#just need it to be a break up scene

[ponytailcoby]

Not the Twitter insider implying that man has less screentime in the finale than he did in episode nine

[poorly-drawn-mdzs]

Hello Madam. Sorry Madam.

[First] Prev <–-> Next

[ellstronaut]

not to be that person but fuck

n don’t get me wrong I love smut as much as the next person but I cannot stand meaningless smut. With no substance just mindless sex with no passion or any ounce of affection attached to it. No buildup, no pining, no tension so thick it’s palpable no “fuck why are these jeans glued on” no “clumsiness or characters being awkward because sex is awkward sometimes and intimidating” no characterisation, character development or poking fun in a lighthearted way because

“dino boxers really?”

the way they’d be so unapologetic about it too maybe not even vocal but the look that fucking look that screams “yeah? n what you’re gonna do about it?” or maybe they’re flustered but that’s hot either way because it’s them, it’s their quirk

It’s the little details

The vulnerability? The insecurities—trying something new but being afraid to cross or plunge into unknown territories

but it’s their touch—guidance—that unspoken “you’re safe with me”

Subtle hotness/intimacy man

But yeah sex sells. Let’s be real. It’s a cheap way to get views especially when not mindful of how characters would react in such situations

[lemongogo]

sry i dont know what 2 draw anymore T_T . elendira portrait #999

[swordoffrivolousthings]

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

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

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

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

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

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

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

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

And a whole lot more.

2. Add Grover into the series as a perspective character

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

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

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

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

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

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

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

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

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

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

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

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

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

5. Cut one of the Seven from the prophecy.

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

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

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

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

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

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

6. CONSEQUENCES!!!

Jumping straight off the last point.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We don't know.

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

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

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

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

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

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

[chirpsythismorning]

Can we talk about how Jonathan might've been able to clock Mike simply because of what happened with him and Nancy in season two?

This will be a long post, so you might want to strap in or save it for later.

In Will and Mike's case, it would obviously be much different from Jonathan and Nancy's situation, given that you know, they're gay. But we still have Jonathan arguably going through a similar experience as Will, while Mike is going through a similar experience as Nancy.

In s2, we see Nancy confront Jonathan about how she waited for him before getting back with Steve, which is a revelation to him. Then they're at Murray's and she's struggling to say she loves Steve, after a handful of moments between them that felt like she might return Jonathan’s feelings. And you can clearly see it in his eyes, listening to Murray imply that they have feelings for each other, with him looking back and forth sort of in awe of what's happening, like he's starting to question if she might actually like him back.

Will doesn't have that same affordance as Jonathan to really hope, at least not anymore. Which is why these relationships in s2 and s4 end differently for these two brothers.

Based on all the signs he was seeing that Nancy felt the same, Jonathan decided to take the plunge to admit to Nancy how he felt, and at that same moment Nancy had the courage to show how she felt. In Will and Mike's case, Will wasn't ready to take the plunge to admit to Mike how he felt, at the same moment Mike didn't have the courage to show how he felt.

What's so painfully hilarious to me about all of this though, is that Jonathan arguably starts the season in the same shoes as most of the audience, where from his perspective, it's becoming obvious to him now that Will like's Mike, but that Mike does not feel the same way.

First at Rink-O-Mania, Mike appears a little uncomfortable upon hugging Will. Then as the happy couple continues on their adventure into Rink-O-Mania, he watches Will lagging behind moping. And then unfortunately he's out of commission for the rest of the evening...

But once he's sober and back to being an attentive brother the following morning, we see him watching them at breakfast, with Mike barely sparing Will a glance, all while Will is blatantly staring, almost like he's waiting for Mike to look back, only for Mike to get up and walk away.

All of these instances gotta be SCREAMING unrequited gay love to Jonathan. He's already gotten signs for years that Will is gay, these are now just the signs that are instilling his suspicions that Will has feelings for Mike. He could have easily interpreted their relationship in the early seasons as young best friends, with Will seeming to have a crush on Mike, and with them growing up and that potentially including Will's straight friend distancing himself from him because he doesn't feel the same. It's not the most unexpected thing in the world considering.

But then there's a shift.

