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yinyuedijun · 7 months ago

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TOKYO VICE | part 1

You knew that if you agreed to move in with Suo, you'd be setting yourself up for a life without autonomy. You also knew that these alarming behaviours were all signs that he desperately needed therapy to process his master’s untimely death. Living with a man in constant grief, who refused to talk about his trauma unless he was making up a lie related to the nation of China, was probably not a good decision. Doubly so when this man was clearly paranoid about losing you, and triply so when he was a high-ranking member of a violent syndicate. Unfortunately for you, you rarely made good decisions. (Or: After joining the yakuza, Suo develops the concerning habit of controlling every facet of your life. This is somehow less worrying to you than your uncontrollable lust around him.)

8.7k words. suo x fem reader. deeply unserious yakuza au. yandere suo (not abusive and reader is into it), dark comedy, a little angst, smut. warnings: borderline sex work, off-screen criminal violence. nsft – no actual smut in this chapter, but there are still graphic discussions of sex. mdni. thank you to @sleepyqinfei for beta reading and to @/cafekitsune for the banner!

sequel to sincerity and this sakura/reader wip

part 2 here

You’re not exactly sure why you and Suo have never fucked.

It’s certainly strange, given that you're pretty sure that Suo has expressed at least passing interest in you over the years, and you have felt a lot of interest in him. (By ‘interest’, you mean that you feel an insatiable lust around him that you fight to ignore on a daily basis.) You can't exactly pinpoint why nothing has ever happened despite this mutual attraction, especially given your profession and indifferent feelings toward casual sex.

You can think of a number of probable reasons, which are separate from those you classify as stupid reasons. The latter class comprises silly concerns like a fear of rejection, fear of abandonment, fear of not being pretty enough, fear of not being good enough, et cetera. All very juvenile feelings—insecurities that you had in your teenage years, the days in which Suo ran around Makochi as a delinquent while you worked an honest job at a bar. (It was a girls’ bar in the red light district, but that's neither here nor there.) Your circumstances have since changed, and those anxieties have since faded. None of them have any material consequence for your current life, so you don't see any point in thinking about them.

The stupid reasons, then, definitely don't have anything to do with why you've never fucked Suo. But you can think of a few, more concrete reasons that may explain it. For one, Suo has been your friend since childhood and it’s generally a bad idea to have sex with your long-time friends. He was also your roommate for a while and it’s an even messier idea to have sex with your roommates. And now, in your adulthood, he’s your landlord in addition to being your boss, which makes him the worst possible person you could have sex with. You could lose both your home and your livelihood if things go south—both severe, material consequences that should theoretically keep your lust at bay.

Also, he's also a member of the yakuza.

Now, strictly speaking—you're not really opposed to having sex with violent criminals. It’s definitely not a good idea, but you don't usually have good ideas anyway. But for the past several years, you’ve been pissed at Suo for joining the yakuza in the first place, which actually does keep your blatant attraction to him in check. You simply dry up when you think too hard about all the feelings of betrayal.

When Suo was on the cusp of graduating from Furin and thinking about his future, you’d grabbed him by the collar and made him promise not to join the yakuza. They constantly tried to recruit from Bofurin, and they especially wanted Sakura, Suo, and Sugishita. You were adamant about chasing them off from Suo and Sakura whenever they approached—you had no need to worry about Sugishita, as Umemiya had already said he shouldn't talk to them, so there was no chance he was going to—and you begged Suo over and over not to join. Delinquency was fine, but a crime syndicate was something else altogether.

Suo seemed serious about it when he said he'd listen to you. He even applied to colleges, talked about maybe becoming a teacher and eventually supporting you so you could stop working in the mizu shobai industry. Back then, he often teased you by saying that you should marry him and be his housewife (or he could be your trophy husband, if you so wished). You thought he was joking, but with the way he always talked about his life after his degree, you wondered if he would seriously suggest it.

Of course, it was most likely just teasing, and you were fine with that. You were simply excited that he'd found a career that would make him happy. Nirei had also been accepted to university at that point, and even Sakura had an honest job lined up on Keisei Street. The future had looked bright for everyone.

Then Suo’s master died, and he lost his fucking mind.

The two of you buried Suo’s master in a Chinese funeral. He had never had children of his own, having satisfied his paternal instincts by picking up strays, and he didn't have much in the way of family in Japan either, so you and Suo performed the shou ling yourselves. One person kept a constant vigil over his body while the other searched on Google for what arrangements should be made next. After all, while Suo’s master had immersed his foremost disciple in his culture, he had never taught Suo any funerary customs. He hadn't thought there would be a need.

Suo didn't cry nearly as much as you, but he was probably in more pain. Your master had trained you a little bit when you were a kid, and he'd taken you in for a while after your parents kicked you out, so of course you were gutted. But he had practically raised Suo, so it was naturally worse for him. More shattering.

You often think about the first night you decided you'd sleep with him in the same futon because he was crying so much. He insisted he was fine, but he didn't complain when you got under the sheets with him and started thumbing away his tears. When you took off his eyepatch, you found, to your astonishment, that he was crying from his missing eye as well. Both of you thought the tear ducts had been destroyed in either the accident or the enucleation, but it appeared that not even that prior trauma could mask his grief over this one.

Nevertheless, by the time of the funeral procession, Suo had stopped crying.

