’t feel like you had enough time to make something up, at least not something believable. “I guess—uh—technically, it was on screen.”

“Technically?” Joseph asked, confused.

“Yeah,” You swallowed as heat bloomed across your cheeks. Your lips were upturned ever so slightly as you recalled that day. “My scene partner offered to practice with me before filming. It was much sweeter than it sounds.” You laughed before letting out a sigh. “It’s a memory I’ll cherish forever.”

It was the night before you would film your first intimate scene with Fred. The two of you were sitting on his couch, scripts open but long forgotten. The quiet of the trailer is filled with the faint hum of the air conditioning and the occasional rustle of pages as one of you shifts. You could feel Fred’s presence next to you, close enough that your knees brush when either of you adjusts your position.

“I don’t think Caracalla’s ever had anyone look at him the way Lovie does,” Fred mused, breaking the silence. His voice is soft, contemplative, like he’s voicing a thought meant only for himself.

You glanced at him, your heart skipping at the sincerity in his tone. “What do you mean?”

He leaned back, running a hand through his hair, his blue eyes drifting toward the ceiling as if searching for the right words. “It’s like… even through the haze of his sickness and his trauma, he’s desperate to be seen. And she’s the only one who really does that for him. He doesn’t know how to love, not really, but he tries in his own way.” His gaze shifted to yours, a small, delicate frown tugging at his lips. “It’s tragic really.”

Your chest tightened at the vulnerability in his expression, the way he’s peeling back a layer of himself in his explanation. “I think Lovie sees that too,” you said softly, barely above a whisper. “And maybe that’s why she stays.”

Fred’s smile faltered, his brows furrowing as he studies you. “You think she chooses to stay?”

“I think…” You paused as you pondered. “I think she’s grown to love him somehow, through this strange, abusive, co-dependent… thing they’ve got going on. And she’s choosing to stay. What you do with love is a choice,” you replied, your voice tinged with something wistful and raw. “Not everyone handles it as carefully as they should.”

The air between you shifted, growing heavier, thicker, as the weight of your words lingered.

It didn’t feel like you were talking about your character’s anymore. Fred’s eyes didn’t leave yours after you spoke, and you suddenly realized how close he was sitting. His knee brushed yours again, and this time, neither of you moved away.

“Does it scare you?” he asked, his voice impossibly quiet.

You swallowed hard, your heart pounding against your ribs. “What?”

“Getting it wrong,” he said, his gaze searching for something telling in your eyes. “Love, I mean.”

You felt the heat rise in your cheeks, but you held his gaze, unable to look away. “Yeah,” you admitted, your voice barely audible. “It does scare me, I suppose.”

Fred nodded, a flicker of understanding passed over his face. “Me too.”

There was a beat of silence, and then, without thinking, Fred reached out, his hand brushed against yours where it rested on the cushion between you. His touch was light, almost tentative, but it sent a jolt through you.

“I guess that’s why it’s easier on set,” he murmured, his thumb grazing your knuckles. “You get to pretend, just for a little while, that you know what you’re doing.”

You laughed softly, but it caught in your throat when you saw the way he was looking at you—like you were the only thing in the room worth noticing.

“Fred…” you started, your voice trailing off as his fingers curled gently around yours. “Can I tell you something?”

“Anything.”

“I’m nervous about tomorrow.” You confessed, eyes falling down to your lap.

“I know.” He replied.

You furrowed your brows and lifted your head to look at him questioningly. “You know?”

“Yeah y/n, of course I know.” Fred smiled softly, reassuringly, “I think I would be a bad friend if I couldn’t tell that you were nervous. And I’ve seen your filmography, I know you haven’t done this sort of thing before.”

You didn’t know if it was a relief or not that he thought you were only nervous about the shoot.

“Uh, yeah,” you nodded, eyes flickering downwards. “Never for a project, no.” You hoped he wouldn’t catch the half truth. Or maybe you hoped that he would. You weren’t sure how you felt about all of this.

You liked Fred. You knew this about yourself now. And sometimes, you think that maybe, just maybe, he might like you back. Paul never failed to seize an opportunity to tell you that, of course. But you were too scared to make a fool of yourself. And, selfishly, you didn’t want to lose what you had with Fred. But now, things were progressing.

Fred was going to be your first kiss.

And that would be hard to overcome. Especially when you already liked him so much. You were afraid that you would imprint on him like a duckling, never seeing anyone else in the same light. And then what would you do?

“y/n?” Fred asked, his eyebrows knitted together in concern. “Are you alright?” You hummed in response, eyes still unfocused. “Do you wanna do a trust exercise or something?”