Suddenly he's creeping up on them talking in his room. And we know he was listening in on the conversation because he brings up Owens when he sits down. As he's eavesdropping, he's probably thinking something innocent like Aww they're making up! And like, hey! Even if Mike doesn't feel the same, which is okay and entirely expected honestly, at least he still cares about Will enough to make things right after acting so out of character. Still, I'm not gonna lie, that sounded a lot like flirting to me--

Then he's knocking on Will's door like 30 minutes or less later only to find Mike and Will back on their bullshit. Mike suddenly isn't going out of his way to ignore or put Will on the back burner. In fact, he's on his bed and they're talking, again! The door is even closed this time, which is interesting. This has gotta be a good sign in Jon's eyes. Nothing to worry about! Right? Right...?

But then suddenly this shift continues, going in a direction he probably didn't expect.

I mean, this is literally an identical jancy parallel we have here with byler on the hood of the car, with Jonathan right there to witness it. Despite him maybe only now subconsciously picking up on the similarities between Will and Mike to him and Nancy here, he's at least taking note (I mean he's even got his gay map out and everything).

It isn't until the van scene happens, that I think Jonathan starts to genuinely consider his suspicions, which is that Mike might actually like Will back.

EVERY time we get a shot of Jonathan looking back at Will and Mike in the van, followed by a shot of his POV from the rearview mirror, we're faced with Mike looking at Will while Will is looking away.

As Jonathan is hearing Will confirm his suspicions about his feelings for Mike, he's simultaneously witnessing Mike not looking at Will with disgust, but something more akin to reverence. All of those moments in the van that we witnessed, including all the ways Mike looked at Will and everything that was said, Jonathan was right there.

And what's even more insane about this scene, is that it circles back to Jonathan as a character himself.

I remember when people were talking about how odd it was that we never saw Jonathan with a camera in s4. After 3 seasons in a row of making his passion for photography a big part of his identity, that part of him was apparently absent entirely this time around... But was it really?

This is the same guy that said, "Sometimes, people don't really say what they're really thinking. But you capture the right moment, it says more."

Jonathan might not have had his camera in s4, but this was without a doubt one of those moments where he captured something more.

Something that I also think get's highly overlooked about this scene, especially when it comes to Jonathan looking back at them, being followed by a shot of Mike staring at Will, is that he could see both of their reactions the whole time, from beginning to end. Will nor the audience had the affordance of knowing because Will was facing the other way at the end, while we on the other-hand were blurred from even having the chance, despite Mike literally being in the frame. But not Jonathan. He even lets us see what he sees, a few times, but not at the very end, which would have been nice after they didn't let us see Mike's reaction seconds before this.

Let's just stop right there for a second though and circle back to what I consider to be the first time Jonathan really picked up on Will's feelings for Mike, which was at the end of s3, in a sequence that is a little too relevant to the van scene if you ask me, given that they are almost direct parallels.

While these parallels are pretty spot on visually, they are also near spot on narratively when it comes to the evolution each of these characters are experiencing.

For Will in the first scene, it's sadness that he's moving away from his friends in Hawkins and also feeling like he's losing Mike, after what looks like him and El making up, which makes him scared he'll distance himself again. For Jonathan, it's sympathy for his brother who appears to have some very deep feelings for his friend, feelings he can't quite grasp yet but soon enough will.

For Will in the second scene, it's heartbreak that he has to accept that Mike will never feel the same, knowing that supporting his relationship with El (encouraging it honestly) will likely turn out just as it did last time, with him losing Mike all over again, for the last time. For Jonathan it's sympathy for his brother who has now confirmed his suspicions that the feelings he has for Mike are more than just that of a friend.

Given that this parallel reinforces the same feelings Will and Jonathan had in s3 to now, why would this not also reinforce those same feelings that Mike had in s3 to now?

In the first scene, Mike was visibly distraught, with dialogue from Hopper in the background applying a little too perfectly with what he was feeling in that moment, which was scared. He’s apparently back together with El now, despite them doing just fine as friends for the last 3 months, as well as him and Will just having finally gone back to them being on good terms again. But now, it’s like he’s right back where he started at the beginning of s3, feeling obligated to be the perfect boyfriend to El, and as a result, having no choice in his eyes but to distance himself from Will. Mike then walks into his house looking like a zombie, almost emotionless stepping into his mother's embrace.

Now, I say almost emotionless because it looks like Mike was trying to hold back showing how he truly felt in this moment. He's not crying like he did in s1 when he lost Will that first time. Time has passed and things have changed (he doesn't want things to change). And he's trying his best to keep it together. But the in-focus close-ups make it clear that he is definitely not okay.