“Master supported us and taught us to stand on our own two feet,” he said as the joss paper burned. He took your hand in his and smiled. “So it'll be fine. We’ll be okay on our own. I'll make sure of it.”

At the time, you had found this very comforting. You didn’t think too much of it, as you had a bad habit of relying on Suo for your emotional stability. His master had raised him to be an emotionally intelligent person, so it had been fine, even though you had a track record of reckless decisions. He’d still exercised endless patience with you. He never once got angry with you, nor did he ever force you to do what he felt was the right thing. Instead, he gently redirected your self-damaging behaviours—not so different from the martial art that he practised.

He disapproved of the run-down and lonely conditions of your apartment, so he spent a great deal of time there and helped make it into a proper home. He didn't like how dangerous your job at the girls’ bar was, so he walked you to and from work every night until you never left without him. He worried when you started having sex with your customers, especially when you began having nervous breakdowns over it (you were, after all, still a teenager and really only interested in having romantic vanilla sex with Suo), so he staged an intervention with Nirei and Sakura. In this way, Suo convinced you that you were loved and protected and didn't need to do something you hated so much. They would get you out if you felt trapped. And you didn't feel trapped, per se, so you left on your own—but it was still only because of them. You promised them afterwards that you'd never do it again.

This was Suo’s brand of kindness as a teenager. He always taught people, guided them away from harm rather than steering them—a behaviour he’d mimicked from your master. Your master, in general, had defined all of Suo’s values and his way of living, which was honest and gentle and conscientious. It was one where he used his abilities to protect the weak and care for his friends. He even kept his spiteful and alarmingly violent tendencies under control, though sometimes he slipped when fighting genuine assholes. But he still tried. He tried because he strived to be as kind as his master—who represented everything that Suo wanted to be in his adult life.

Thus, the death of Suo’s master meant the death of his principles. It changed the kind of man that Suo wanted to be. You don't want to say that he became a worse person, but he absolutely became a worse person.

He especially became a worse person with you.

As it turned out, Suo’s idea of making sure that the two of you would be fine on your own was, well, not really fine. It wasn’t that he became cruel to you, per se. It was more that whenever he saw a problem with your behaviour, his approaches to redirecting it became—put as nicely as possible—heavy-handed.

After your master’s death, you got a job at a high end, yakuza-owned club. Two weeks later, Suo broke his promise to you and joined the yakuza. So I can stay close to you, he explained gently, wiping away your tears as you cried hysterically, but you're convinced to this day that he did it partly out of spite. So a few years later, when you started having sex with your customers again and he tried to stop you, you decided to spite him back. I need to stay on top of the rankings, you'd explained dispassionately. The mamasan said it's fine, and the manager doesn't care. He even thinks it's good for business.

Suo’s response was to simply become the owner of your club.

This move was very extreme, but also very effective. Any customer who so much as brushed against you on the premises was instantly thrown out, and the mamasan started watching you like a hawk to make sure you weren’t going to any love hotels after work. Douhan were off-limits. For the first time since your teens, you became completely celibate—not only because of your new workplace circumstances, but because you simply didn't want to find out what Suo would do if you got together with a man he despised (and he despised every man you dated).

His most absurd play was when he became concerned about your living conditions again. Your latest apartment was too plain, too small, and the area was too dangerous. It didn't even have a shower, and the other tenants behaved concerningly toward you when you went to the bathhouse at night. But the rent was cheap, and it was still an upgrade from your last place, so you shrugged it off when Suo suggested that you move. Even when someone tried to accost you at night, you were nonchalant about it. You kicked the shit out of them in a fight and continued your routine unbothered.

The next month, Suo bought a luxury penthouse and suggested you move in with him.

His offer (command) came with conditions. One of the bigger ones was that you'd let him accompany you out at night if you ever needed to run errands in dangerous places. Or—nevermind, actually. He should really just accompany you everywhere at night. Maybe during the day too. And—ah, there was no way you'd be going to work alone, nor coming back by yourself—you were now always to be driven by someone in his organisation, if he wasn't available himself. Rent was a point of contention, when you asked about it: you wanted to pay at market rate, and he insisted that there was no need to pay at all. He ended up proposing a highly discounted price, which would give you ample financial freedom, but questionable financial independence.

These were insane terms. You knew that if you agreed, you'd be setting yourself up for a life without autonomy. You also knew that these behaviours were all signs that Suo desperately needed therapy to process his master’s untimely death. Living with a man in constant grief, who refused to talk about his trauma unless he was making up a lie related to the nation of China, was probably not a good idea. Doubly so when this man was clearly paranoid about losing you, and triply so when he was a high-ranking member of a violent syndicate. Case in point—he was likely connected to the brutal accident that later befell the man who tried to assault you.

“I'm not sure what you're implying, but at least he didn't die,” Suo said cheerfully when you confronted him about it. Which really meant: At least I decided not to kill him. This was a flag bigger and redder than any other you've ever known, and you consider yourself an expert in red flags. You knew you should run in the other direction.

So naturally, you put your arms around him, tenderly said, I'm sorry I've been worrying you, and then you moved in the next day.

While Suo treats you with endless patience, you have personal limits to the patience that you exercise with him. Specifically, your patience with how he treats you.