“What?” You questioned, finally pulling yourself back to the moment.

“For tomorrow?” Fred explained, raising his eyebrows as he spoke. “To help you feel better about it?”

You thought about it for a moment before nodding. This might be just what you need. It was so helpful with Fred that last time, and hopefully it could be for you as well. “You wanna do the eye contact one?”

“How about another one?” Fred asked, leaning back against the back of the couch.

“What did you have in mind?”

“Tell me a secret.”

“What?” You balked. “What kind of exercise is that?”

“A secret for a secret.” Fred shrugged. “How about I start?” You nodded, though apprehensively. “I’m nervous for tomorrow, too.”

“Are you really?” You raised a brow at him. “‘Cause if your secret’s just a lie to make me feel better, then you’re cheating.”

Fred giggled and shook his head. “No, I really am.”

“Why?” You tilted your head inquisitively at him.

“Nope, I already told you my secret.” He pursed his lips and shook his head again. “Now it’s your turn.”

You shifted uncomfortably, tucking your legs beneath you on the couch, the script forgotten in your lap. Fred’s gentle, observant gaze had a way of making you feel bare in a way that wasn’t unsettling, but intimate—like he could read every thought you tried to hide.

“I guess it’s not just in front of the camera,” you admitted softly, fiddling with the corner of a page. The confession felt inevitable, like it had been lingering between the two of you for weeks, just waiting for a moment like this to surface. “I mean… I haven’t done this before. Any of it. Not just on screen.”

Fred's eyes softened as he sat up slightly, resting his forearms on his knees, his focus entirely on you. “You mean you—you’ve never been kissed before?” His voice was quiet, not prying but careful, like he didn’t want to scare you away.

You nodded, not trusting yourself to speak.

For a moment, Fred didn’t respond. He simply watched you, and you could feel the weight of his attention, not heavy or oppressive. His brows furrowed slightly as if he were choosing his next words carefully.

“That’s… okay, you know,” he said finally. There was no pity in his tone, only a steady reassurance. “I know how intimidating this can be, even for people who’ve done it before.”

“It’s just—” you sighed, leaning back into the couch, exasperated with yourself. “It’s not that I think I can’t do it. I know I can, or at least I hope I can. I just don’t want to look ridiculous. I want it to look real.”

Fred smiled faintly, his head tilting as he considered your words. “It’s admirable, you know?” You hummed in question at him. “The fact that you’re sacrificing your first kiss for the production.”

“It’s embarrassing is what it is.” You rolled your eyes with a snort.

“What?” He gasped quietly, the air still feeling ever so delicate between the two of you. “You're giving it away for Sir Ridley Scott! He’d be honored if he knew, I think.”

“He’d be confused if he knew.” You corrected him. “An actress in her early twenties who hasn’t been kissed before. I think I could apply to the Guinness book of world records.”

“Hey, come on.” He shook his head at you sympathetically. “You’re not breaking any records, trust me. There’s no deadline for this kind of thing.” He shifted closer as he spoke, his hand reaching up to rub the back of his neck in that familiar gesture you’d come to recognize as a sign of his sincerity, “But…I could help—only if you want.”

Your heart skipped. “Help?”

He nodded. “I mean… if it makes you feel more comfortable, we could—” he paused, exhaling as if second-guessing himself. “I could be your first kiss. Just to take some of the pressure off tomorrow. It’s not a big deal. Only if you’re okay with it, of course.”

The room felt impossibly quiet, save for the distant hum of the trailer’s air conditioning. You swallowed, your pulse thrumming in your ears. It wasn’t just the offer that stunned you—it was the ease in Fred’s voice, the way he treated it like something simple. Just Fred, offering to help you in whatever way he could. It was so sweet. He was always so sweet to you. But you couldn’t. Not like this

You felt the heat rise in your cheeks, but you inevitably shook your head. “That’s really sweet of you, Fred. But I think I want my first real kiss to be with someone who actually really likes me, not a pity kiss from my scene partner. Tomorrow doesn’t count if I don’t count it. It’s fine, really. I was just in my head about it—”

Fred laughed before he could stop himself, interrupting your rambling. “You really are oblivious, aren’t you?”

“What?” You asked dumbly, not expecting him to say something like that after your vulnerable confession.

“Why do you think I’m nervous about tomorrow?” He asked incredulously, another laugh escaping him. “It’s because I actually really like you, y/n!”

Oh.

It was like someone knocked the wind out of you.

You had hoped that he liked you back, maybe even thought it might be a possibility in the back of your mind, but to hear him say those words out loud? You were speechless. It was like a dream come true. All those months of pining for him, all that yearning, was reciprocated this whole time.