What's so impactful about these parallels is that it presents the inner struggle both of these characters are having, both queer and experiencing doubts, but in different ways and for different reasons.

Will is the one who covers it all up with lies, hiding the tears in his eyes, because boys don't cry.

Mike is the one who has never cried to them, just to his soul (RUN AWAY! TURN AWAY! RUN AWAY! TURN AWAY! RUN AWAY!!!).

If you actually try to get a gage on Mike's in-focus emotions in that first scene vs. his out-of-focus emotions in that second scene, well they're not that far off from each other.

We go from Mike smiling vibrantly at Will, to him now slowly turning away to look back down at the painting, with whatever the hell emotion this is...

It's near impossible to catch because of how out-of-focus it is, but looking a lot closer, it honestly appears like Mike is feeling something akin to sadness that he's trying to mask. For a moment it even looks like he turns his head to wince emotionally, only to correct himself.

And call me crazy, but these shots also low-key parallel each other. Mike looking down trying to keep his emotions in check and failing miserably, only to look up and meet eyes with someone whose witnessing it.

With each shot before this of Jonathan observing Mike looking at Will, with him showing all the emotions Will never got to see and everything else in between, I wonder what Jon saw this time? Probably another thing he didn't expect.

Can you just try to imagine the silence in this van, accompanied by Will's muffled sobs, and then try to imagine Mike turning to look down at the painting, only to sneak a glance, and then go right back to looking at the painting, IN SILENCE, and then try to tell me how the assumption that Mike didn’t notice Will crying makes any sense, like realistically?

Yeah me and Jonathan are confused too.

Right now, Jonathan's probably wondering why Mike was acting a little fruity and repressed during the painting reveal. And that although he may have a penchant for being able to 'capture the right moment', Mike is sticking with his story (despite all the stalling and doubt). He is 100% straight!

And so maybe this is where Jonathan tries to accept what is being presented to him as the truth, despite the contradictions in front of him. It's likely that despite the way Mike looks at Will and acts around him, in ways he would have assumed coming from Nancy in s2 would've been evidence that she felt the same, it probably doesn't apply to Mike.

Maybe Jonathan's ready to accept that it's a lot more likely Will is experiencing unrequited love as a gay kid growing up in a small town, the most predictable experience a gay kid could go through, and in contrast Mike just feels too bad to let Will down easy.

Or who knows, maybe Mike could still be a little bit gay too...

But it doesn't matter anyways. Mike seems to be adamant about this and so there's really nothing else Jonathan can he do besides tell his brother he'll be there for him no matter what. And so he does just that.

But then Mike just has to surprise him one last time.

For those that don't know, the line Mike gives here in his monologue was in part pulled from Will's monologue in the van. Most don't know this because this line didn't make the final cut for the van scene, but in the official script the writers posted, what we find is an almost a direct parallel.

Which makes the reaction shots of Will and Jonathan directly after Mike says this all the more epic.

From Will's end he was probably hearing Mike say this and just thinking 'Damn. Well, that's what you get for using your feelings to inspire Mike to profess his love to El.'

But from Jonathan's end, I don't think his outside POV of these events overlapping was nearly as naive as his brothers understanding of the events. Because why the fuck would Mike need to use Will's feelings to inspire him to profess his love to El in the first place? Is this what Mike has been struggling with? Really? Why before every moment Mike takes action in this scene, is Will's hand literally pushing him into it? Why is Mike being so dramatic about saying I love you, stuttering and rambling about her being a superhero, not saying nearly as meaningful of things as what Will said in the van?

And then it hits him.

Mike is reminding him a little too much of another Wheeler right now...

Nancy Wheeler, who was afraid of what would happen if she accepted herself for who she really was, leading her to retreat back to the safety of Steve. Because Nancy liked Steve, but she didn't love Steve.

And now here is Mike Wheeler, who has went from being incredibly distant with Will after reuniting with El, something that is very unlike the Mike he knew in previous seasons, to something more himself again after they make up, with him looking at Will with adoration after hearing his words in the van, only to turn away and look heartbroken. Mike who is now struggling to simply tell El he loves her with Will right behind him literally yelling at him to do it.

And now it's like all those little moments are starting to add up to Jonathan.