You don't mind the lack of social freedom, nor the lack of personal freedom, nor the lack of freedom of movement. You also don't mind living with a man full of intractable trauma surrounding the death of every parental figure in his life; in fact, you'd rather be by his side than not, if he needs to cope with something so painful. And anyway, your friendship is otherwise unchanged if you ignore the heavy restrictions he's imposed on every facet of your life. So that's all fine.

But the celibate lifestyle that he's cornered you into? You simply aren't built for it. Holy shit, do you need to get laid.

Nearly two years without sex has brought you close to another nervous breakdown (there have been few better sources of entertainment or validation in your life), and worst of all, it has made your profound lust for Suo incredibly hard to ignore. Waking up every morning to him in a towel, his hair still wet from the shower and his broad silhouette exposed, tests the absolute limits of your self-control. The contours of his lean and muscled form are distracting enough; coupled with the vivid colours and lines of his irezumi, the sight of him becomes maddening. It is a horrible thing to be exposed to when you haven't gotten any dick nor strap in over a year. It gives you thoughts about him that are overtly sexual, which is bad, as you have materially consequential reasons for not wanting to fuck Suo.

Things with him must absolutely stay platonic. But with sexual frustration like yours, being platonic with him means that you need to get erotic with someone else. A boyfriend or girlfriend is out of the question; you don't want to be responsible for yet another brutal accident. So you instead decide to quit your job at his club and start working on Keisei Street. At least this way, you can start fucking your customers again.

It’s a perfect plan. Suo’s oyabun is very indulgent toward him, and everyone else in the family respects him too. He consequently has a tight grip on his organisation and the territory they control, despite his relatively young age. Not a single person is ever to touch Keisei Street—largely because Sakura is part of Roppo-Ichiza, and Suo is nearly as weird about Sakura as he is about you. Plus, many of his other fellow Furin alumni are in the gang as well. If Suo’s men ever started fucking with people on Keisei Street, it would not only have grave implications for gang relations—it would be personally upsetting for Suo. This means you can fuck all the Keisei Street customers you want, and not get a single one of them threatened or killed.

A pretty brilliant idea, if you do say so yourself.

Suo’s expression doesn't change when you break the news to him. He delicately places his teacup—custom-made from Yixing, just like the matching clay teapot—down on the mahogany tabletop, and he looks at you with a calm smile.

“Come again?”

“I'm quitting my job at Red Dragon,” you repeat. “I already gave the mamasan my resignation.”

“And she accepted it?” Suo asks, in a tone that is so carefully nonchalant that you know it means he is actually furious with her. “How interesting,” he muses. “What brought this on?”

“I've found a better paying opportunity on Keisei Street.”

“I'll give you a raise,” he says easily.

“A raise?” You cock a brow. “The pay is mostly commission-based at Red Dragon. You know that.”

“Then it would be unwise to leave. You have a loyal customer base at Red Dragon. All very rich, and”—his smile grows sharp—“very polite.”

Polite. An interesting word. It actually means: None of them will ever proposition or harass you because they know they'll be maimed if they do. An easy thought to use to your advantage.

“It's loyal but it's small. Everyone who's anyone in this part of town thinks that we’re married. Do you know how hard it is to pull new customers in when they're scared shitless of my yakuza husband? And anyway”—you frown, trying to look as pathetic as possible—“I'm lonely.”

Suo stares. He looks surprised, possibly because you absorb every minute of his free time with silly conversation, new restaurants, and skiing trips. (He likes snow, so you ask for these trips more for him to relax than anything else.) You also text him frequently on days he's working, and he very diligently replies, even if he's in the middle of something like a raid or a hit or brokering a massive deal. Suo still very strictly keeps to his rule of never touching his phone when in conversation with other people—unless he needs to text you.

So his suspicion is fair. Suo is very attentive and doesn't allow you much opportunity for loneliness. In turn, you’ve always been very happy spending time with him, even when it's only him.

“Lonely?” he repeats. “Are you, now?”

“Yes. You work so much,” you complain, which is not a lie, “and I don't have any friends to spend time with when you're gone.”

“You have friends from work.”

“No, I have competition at work. The hostesses are so cutthroat about rankings, they hate me. And each other.”

“You like Shuuhei and Hanzo,” he points out, referring to his men who most frequently chauffeur you.

“Yeah, they're friendly, and they're very funny. I like them, but I can't be their friend.” Suo stares at you, nonplussed, so you spell it out: “They're too scared of you to get close to me. What if it looks like they're trying to fuck the boss’ wife?”

“Hm…” Suo studies you, looking thoughtful. Perhaps for the first time, he's contemplating the consequences of restricting your freedoms and marking you as his. That is to say—maybe he's finally realising that you have no friends and no life.

The beads of his earrings glimmer as he tilts his head at you and frowns. Suo almost looks innocent with that confused face of his. “And how would working on Keisei Street help?” he asks.

“Because all our old friends are there!” you exclaim. “Sakura’s in Roppo-Ichiza now so he’ll definitely be coming by all the clubs. Tsubaki too. And Nirei and Kiryu visit them quite often—and even Tsugeura does sometimes, even though clubbing isn't one of his virtues.” You grab onto his arm, pull yourself close, and give him your most disarming, pleading expression. “Please, Suo?”

“Hm.” He strokes your cheek and looks at you fondly, in the way that one would do with an adorable and slightly annoying kitten. “I don’t think so. It’s not very safe there.”