“y/n,” Fred murmured, his voice low, soothing. “Can I be your first real kiss? Please?” He parroted your words back to you once more, breathlessly. You felt the blood rush into your head.

You managed a weak nod, barely able to meet his gaze. He waited a beat, letting the moment settle before he leaned in, his hand lifting to cup the side of your face. His touch was featherlight, his thumb tracing slow circles against your cheekbone. The intimacy of the gesture almost unraveled you.

Fred's lips brushed yours tentatively, the kiss soft and unhurried. His movements were gentle yet assured, he understood that this was new for you and he didn’t mind guiding you through it. His other hand found your waist, steadying you, and you felt yourself melting into him.

As the kiss deepened, Fred’s grip on your waist tightened subtly, anchoring you as he shifted. Without breaking contact, he eased you forward, guiding you into his lap until you straddled him, your knees on either side of his hips and your hands resting tentatively against his shoulders. His fingers flexed against your hips, drawing you closer until there was barely any space left between you.

Your lungs felt tight as Fred pulled away just enough to rest his forehead against yours. His breath fanned over your lips and his hands lingered against your waist, sending butterflies crashing into each other in your stomach. You weren’t sure how long you stayed like that—long enough for the rapid beat of your heart to settle into something softer, steadier.

“Was that okay?” Fred asked softly, his voice just above a whisper.

You nodded before opening your eyes to meet his gaze. There was something tender in the way he looked at you, and it made the words on the tip of your tongue feel less terrifying.

“Can we… do it again?” The question slipped out before you could stop it, and your stomach flipped as you realized how vulnerable you sounded.

Fred's lips quirked into a soft smile as his hand slid up, tucking a loose strand of hair behind your ear. “Yeah,” he murmured, a soft laugh coloring his words as he brushed his nose against yours. “Yeah, we can do it again. As many times as you want.”

His lips found yours once more, and this time, there was no hesitation. Fred kissed you with more certainty, his hands firm as they traced the curve of your back, pulling you closer still. You could feel his quiet desire in the way he held you, the way his fingers flexed when you deepened the kiss.

You were glad that confession made its way out before you could stop it.

The next morning, you woke up with a strange mix of nerves and excitement bubbling beneath your skin.

The day was finally here.

The scene you’d been dreading—and quietly anticipating—was actually happening. But unlike the restless nights leading up to it, you felt more prepared. More steady.

You had filmed a few suggestive scenes with Fred before. As a syphilitic emperor, Caracalla had the propensity to be very comfortable and open in his desires. But you weren’t asked to be nude for any of those scenes, unlike this one. The complexity of not even speaking, yet being so exposed on screen was a little difficult to wrap your head around.

This scene was supposed to depict you and Caracalla in the privacy of his lavish quarters when Joseph as Geta barges in and angrily informs his brother of Acacius and Lucilla's betrayal. You and Fred were to be undressed and only covered by sheets from the waist down.

Clara, the intimacy coordinator, had explained that Fred would be leaned back in bed, propped up by a few pillows, while you sat in his lap. The scene would open with a close up shot of the two of you kissing gently, the camera slowly pulling back with you as you leaned back. Your lower bodies would be covered with various messy sheets, depicting the long night the characters had already had before the intrusion.

The scene was much more than physical, it was also meant to show the characters’ co-dependent nature. Even when his concubine was on him, he needed his hands to be on her, both showing his dominance and control over her as well as his reluctance to pull away.

Fred’s kiss lingered in the back of your mind like a warm ember, small but constant. While you still felt the nerves creep in when you thought about today’s shoot, there was a quiet confidence blooming alongside them.

When you arrived on set, you noticed immediately how different the atmosphere felt. The crew was smaller, the lighting dimmer—intentional choices to provide you with a layer of privacy.

Clara was already on set, organizing the sheets and setting up the space. She glanced your way, smiling comfortingly, but she didn’t say anything. She knew of your apprehension and had been worried about you. But she noticed something new in you today. Maybe there was a shift in your energy or a slight lift in your posture, she wasn’t sure. Either way, she kept her observations to herself.

Fred was already there, standing near the bed where the scene would take place with Joseph. He smiled the second he saw you, that familiar softness in his expression grounding you more than anything else could.

“Morning,” he greeted, voice low and calm.

“Morning,” you replied, a shy tight lipped smile on your face as you stepped closer to him. Joseph greeted you but was quickly ushered away to his mark behind the door, not giving him enough time to notice the change between you and Fred.

Clara approached you and spoke with her usual calm authority, a roll of skin-safe tape in hand. “Alright, let’s get these sheets secured,” she said, gesturing for you to adjust your robe.