Suddenly all those signs he picked up on from Will when he was younger are now blending in with moments Will shared with Mike. It was Mike who jumped in after him and his mom's speech to Will in the shed in s2, with tears in his eyes recalling the day that they met (without being asked, let alone pushed to). And it's Mike who is now looking like he's at war with himself as he attempts to give encouragement to El, just like he did with Will in s2, but this time he needs someone to push him to do it, and that person just so happens to be Will. After just finding out about Will's feelings and also while assuming El wants him to love her that way still, Mike is stuck.

I don't think it's takes a genius to consider Jonathan is capable of realizing how fucked they all are in this situation.

As much as Mike isn't ready for a sleuth of reasons, Will isn't ready either.

This provides a huge contrast between the bylers ², because while Jonathan and Nancy went through a similar experience to Will and Mike, them being ready to accept it and act on it didn't involve nearly as many factors and risks. Will and Mike also have the added barrier that is homophobia.

Will's internalized homophobia lies in part with assuming Mike could never feel the same based on some of the words he said in their last two fights, with parts being painfully reminiscent of the things his dad and bullies used to say about him. These are also words that contradict Mike's own words and actions from the previous seasons, things that did once give Will hope. The shame and guilt that comes with falling for your best friend, who you now know will never feel the same after being foolish enough to believe it not too long ago, and who might not even want to be your friend anymore upon finding out the truth, is understandable. He can't have hope like Jonathan can. It's just not the same.

Mike's internalized homophobia lies with assuming El wants him to love her, along with their relationship being expected and socially acceptable from everyone around him. Though unfortunately for her he feels abundantly more in love in the moments he shares with Will. Despite trying to make it work with El as hard as he could, because she's amazing and all any guy could hope for in a girlfriend, he can't ignore the fact that the feelings he has for these two people are different. The shame and guilt that comes with you, a boy, falling for your best friend, who is also a boy, and who is starting to show that he feels the same, all while you can't muster up the courage to break up with your girlfriend, nor can you muster up the courage to tell her that you love her, not when she's begging you, dying or even just simply at the end of a letter, is pretty understandable too. He can't have hope like Nancy can. It's just not the same.

Spoiler: They were not ready.

PS: I'm still not over the fact that they low-key confirmed these events elsewhere in the story...

[ironunderstands]

Rules for how my Omegaverse works for the Aventio au because I don’t like how others write it (so my picky ass will resolve it myself)

Some mentions of SA because unfortunately it comes with the trope

-Beta’s are basically just normal humans, far less attuned to things than alphas/omegas, but they can be turned into alphas/omegas through difficult/unnatural means, although not by other alphas/omegas without consent, have a similar mechanic to what omegas have (you shall see). Blade is an omega bc of whatever the hell happened to him but originally he was a beta 

-omegas still have heats- but the desire to submit to alphas is able to be controlled even inside of heats, although it’s very difficult of course, it just requires mental fortitude. It’s even easier for pathstriders 

-omegas have a lot of trouble getting pregnant before getting mated, but after it’s fair easier, especially if you’re the mate of an omega, while it’s virtually impossible for non-mates

-omegas can refuse mating bites, and if they do, the offending alpha will die (they can naturally poison their own blood, which is toxic to anyone but the omega themselves, unique to each omega), however this organ can be removed surgically and in some cultures they do (it’s framed as a bad, archaic practice). Nevertheless, this is often why people wait to be married before going through with a mating bite, bc being killed by refusal is only prosecutable by law after marriage in most places 

-alphas can use their scent/pheromones/whatever to influence others, especially omegas, but it’s frowned upon and not entirely effective because with enough willpower anyone can resist. However it works against more weak willed individuals, and even subtly against people who aren’t even part of the omegaverse at all (you will see in the next point)

-since hsr has so many different species of person, many are just normal people outside of the omegaverse entirely, like characters from Belabog/Xianzhou don’t have any of that stuff 

-Ratio, Aventurine, Black Swan, Acheron, Blade,  the Trailblazers, March 7th, Sunday, Robin, Boothill, the people from their respective planets (just Halovians for Penacony) and the Amphoreus characters do though 

-Aventurine + the rest of the Avgin + Sigonians are unique bc their pheromones can even affect people with no distinctions at all, it’s part of their bad reputation/stereotypes in the galaxy, really it’s not as strong as their enemies make it out to be, and most would never abuse it unless in desperate situations 