He isn't wrong. Not only are you untouchable on his turf because of your association to him, Suo has also just crushed all the han-gure and petty criminals in his territory with brutal efficiency. His part of the red light district is, quite ironically, one of the safest places in the city, and certainly safer than Keisei Street.

But undeterred, you point out, “Shuuhei and Hanzo can still drive me there and back if you want. But I don't think it's necessary. Do you really think Sakura would let anything happen to me?”

This is the true brilliance of your plan: capitalising on the fact that Suo is as nearly as weird about Sakura as he is about you. He pauses as soon as you bring up the point, and you can practically see the gears turning. “Well, if it's him…”

“I even texted him about it. Look—here!” You whip out your phone, receipts ready. The corner of Suo's mouth lifts at your obviously rehearsed pitch. “He says he'd make sure I'm taken care of. And he says it'd be nice because he misses seeing us. Can you believe it—Sakura actually admitted that he misses us! Typed it with his own two hands and pressed send! I bet he was super embarrassed about it.”

“Huh. He even used a sticker. I've never seen him do that.” Suo smiles as he reads through the chat. He looks like his old self. You suddenly feel a little wistful, and also a lot bad. This started as a ploy to get laid, but it’s made you realise that you really do miss your friends—and Suo probably does too.

“If I worked on Keisei Street, then you would have plenty of reason to visit,” you point out, feeling somewhat tender.

“I guess that's true,” Suo says. Your heart aches a little bit at the look he gives you. It's a platonic ache, of course. Or at the very least, it isn't an erotic one. It doesn't really make you want to have sex with him anyway. But if you could lean forward and press your lips to his—platonically—then you definitely would.

Suo's civilian friendships are complicated by his double life. Quite unusually for yakuza, Suo’s syndicate insists on using pseudonyms and false histories to avoid anti-yakuza laws, on the off-chance that the police decide to do their jobs and actually enforce those laws someday. Lying for comedy is one of Suo’s greatest passions, so he was happy to manufacture an absurd backstory: his name is Yanzhao, and he learned kung fu in a Shaolin Temple before moving to Hong Kong and working for the triads. He wears the eyepatch because he lost his eye in an altercation with the cops, which he won. By the way, you're his criminally beautiful wife who he met in Macau. The two of you had to leave for Japan since he killed a police officer and now he's wanted by the governments of both China and Hong Kong. Also, he's a very devoted husband, so if anyone lays a hand on you, he’ll kill them too.

Somehow, everyone has bought into this story. Every criminal organisation in the red light district now fears a high-ranking yakuza known as Yanzhao, who is easily recognizable by his eyepatch and tassel earrings, and who is also homicidally obsessed with his beautiful wife.

In some ways, his infamy is convenient. No one wants to fuck with Suo, or with you by extension. But it also poses some issues: Suo has to keep a low profile in areas controlled by rival organisations, or else he might be ambushed. It also means he cannot easily go out and see his old friends. Even though he always masquerades as a civvie when he does, wearing stud earrings and a glass eye, it's still a little risky—especially since he likes to visit the strongest member of Roppo-Ichiza. While Roppo-Ichiza aren’t yakuza, they're still han-gure, so some of its more criminally entangled members might recognize him anyway.

But Sakura himself, bless him, has not put two and two together and figured out that Suo Hayato and Gui Yanzhao are the same person. This is partly because Suo lies very convincingly about his fictional career in the tea industry, but you think it's also because Sakura is so gullible it's endearing.

I use the glass eye now because it's better for networking, Suo had explained before Sakura could interrogate him too much, his voice too smooth and too quick for the other man to get in a word edgewise. My business partners find the eyepatch too silly. The tassel earrings too. By the way, would you like some Baimudan tea? I thought of you when I smelled it—I know you like fragrant things—so I picked some up for you on my last visit to China. I was there for business a couple of weeks ago.

He, of course, neglected to mention that said business involved meeting with the 14K triad.

Despite the enormity of Suo's omission (lie), Sakura is none the wiser whenever he meets with you. He thinks you're just a regular hostess who has freedom of movement and various other human rights, and that Suo’s just a regular guy who isn’t homicidally obsessed with you (a detail of Suo's fabricated life story that is unfortunately grounded in reality). All this to say, Sakura doesn't think twice about mentioning the fact that you have a routine of going to love hotels after work.

Suo, as always, remains calm in the face of unsettling information. He sets down his tea (just tea, without shochu), and politely says, “Pardon?” He's once again using the nonchalant kind of tone that suggests mortal danger.

“She's always going to love hotels after her shifts.” Sakura is frowning at you, pink but scowling. “I thought you said you were done with that stuff. You promised us you wouldn't do it anymore. Suo—are you really okay with this?”

On the one hand, you find it exceptionally sweet that Sakura, after all this time, remembers your promise and wishes to hold you to it. He was so worried about you when you started having those nervous breakdowns as a teenager, and he probably still is. On the other hand, you're shitting bricks at the fact that Suo is now aware of your activities. Because sure, he likely won't fuck with Keisei Street—but you realise, as he stares at you, that you can't be certain of this. After all, your fake yakuza husband has very real homicidal urges.

“Um,” you say. “It's just business.”

“Business,” Suo repeats.

“You don't have to do that stuff to keep good business,” Sakura grouses, unaware of Suo’s carefully suppressed rage. “You're real popular already.”