But you stopped her with a small, assured smile. “I don’t think we’ll need the tape today.” Last night’s events forged a confidence deep within you. You knew your team had your back. You knew Fred had your back.

Clara paused, blinking at you as if processing your words. Her sharp gaze flickered briefly to Fred, who stood a few feet away, his hands stuffed into his robe pockets.

He tilted his head at your words, his brows furrowing slightly as he stepped closer. “You sure?” His voice was low, warm with concern.

You nodded, holding his gaze. “Yeah, I feel more confident now.”

Clara smirked faintly, a flicker of understanding in her expression, but she didn’t press. Fred’s gesture was subtle but telling. “Alright, just let me know if anything changes.” She said with a sense of finality before stepping away to oversee the set.

Fred watched her retreat, then turned back to you with a concerned glint in his eye. He brushed your arm lightly to grab your attention. “You really don’t want the tape?” Fred asked again, his tone tinged with genuine care.

“Yeah,” You nodded with determination. “I can do it.”

He studied you for a beat longer, as if making sure you weren’t pushing yourself too hard, then smiled softly. “I’m proud of you.”

“You helped.” You confessed in a whisper, a smile curling your lips upward.

“Yeah?” He asked in surprise, his grin only grew wider when you nodded in confirmation. “Glad I could be of service. We could sneak off and practice some more, if you’d like-”

“Fred!” You cut him off before he could say anymore, scandalised yet amused all the same. “You’re horrible!”

“And you’re cute, Lovie.” He smirked as an assistant pulled him away, cutting your conversation short.

Another assistant pulled you forward as well, telling you to get into place so they could adjust the lighting based on your position. Fred smiled encouragingly at you from the bed he was laying in as you approached. An assistant helped you get into position, straddling Fred’s lap with your knees sinking into the mattress on either side of his hips. The position wasn’t unlike how you had found yourself last night in Fred’s trailer. With a quick glance into Fred’s eyes, you knew he was thinking the same thing.

The makeup artists fluttered around you, dabbing at your skin with soft brushes, unknowingly keeping the moment from becoming too intimate. The lighting crew adjusted their angles, the soft glow from overhead casting shadows that added depth to the space.

Fred’s hands found your waist instinctively, his thumbs brushing circles against the fabric of your robe. His touch was grounding, steady, and it calmed the last bit of tension lingering in your chest.

“You okay?” he asked, low enough that only you could hear.

You met his gaze, but your eyes kept drifting lower, to his lips. The memory of yesterday was still present at the forefront of your mind, your pulse quickened at the thought of doing it again.

Fred noticed immediately, a small chuckle escaping him. “You’re adorable.” He repeated his sentiment from earlier.

“I’m just—” You flushed, embarrassed at being caught. You were unable to find the words to explain the giddy excitement stirring in you. “I guess I’m excited to start.”

Fred’s smirk deepened, but he didn’t push it, not wanting to tease you any further. “Good.” His grip on your waist tightened subtly, the weight of his hands calming you.

As the cameras rolled, Fred’s lips found yours, his kiss was steady and deliberate, his hands guiding you gently as your body pressed closer to his. You pulled away from him when you heard your cue, the camera nearest to you swooshing in the air as it moved backwards. Soon enough, you heard the loud bang of the bedroom doors bursting open. You startled in Fred’s lap, the reaction a mix of yours and Lovie’s. For a brief moment, you weren’t acting on a set. It was just the two of you before Joseph barged in.

Fred cradled you against his chest, covering your exposed form from Geta, like the scene called for. You couldn’t hear what Joseph was saying over the loud heartbeat in your ears, but you knew what the script expected of you and when. Fred’s warm skin and chest hair brushed against your arms as you huddled close to him. It was intoxicating.

After the first take, you gently pulled back and shifted Fred’s position. “Keep your hands here,” you instructed, placing his hands firmly on your hips in view of the camera. “To show that he’s in control.”

“Okay,” he nodded, always open to your ideas. “You should try leaning into me more,” he added, his hands guiding your hips to tilt forward. “It makes it look like he’s really keeping her there.”

You furrowed your brows as you digested his notes. “Alright. Should I put more weight into it?”

“Yeah, exactly.” He nodded in encouragement. “Don’t hold back, I’ve got you.”

The next take felt even more intense. Fred’s hands pressed into your waist with more dominance. And you fell into him, relinquishing control, matching the energy you’d both discussed.

Between takes, he was quick to adjust the sheets, shielding you with practiced ease. Each touch lingered longer than necessary, his fingers brushing against your bare skin beneath the fabric, and every time you glanced up at him, his eyes held the same quiet intensity and kindness.