-also comes with a thing I’ve seen in other fanfics that’s called alpha voice I think? It’s unique to him + other alpha Sigonians + strong pathstriders + emanator alphas where they can basically command other people, but again it’s rarely used especially by him because Aventurine isn’t a piece of shit 

-the IPC was aware of this which is why they made it so the people they sent to enslave the Sigonians a) had no distinctions b) turned off their synthesia beacons c) wore filtration masks

-the reason I’m adding this is because Aventurine is going to use it on Ratio for reasons we will both find out (because I haven’t thought of why yet, I just like the ideas) but won’t involve non-con at all I promise 

-currently I’m thinking Aventurine gets mad/upset/worried/whatever and uses the alpha voice unconsciously to basically tell Ratio off, resulting in him submitting which will be a whole mess 

-at this point ppl w these traits are common enough that those without have learned to synthesize things to use with/against them, like replicating alpha pheromones or something, which can cause problems and has led to strict regulations of them by the IPC

-suppressants still exist, and because I like this trope (well more like it’s useful), they don’t permanently harm alphas/omega’s by using them, but they slowly make their users feel worse and worse, and can be fatal with over use, they also make any ensuing heat/rut stronger after being off them, this is the only time it becomes practically impossible for alphas/omegas to circumnavigate their instincts, and can lead to problems 

-Therefore it’s rarely recommended for people to be on them forever, and if individuals really hate their instincts they can get surgery to remove their mating gland (back of the neck, I didn’t specify before but that’s where others put it, not gonna fix what isn’t broken) to suppress the effects of being an alpha/omega, although it can’t remove them completely. This also tends to make people infertile, which is why the procedure is often frowned upon/undesirable, bc as annoying as heats/ruts can be, most still want kids 

-Everyone regardless of sex is a hermaphrodite and presenting is what changes their anatomy, how? It kinda just gets absorbed into the body the day of presentation. Which is a) funny b) means nobody has to deal with stray organs everywhere c) it’s a cop out hahahaha also betas retain both 

- Black Swan is an alpha and so is Acheron (mmm alpha x alpha) I’ll figure out how that works later lmao

-Boothill, Blade, Caelus, Ratio, Topaz and Sunday are omegas (as they should be)

-March is a beta, Stelle is a beta, Robin and Aventurine are also alphas

-not sure if I wanna make Stelle and Caelus coexist in this or not 

-Can you tell I don't like the rapey elements of the genre and I hate when ppl write omegas like they are weak and can’t resist at all. I get it’s fun for horny stuff but honestly it just annoys and disgusts me more than anything. If that’s your cup of tea then go ahead, but I am not a fan of it at all unfortunately 

-Nesting has always been an interesting concept for me. I think I’ll keep the elements of it that involve omegas surrounding themselves w the scents of their desired alphas, and just precious belongings in general 

-I’ll make an alpha version of this where the scent of their desired omega can calm them down and provide them comfort during ruts

-similar for omegas where the pain (but not the horniness) of heats goes away if near desired alpha

-by “desired ___” I mean crush/mate if you don’t fuck with someone (in a metaphorical sense although literally this can also be true) they cannot help you 

-foxians aren’t part of the omegaverse but they have heightened senses so they can tell when someone’s going through heats/ruts/stuff which is why a lot of doctors specializing in this stuff are foxians 

-people present at 18-20 

-none of that kits/pups/litter shit sorry not my thing at all, also I feel like it dehumanizes the potential children like dude those are human beings not dogs 

-Way less of the strict gender rules, no omegas can’t do this alphas should go that kinda stuff, I don’t want omega’s to be seen as significantly weaker than alphas/they should mostly balance each other out. However as stated prior alphas can absolutely influence people, especially omegas which can result in very interesting problems, however they do have means of fighting back (the poison + personal willpower)

-However the willpower required to resist is a lot/its very hard in general. Most people in universe do not blame omegas for giving into their instincts, although there are plenty of victim blamers, just like in reality unfortunately 

-mpreg

[lesbianwyllravengard]

Wyll breaking up with the player character if Ulder dies so Wyll must become the Duke makes me wanna throw up sobbing because he actually thinks that just because his father's first duty being to Baldur's Gate made him a Bad Father that Wyll himself will inevitably be a Bad Lover because surely no one could match love with duty if his father couldn't, unknowing he has more love in one hand than his father had in his entire body. fuck

[lucy-moderatz]

[chloecherrysip]

We're going to save your brother.