“Are you?” Suo asks, looking right at you.

“I mean—I told you the pay would be better, right?” you reply, voice oddly high and nervous, and this is when Sakura notices that something is wrong.

“Oh,” Sakura says, looking between the two of you. “Suo, you didn't know?”

“I didn't,” he says. “Actually, she told me specifically that she wasn't going to do that if she worked here.” He turns to you, still smiling. “That's the only reason why I allowed this at all, remember?”

A chill travels down your spine. You did, in fact, commit to a perpetually sexless lifestyle in order to be granted some semblance of freedom: Of course I won't sleep with any customers, you'd said. You know I don't really like doing that anyway. I promise I'll behave! I’ll be out of the clubs and right back home. Sakura said he’d make sure I’ll get to a cab safely after the bar closes and everything!

“Um,” you say again, but this time you have no follow-up.

“Wait,” Sakura demands, “what do you mean by ‘allowed her’? What, do you need to give her permission to work now or something?”

Suo smiles disarmingly at Sakura. Without missing a beat, he says, “Generally no. But we’re dating now, which complicates what she’s allowed to do with other men at her job.”

Sakura spits out his drink. You choke on your spit.

“I… um?!” Sakura’s staring at you, so you quickly recover. This is a mortifying lie, but it's better than Sakura finding out just how batshit Suo has become since his school days. “I thought we were going to keep that a secret, dear?”

“Ah, you're right. Sorry, I got too excited.” Suo gives you an endeared look before turning to Sakura. “We were going to keep it to ourselves unless we got serious about it. But we've been talking about marriage lately, so I thought it was fine to mention.”

“...”

You’re going to have an aneurysm. Why does every cover that Suo comes up with involve a marital relationship between the two of you?!

“Oh… holy shit.” Sakura’s expression is complicated—somehow, more complicated than yours, even though you’re the one getting cornered into a fake engagement. It's unbelievable how shy he still is about this kind of thing. Maybe it’s just particularly embarrassing since he's known you two for so long, you reason. Regardless, he remembers his social cues enough to say, “Congrats, guys. That's great. That's really great.”

Suo gazes fondly at you across the table. “We were thinking you could be our best man,” he adds, and you consider violently kicking his leg.

“O-oh. Uh, yeah! Sure! But what about Nirei?”

“Rather than having a maid of honour,” you say reflexively, used to lying through your teeth for Suo, “we’d like him to be our best man as well.”

“Oh. That makes sense.” Thrown off guard, Sakura completely forgets about the love hotel business. He whips out his phone. “When were you thinking of having your wedding? I'll put it in my calendar.”

“I’m not sure.” Suo turns to you. “What were we thinking again, dear?”

You're going to die. You're going to die and it's a good thing because if you survive this embarrassment, your future will be bleak. As soon as Nirei finds out about this, he’ll want to start helping you with wedding planning, and then it would just be too awkward to cancel things. You’ll have to enter a fake marriage with Suo, which will be completely sexless, because even with a vow of everlasting love, there are still too many concrete and materially consequential reasons for not sleeping with him.

Condemning yourself to a lifetime of sexual frustration, you reply, “I think we were talking about a summer wedding.”

The drive home is awkward.

Hanzo and Shuuhei pick the two of you up. Suo mentioned that he wanted to talk to you and you alone, so they bring the Rolls Royce with the privacy suite. The two of them are entirely cut off from you thanks to the soundproofing, which traps you with Suo, who’s drinking a bottle of oolong tea as the two of you sit in complete silence. You think he's waiting for you to squirm—which you do.

You stay like that for five, agonising minutes before Suo finally says, “So you're sleeping with your customers.”

You swallow. “Yes.”

“For business?”

“Yes.”

“How much do you make?”

You blink. “Huh?”

“How much do you get paid for a single night of work, including gifts that your customers give you in exchange for sleeping with them?”

You're halfway through citing your earnings when you realise where he's going with this.

“So you make less than you did at Red Dragon,” Suo concludes, “and you're very smart with your money, so I know you know that, and you probably went into this knowing that you'd end up at a net loss.” He turns to you, gives you a look so sharp that it almost scares you. All made worse by his civilian disguise, which makes him feel unfamiliar. His glass eye shines strangely in the light, and his scar tissue is hidden by the makeup you helped apply. You wish he'd taken it all off before having this conversation.

“So,” he says, “what’s the real reason you changed jobs?”

Already knowing that he’ll figure you out sooner or later, you admit, “I just wanted to start having sex again.”

Suo blinks. “You… what?”

“I wanted to have sex with people,” you repeat. “I hadn't been touched for nearly two years, okay? I needed to get laid or else I'd go insane.” You cross your arms and look away, suddenly feeling petulant. “I'm sure you've noticed that our arrangement makes it impossible for me to see people.”

He doesn't answer, because of course he's noticed. He’d designed his house rules with precisely this intent. If he accompanies you everywhere you go, then you can't exactly go on dates, and you definitely can't meet people for sex. Not unless you feel like having Suo watch as some anonymous guy fucks you, and you don't. As hot as the idea is, it’s definitely not platonic behaviour, and it would probably trigger the whole homicidal obsession thing.

“Do you like it?” Suo asks, startling you. You look at him, confused.

“What?”