Joseph and Clara shared looks after each run through, the two of them noticing the shift in dynamic between the two of you.

“They’re different today.” Joseph whispered to Clara.

“They’re more in sync.” Clara tilted her head as she observed the two of you. “Almost like…”

“Almost like they’ve been practicing.” Joseph smirked.

“About damn time, if you ask me.” Clara huffed, though amused all the same.

All these months later, and the memory was still fresh in your mind. And apparently, in someone else’s as well. “y/n?” Joseph’s voice broke the quiet hum of the green room. You were standing at the tea station, carefully deliberating over how much sugar and milk to add to your cup when he approached, his tone unusually hesitant. “Can I ask you something?”

“Of course.” You didn’t look up, focused on swirling the tea in your cup. “As long as it’s not about my sugar-to-milk ratio, because I’ll have you know, it’s perfect.”

Joseph chuckled softly, scratching the back of his neck. “No, it’s not that. It’s… uh…” He hesitated, searching for the right words. “You can totally tell me to fuck off and mind my own business if you don’t want to answer.”

“I gotta hear the question first, Joseph,” you replied with a playful smile, still not turning to face him. “But I promise I won’t be offended.”

He took a deep breath. “Was Fred your first kiss?”

Your hand froze mid-air over the sugar tin, the question catching you off guard. You finally glanced up at him, eyebrows raised. “What makes you think that?”

“It’s just…” Joseph shifted uncomfortably, his usual confidence replaced with something softer. “What you said back there—on stage—about cherishing the memory forever. It sounded a lot like you were talking about Fred.” He looked down at the tea he was fixing, his words careful, almost shy. “And honestly, it reminded me of that day on set.”

“What day?”

“When we filmed the scene in Caracalla’s bedroom.” His eyes flicked back to yours, searching for confirmation. “You and Fred were… different that day. There was this energy between you two, like something had changed. I thought maybe you’d finally, you know, come to your senses about each other, but what you said on stage—it made me wonder.”

You bit the inside of your cheek, hiding the small smile tugging at your lips. “Well, you’re not entirely wrong.” You added a splash of milk to your tea. “We did come to our senses that day.”

Joseph’s eyebrows shot up, his curiosity piqued. “And… was he—you know…?”

You glanced at him, tilting your head in mock thought. “While I appreciate your sudden foray into investigative journalism,” you teased, “I think the answer to that question is classified.”

Before Joseph could reply, Paul’s voice cut through the moment. “Or…” he started, strolling toward you with an infuriating smirk. “The answer is a three-letter word.”

“Fuck off, Paul!” you shot back, your laughter bubbling up as you grabbed your cup of tea.

Joseph groaned, shaking his head at Paul. “You’re relentless.”

“And mean,” you added with a grin as you turned to head toward Fred, who had just entered the room and only caught the tail end of the conversation. He gave you an inquisitive look as he draped his arm over your shoulders.

“What are we cussing Paul out for this time?” Fred asked, his voice light and teasing. He leaned down, pretending to whisper conspiratorially, “What’d he do?”

“He’s mean,” you said with a giggle, your words laced with amusement. “Are you ready to leave?”

Fred nodded. “Yeah, the car’s waiting out back.”

“You’re leaving already?” Paul’s mock-pout followed you as you grabbed your bag.

“We’re literally seeing you guys at dinner in, what, two hours?” you shot back, rolling your eyes.

“And tomorrow morning,” Fred added, steering you toward the door. “Hopefully you’ll survive without us until then.”

As you walked out, Joseph’s amused voice reached you. “For the record, I’m still rooting for that classified answer.”

Fred glanced down at you, his brow raised. “What’s he talking about?”

“It’s nothing,” you said, stifling a laugh. “They’re just being nosy.”

Fred didn’t push, his signature crooked grin tugging at his lips as he leaned closer, his voice warm against your ear. “Well, whatever it is, I’m on your side.”

As always, you thought, smiling softly to yourself.

As you stepped out into the cool evening air, Fred’s arm still draped over your shoulders, you couldn’t help but glance up at him. The way he fit so effortlessly into your life—his steady presence, his quiet reassurances—made you wonder how you ever doubted his feelings for you. Looking back now, it seemed almost ridiculous. Every glance, every touch, every word had been there all along, waiting for you to notice.

“Ready?” he asked softly, opening the car door for you and offering you a hand.

You nodded, a quiet laugh escaping your lips at his antics. “Yeah. I’m ready.”

How could you not be, when everything he did made it so easy to fall for him?

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