[lover-of-mine]

Fought 'til you tethered me, swept under surfaces, never enough of it...

[americankimchi]

god i wish they hadn't retconned maul's death. i get wanting to explore more of his character because he was, objectively, one of the coolest star wars characters to ever hit the big screen and didn't get much screentime prior to his death, but also his role was fulfilled perfectly within those constraints so i wasn't too upset by it.

but by retconning it and making it so he never died it's like. okay. what now? the whole point (well, to me, ymmv of course) of the theed generator fight was that it was the first ever fight between the jedi and the sith in thousands of years, and that in the end even though the jedi (obi-wan) won the fight, a jedi (qui-gon) and a sith (maul) still died. a master and an apprentice dying together to herald the start of a new age/the return of the sith. perfectly paralleling the way in rotj a master (palps) and an apprentice (anakin/vader) died together to herald the return of the jedi. in both instances, a father figure (qui-gon/vader) dies in the arms of their son (obi-wan/luke) as a sith (palps/maul) is cast down into the abyss to their deaths. (palps being alive in the ST and retconning his death in rotj is also annoying for this reason)

i mean i like maul. don't get me wrong. he's an incredibly compelling character and i enjoy seeing more of him... but there's always the thought hovering in my mind like "he should be dead though. he should 100% be dead. this wouldn't be happening if he was dead, but i honestly would rather it not if it meant that maul was dead."

like the tpm fight just doesn't hit the same knowing that canonically he's just. going to become a robot octopus at some point. (shoutout to palps becoming sith glados in the ST) it cheapens the moment for me. it was supposed to be a moment of triumph marred by the deep and soul-crushing loss of a loved one and it's just... not, anymore. or at least not to the same extent. AUGH i'm just. frustrated. wish star wars as a whole wasn't constantly reframing/retconning what's been established. just puts a bad taste in my mouth.

[toddtakefive]

thinking about todd and his resolve toward… not quite isolation, but being alone in a room full of people again. he goes along to the study room to sit on his own and do his homework, he sits at the poets table and follows along with what’s being said while keeping quiet, he goes to the meetings at all but doesn’t necessarily contribute (in fact, if you watch him when cameron is telling the story ‘from camp in sixth grade’, you can see that he recognizes it before any of the other poets but doesn’t voice it until they all have). he’s not alone, necessarily, if you want to get technical about it, he’s just lonely, and he’s generally okay with that. he doesn’t have friends and that’s fine, he doesn’t participate in class and that’s fine, he doesn’t have a relationship with his family and that’s fine—he could live without any real connection and he’d have been, more or less, fine.

the thing about when he says “i can take care of myself just fine!” is that he isn’t really wrong, you can infer that he’s been doing it his entire life anyway, it’s that ‘taking care of yourself’ isn’t the same thing as really living or being happy. todd’s an introvert, certainly, and even as he gets closer to the group he defaults to sitting quietly in the background, but he’s also denying himself community out of fear not introversion. todd isn’t friendless because he’s an introvert, although that definitely plays a part, he’s friendless because he pushes anyone that might want his company away. if anyone has every wanted for his attention in the first place. (neil’s unwavering interest in him is unique (even when it comes to the rest of the poets, who are fine with todd coming along and joining the group, but aren’t really hellbent on him being there in the beginning) and his refusal to accept it is a direct result of being so lonely growing up.)

there’s obviously something to be said about the implications of his parents neglect, and the more than likely fact that he grew up friendless, and how those both play a part in in him being so skilled at dodging social interaction/being so avoidant of it, but by the time we see him in the movie he’s all but accepted his fate as being alone his entire life. he’s already accepted being the family disappointment, and he’s already accepted he’ll never amount to anything, and he obviously doesn’t like it, but he’d have managed living with that knowledge without the confirmation that it was all wrong. would he have been miserable? almost certainly. but he’d have managed. he’d done it for that long already, anyhow.

[sophsun1]

Queer as Folk – 2.16: You Say It's Your Birthday! I Couldn't Care Less!

[biillys]

and you— you were happy.

[dazais-guardian-angel]

kinda wild to me that one of the most compelling aspects of both Chuuya and Kunikida's characters to me, that I never really see talked about, is how they're heavily set on a doomed crash course towards complete and utter destruction, and how I am so, so worried for them both.....