“Do you enjoy having sex with your customers?” he asks. His voice and gaze are even. Unrelenting. “Does it make you happy?”

You stare at him, a deer caught in headlights. You didn't expect Suo to actually care about whether you enjoyed it or not, and you didn't really expect to care yourself either. But truthfully, you hated it. You simply weren't feeling it with most of your customers and avoided intercourse with all but one. Then in that one case you let someone earnestly fuck you, it was a complete letdown. Possibly the worst sex you'd ever had. You spent the whole time watching the clock, wondering how long it would take, and it turned out that your hookup had remarkable stamina but absolutely no technique. To pass the time, and in an attempt to feel something, you tried to imagine it was someone else who was inside you. You cycled through a whole list of people, including all of your exes, a few of your past customers, every single member of BTS, and then—finally, inevitably—your long-time friend, roommate, and landlord.

To your complete horror, when you imagined that it was Suo who had you folded in half, his cock so deep inside you that you could feel it in your throat, you came so hard that you drenched the sheets.

You lay there afterward as your customer showered, alone in the bed. Normally you'd be getting dressed at that point, but you were too distracted. You kept thinking about what it would feel like to be held by Suo after having your guts rearranged by him—embraced tenderly like you know he would do with you, kissing him platonically like you've always wanted to do with him—and you realised that you didn’t actually want to have sex with anyone else. Despite all your life experience, sexual experience, and job experience—in that moment, you felt like a lonely nineteen year old girl who wanted nothing more than to have romantic, vanilla sex with her best friend, but who was instead having impersonal, disappointing sex with various salarymen.

This was a feeling so disgusting that you’ve decided to never tell anyone at any cost.

“Yeah, it's fine. I guess I like it.” You pretend to study your nails. “Sometimes I cum, which is all I really want.”

Suo keeps staring at you. “That’s it?” he asks, voice measured and careful. You raise a brow, playing dumb.

“What do you mean?”

“That's all you want? Just to get off?”

You gaze out the window, trying not to look at his lips.

“Yes, that's all.”

No matter how batshit Suo gets, he always maintains a certain kindness and maturity in how he handles conflict with you. It's a lesson that he learned from his master, which has perhaps been distorted over time, but remains important to him nevertheless.

If you do something upsetting, Suo is never forceful about getting you to act differently. Sure, he has fucked up ways of either getting you to behave or making you understand the consequences of your actions, and perhaps he has his manipulative moments. It was probably not a good thing that he coaxed you into indefinite house arrest, for instance. But he never threatens you, and he never hits you, and he never disrespects you. In fact, more than anything, he makes it a point to never let you feel like you aren't loved.

So when Suo abandons you after that conversation in the Rolls Royce, you lose your fucking mind.

Suo doesn’t come home in the days following that evening, without any note nor explanation. For the first time in years, he stops replying to your texts. Your immediate thought is that he's been gravely injured or perhaps even killed, which sends you into a panicked spiral. But every one of his men who's come by to check on you has implied otherwise—but I'm not allowed to tell you anything else, anesan, I’m sorry, they all say. And when you realise that Suo is actually fine and he's just playing a fucked up mind game with you, one that makes you feel distinctly unloved, you feel simultaneously heartbroken and apoplectic. The man is not allowed to corner you into de facto imprisonment and then just fucking leave. In fact, if he tries, you might imprison him.

You spend a few days sitting at home and crying over this, as well as torturing yourself by thinking about useless things (fear of rejection, fear of abandonment, et cetera). But eventually, you get tired of wallowing in self-inflicted misery, and you decide to just track your fake husband down. His men have been adamant about not letting you out of their sight—presumably so you don’t fuck any more of your customers, because Suo can be spiteful like that—so you have to be strategic about your plan to find him.

You decide to do it during work. You tap out in the middle of a shift, feigning illness, so nobody bats an eye when you put on the most shapeless hoodie you own and throw on a face mask. Your chauffeurs (handlers) don't notice as you sneak off—and for the first time in years, you walk through the red light district all alone.

It feels strange not to be protected, and even stranger not to be surveilled. You marvel at the unfamiliar experience of complete freedom, and at the possibility of being able to run off and disappear if you so wished. But you don't, of course. Not only do you care too deeply for Suo to abandon him, you're also pretty sure he has your driver’s licence and ID card locked up somewhere. At least you haven't been able to find them, and Suo was oddly evasive about it when you asked. (I haven't seen them, he'd said, but I don't think you’d need either of those things immediately, anyway, do you? And you nodded in response, because it was true that you liked being his passenger princess too much to care about your licence.)

So rather than bolting for the subway, you head straight to your old workplace. The gleaming doors of Red Dragon welcome you as you cross its threshold, and you're greeted immediately by the scent of luxury colognes and expensive cigars—both evoking a strange nostalgia in you. Even the click of your heels against the marble floor feels familiar. You realise that you've missed the place despite its cutthroat culture and its owner’s authoritarian control over you, which you suppose isn't surprising. This club was more or less your home for years and, thanks to said owner, was the safest place you've ever worked.

And being that you feel you've returned to your very safe home, you don't expect it when you're abruptly stopped by the bouncer.

“Can I help you?” he asks, his arm in your way. You don't recognize him, but you see the edges of his irezumi peeking out from the rolled-up cuffs of his shirt.

“Yeah, actually,” you say. “I'm looking for Gui Yanzhao. Is he here right now?”

The bouncer—or chinpira, you guess—bristles.

“You're looking for who?”

“Yanzhao?” you say impatiently. “Eyepatch, tassel earrings? Owner of the club? Probably your boss?”

The bouncer steps forward and reaches for something in his pocket, which makes you suddenly nervous, and also makes you realise that in a hoodie and a face mask, you ordinarily wouldn't be allowed in this club, let alone into the room of its yakuza owner. You're so used to VIP treatment here that you simply forgot.

You take a step back. “Um. I think there's been a misunderstanding.” You lower your face mask, which doesn't help as you've never met this man, and he must be new. You’ll need to complain to Suo about his onboarding process later, if you aren't killed before you can find him.

It turns out that this yakuza rookie has a knife in his pocket, which is not the worst thing he could have been carrying, but is also not the best. You're getting ready to run in the other direction when a more senior member of the gang comes by. He gives you a startled look, which then turns alarmed when he sees his younger brother’s knife.

“Anesan!” he yells hurriedly, and he snatches the chinpira’s knife straight from his hand. His lunge for the weapon turns into a hurried bow. He pulls his colleague—whose face has turned very white in a very short amount of time—into an even deeper one. They look on the verge of prostrating.

“Oh, Yamashita. Hi! Is this guy new?”

“Yes! My sincerest apologies for my younger brother’s idiocy, and his insolence in raising a weapon at you.” There's a sheen of sweat on the back of his neck. “If you would like him to atone, then he would be more than happy to—”

“No, that's fine. I'd really like him to keep all his fingers.” If you have to see a rookie cut off his pinkie today, you think you might actually change your mind on running away. Fuck your documents—Suo can keep them. Surely life without proof of identity can't be that hard. “By the way,” you say, trying to change the topic before Yamashita can suggest alternative acts of atonement, “have you seen my husband?”

Yamashita hesitates at your question, looks conflicted. You feel a little bad for him, and for every other gang member who needs to worry about accidentally offending Suo. You watch him sweat for a full ten seconds before he says, “You can follow me. But anesan, you might find it unpleasant upstairs. I can find someone to drive you home instead, if you'd like.”

You give him a funny look. This was your workplace for a very long time—you can’t think of many things that would happen here that might seriously upset you. “What, is he cheating on me?” you guess.

“What? No! Aniki would never!” Yamashita seems genuinely shocked at the suggestion. “He's crazy about you!”

“Then I'm sure he’ll be happy to see me,” you say, although given that he's ignored your texts for four days straight, you aren't so sure. Regardless, this seems to be good enough reasoning for Yamashita, and you’re taken to the top floor of Red Dragon. You ponder the whole time, on the elevator ride up, just what exactly Suo’s been up to that's made Yamashita this nervous about letting you see him.

Then the door opens, and you’re given your answer in the form of several body bags—all cleanly zipped up and conscientiously laid out in front of the elevators in a single, neat row. A sight that is significantly worse than a rookie cutting off his pinkie finger.

“Oh,” you say faintly. You try not to throw up. “So this is why he hasn't been home.”

“Exactly!” Yamashita replies, beaming. “See, anesan, I told you. He'd never cheat on you!”

Suo is in the lounge of the top floor, which has been cleared of both civilians and corpses for the night. He's sitting on one of the couches, leaning back with his one eye closed, as if asleep. The golden tassels of his earrings are draped over the expensive leather of his seat, intertwined with his dark hair. A cup of tea sits in front of him, steaming. Even this far away, you recognize it by the scent alone: jasmine, probably from Longjing. One of the most expensive blends he has, and that which he saves for days he’s stressed, though he never admits it when he is.

The sight of him would almost look tranquil, except for all the blood on his knuckles and his cuffs.

Off to the side, two of his younger brothers are chatting away. One is pouring cups of some doubtlessly expensive liquor, and the other is smoking a cigar. There's karaage on the table too. You recognize all of this as part of a ritual that some of the guys like to do after a hit or a shootout, not dissimilar to getting ramen or McDonald’s after going to a club.

You catch a bit of their conversation as you approach. One of them holds up the liquor bottle (Isojiman sake, you now recognise from your girls’ bar days, one of the rarer bottles costing around nine million yen) and asks Suo if he wants to join. “No thanks,” he says predictably, “I'm on a diet.” Then he turns and looks right at you—startling you, because you had thought you were being fairly quiet—and gives you a smile so genuine that it reminds you of his Furin days. “Would my beautiful wife like to drink for me, though?”

“No thanks,” you reply, “but your beautiful wife would like to talk to you.”

The two guys clear out to give you some privacy. You’re left alone with Suo, feeling awkward after several days of resenting him for no reason. (You’d rather die than go to therapy, but the whole fear of abandonment thing is probably something you should start addressing.) You don't even know where you want to sit. Eventually, you settle for placing yourself next to him, which is a decision that Suo quickly overturns by pulling you into his lap.

A flutter erupts in your stomach as he settles you on top of him. This physiological reaction is absurd, as not even ten minutes ago, you were trying not to throw up at the line of corpses in front of the elevator. It should also scare you somewhat that Suo’s hands—delicately adjusting your body—are still covered in blood. But truthfully, you can't help but be happy when he makes you feel so loved.

You take one of the napkins on the table and start wiping at his knuckles. Tenderly, in case they're bruised or skinned.

“You didn't call or come home,” you start.

“I thought it would be too dangerous.”

You frown, thinking of all the bodies outside. “Was this a rival organisation?”

“No. They were ours.” He sighs. “A succession conflict. There are a few people who don't like how I'll run things if I take over.”

You nod. Suo is very old-fashioned in his ideals about the yakuza, which you think is an imprint of his master’s influence, and something that appeals to his current ‘father’. He values chivalry. He likes protecting the weak. His filial devotion to his deceased master has now extended to every member of his yakuza family, especially his oyassan. He’s almost certainly the top candidate for taking over after the oyabun dies, but being that part of his old-fashioned principles excludes lucrative projects such as sex trafficking, you suppose it’s natural that some people in his organisation would prefer him dead rather than in charge.

“You’ve never ghosted me during violent conflicts before though,” you say. “I was worried that something happened to you. Or that you were upset with me.”

Suo’s hand drops to your waist, pulling you a little closer.

“They knew where we live. They tried to get to you, you know.” Your eyes widen in alarm, so he cups your face with a palm. His thumb glides along your cheek, and your response is almost Pavlovian: your heart rate immediately slows at the comfort of his touch. “It’s fine. They won't bother you ever again.” The cheerful smile returns. “And if anyone else ever does, I'll handle them too.”

Your heart swells. Enthusiastic pledges of murder are not a healthy sign of affection, but after so much loneliness—whether from the past several days, or the years before that, you aren't sure—you can't find it in yourself to be disturbed. You feel and sound painfully fond when you reply, “I know.”

Suo’s expression dims a little then. “I thought you'd like the space anyway.”

“What?” You give him a confused look. You have never once given him any indication that you want even an inch of space from him. You'd crawl into his ribcage if you could. “Why would you think that?”

“I thought you felt suffocated. You left my club just so you could have sex with other people.” You blink, lingering on his wording. Other people. He continues before you can ask about it, sighing, “You didn't even ask me who I'd give permission to touch you. You just went ahead and decided on your own.”

“...”

You try not to look disturbed. Suo’s apparent wish to control your sexual decisions is news to you, and somehow more alarming than the murder pledge. And even worse—you immediately clench in response to his words. The thought of Suo dictating who does and doesn't get to touch your cunt is… well, your mind is heading in a distinctly non-platonic direction.

Trying to ignore the heat in between your thighs (but at the same time encouraging it), you ask: “Who would you have been, um, okay with touching me?”

“Sakura or Nirei,” he says immediately. “Though only Sakura would be interested.”

“What.” You gape at him, all arousal forgotten. “Bullshit. He would never.”

“Yes, he would.” Suo tilts his head. “Haven't you noticed?”

“I don't think there's anything to notice? And also—he’s so shy, I don't think he'd ever agree even if he were interested!” You give him a bewildered look. “He couldn't even look at us when we said we were getting married, he was so embarrassed!”

“Embarrassed?” Suo stares at you, an amused glint in his eye. “Is that what you thought was going on?”

“Was there anything else?”

He studies you for a moment, clearly entertained but not explaining why. “Well—it’s fine,” he says. “It doesn't matter for now. Especially since he's helping us plan a wedding and all.”

You make a face. “I still can't believe that's the cover you went for.”

“Are you upset with it?” he asks smoothly, and you huff and say yes, but from his sly look, you think he knows it's a lie.

Naturally, you deflect before he can further interrogate you. “So, given that you are now my fiancé, am I no longer allowed to work on Keisei Street and see customers after my shifts?”

You don’t expect it when Suo says, “No, you can.”

You stare. “What?”

“You can keep seeing customers if you'd like. You said it makes you happy, so why would I stop you?” Suo’s brow furrows, his usual calm replaced with concern. “Do you really think I do the things I do to make you miserable?”

Guilt gnaws at your heart. He looks so disappointed. “No,” you tell him. “I just thought it'd make you miserable that I was sleeping with people without your permission.” It is partly why you hid it from him in the first place, after all. You don't like to see him sad—you’re still haunted by the deep grief he was in, after your master died—and also, his misery tends to bring bodily harm to other people these days.

Cognizant of both concerns, you ask, “You’re really okay with me sleeping with my customers? I can stop, if you want.”

“No, it’s fine. I still don't like it, but you can continue for now if you want.”

Suo’s mouth curls—not in a gentle way, as has been his expression since seeing you walk in, but in a way that sets off your flight or fight response.

“I'm sure we’ll reach a mutual understanding soon enough.”

END PART 1

thank you genuinely if you read all that because this is a deranged au and I still can't believe I wrote it sldfkjsldfkj. please do let me know if you enjoyed my yandere suo delusions. sorry there was no smut in this chapter. I promise there is a ton in the next one (probably too much... lol. it's a 10k chapter and literally half of those words are about orgasm denial sldfkjalskdjdf). it's completely written and I hope to edit and have it up by next week!

also here is glossary of terms and world building notes if you are interested!

tagging @kweenkatsuki-fics !! <3

#hayato suo x reader #suo hayato x reader #wind breaker x reader #wbk x reader #i dont even know what other tags the wbk fandom uses sdlfkjalksdflkj either ppl see this or they dont. it is in gods hands

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caligvlasaqvarivm · 2 months ago

Text

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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